recent acquisitions - Marlborough Rare Books

CATALOGUE TWO HUNDRED AND EIGHTEEN
RECENT ACQUISITIONS
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The front cover illustration is taken from item 27, Chalon.
© Marlborough Rare Books Ltd.
1. ABBEY, Major John Roland
and E. JUTRO. SCENERY OF
GREAT BRITAIN & IRELAND; LIFE
IN ENGLAND; TRAVEL. London,
Dawsons of Pall Mall, 1972.
£250
4 vols; large 4to; original cloth, dust jackets; Scenery
jacket slightly torn.
This excellent reprint of the standard works
on colour-plate books was published at
£150 in 1972.
‘Having bought extensively in the buyer’s
market of the 1930s Abbey was not always
able to resist the temptation of a profit
when prices rose after the war. Through
John Carter of Charles Scribner & Sons he
sold the colour-plate collection to Paul
Mellon before the last two volumes of the
catalogue had appeared. It is now at Yale
University.’ ‘If not the most learned, Abbey
was certainly the largest English book
collector of his time. His colour-plate
collection showed genuine originality and
his catalogues represented real advances of
knowledge. Although sometimes too ready
to take offence in matters affecting his
collection, he was of a naturally amiable
disposition and a generous and charming
host, always glad to welcome scholars or
fellow collectors. He was responsible for
the publication of three books, compiled by
E. Jutro and other collaborators: Scenery of
Great Britain and Ireland in Aquatint and
Lithography, 1770–1860 (1952); Life in
England, in Aquatint and Lithography 1770–
1860 (1953); and Travel in Aquatint and
Lithography (2 vols., 1956–7)’ (ODNB).
2.
plates and one uncoloured engraved portrait; some offsetting of plates onto the text; a good and complete copy,
with the portraits of the founders and the list of plates,
which is usually missing; contemporary full Russia gilt,
border of a ‘cathedral’ roll with similar corner fans of
gothic tracery in blind, spines with five wide bands,
lettered in two panels, the other panels tooled in gilt,
marbled edges; some minor cracking to joints and spines,
sunned; unsigned but very redolent of the workshop of
Taylor & Hessey.
A tall copy of the most splendid book on
Cambridge ever produced. The paper of
this copy with pre-publication watermarks
(text with dates 1812 and 1815; plates
1815).
Abbey, Scenery, 80 (without the list of
plates); Tooley, pp. 9-14.
Huddersfield Binding;
Major Abbey’s copy.
3.
ACKERMANN,
Rudolph,
publisher. THE HISTORY OF THE
ABBEY CHURCH OF ST. PETER’S
WESTMINSTER, Its Antiquities and
Monuments. London, for R. Ackermann,
1812.
£7,500
ACKERMANN, Rudolph. A
HISTORY OF THE UNIVERSITY OF
CAMBRIDGE. Its Collages, Halls, and
Public Buildings. In Two Volumes. Vol. I [II]. London, Printed for R. Ackermann,
101, Strand, by L. Harrison and J.C. Leigh,
373, Strand, M.DCCC.XV. [1815]. £5,500
FIRST EDITION. Two volumes, 4to, pp. viii,
[2], list of plates, [ix]-xii, 296, [6]; pp. [iv], 324,
[8], 95 hand-coloured aquatint or stipple-engraved
FIRST EDITION, SECOND ISSUE WITH
THE FIRST PLATE IN VOLUME TWO SIGNED
‘A. PUGIN DELT.’ Two vols. 4to. [350 x 277 x
100 mm], engraved portrait, plan, and eighty-one hand
coloured aquatint plates; bound in contemporary red
straight-grained goatskin by J. Lancashire of
Huddersfield (with his ticket inside the front cover of
both volumes), the covers with a wide border of onlaid
blue goatskin tooled in gilt with a repeated anthemion
ornament and in the corners a weeping willow and urn
tool, with a chevron and a pearl roll on either side,
spines divided into six panels, onlaid with narrow strips
of blue goatskin, lettered in one panel and numbered in
another, the others gilt tooled with the anthemion
ornament, the turn-ins gilt and blind tooled with ovals
and circular ornaments, wide red goatskin inner joints,
marbled endleaves, gilt edges gauffered and with small
black flowers; joints cracked and rubbed, one joint
repaired at the foot; preserved in cloth cases, with J. R.
Abbey’s leather labels on the front.
J. Lancashire is unrecorded by Ramsden in
Bookbinders of the United Kingdom (Outside
London) 1780-1840, though he does record
an M. Lancashire of Rochdale. The only
other Lancashire binding known to us was
on a copy of Thomson’s The Seasons, 1797,
item 144, Maggs catalogue 893, bound in
red goatskin, tooled with the same
anthemion ornament and signed in gilt on
the edges ‘J. Lancashire, Bookbinder’.
Bookplate of Lord Nathan of Churt, sold
Sotheby 4 June 1962, lot 6; bookplate of J.
R. Abbey, sold Sotheby 19 October 1970,
lot 2644; Maggs catalogue 1212, item 199,
1996.
Abbey, Scenery, 213.
4.
ALEXANDER, John. ITALIAN
TOUR SKETCH BOOK, together with
two later Grand Tour diaries. Mostly Italy,
c. 1822 and 1866/7.
£2,500
Oblong large 4to, 36 full-page pencil drawings, on front
paste-down a mounted gouache ‘Porta di Pompej’, two
smaller gouaches of the Vesuvius eruption of October
22, 1822 (night at day) on rear paste-down; the two
diaries in 12mo.
The Alexander family was of Anglo-Irish
origin. John Alexander (1802-1885) was a
talented
amateur draughtsman
and
studiously filled this sketchbook with views
of Florence, and it environs before
documenting his journey through Lucca to
Pisa and Livorno, At this point in his travels
he probably embarked on a ship where he
travelled to Pozzuoli, and sketched the
Temple of Jupiter Serapis as the last
drawing in this album.
The sketch book is offered together with
two small pocket travel diaries tightly filled
filled with text and a few sketches by Rev.
Charles Leslie Alexander another member
of the Alexander family, Charles Leslie left
Straw Hall in Carlow, Ireland on November
2, 1866 for Italy. He and presumably his
wife Lucia first travelled to Bordeaux and
visited the vineyards and several chateaux,
before slowly moving South through France
and lingering for a while in Provence.
Christmas of 1866 was spent in Menton
(then Mentone in Italian) before they
travelled at leisurely pace over the next two
months down the West coast of Italy to
Naples. They travelled to Rome in March,
Florence in April and and then through
Switzerland and Northern Italy in the
summer of 1867. The diary ends with an
entry, dated May 14, 1867, and reads ‘Left
Venice for Botzen [Bolzano]’.
5.
ANDREWS, William Loring.
ROGER PAYNE AND HIS ART, a short
Account of his Life and Work as a Binder.
New York, De Vinne Press, 1892.
£575
8vo., pp. 36, portrait frontispiece and 10 plates (9 in
colour); publisher’s dark blue fine diaper cloth, lettered
gilt, uncut; book label of The Brooklyn Public
Library.
First Edition, limited to 120 copies on
Holland paper, of the first monograph on
an individual bookbinder. The work
contains a reproduction of the famous
engraved portrait of Payne (1738-97),
generally supposed to be the first
representation of a named bookbinder.
6.
ARIOSTO,
Lodovico.
LE
SATIRE di M. Lodovico Ariosto. Tratte
dall’originale di mano dell’autore con due
satire non piu vedute; & con molto
diligenza ristampate. Venice, Gabriele
Giolito de Ferrari, 1550.
£3,500
A seminal text of the late Renaissance,
redefining the genre of satire which first
appeared the year following the author’s
death in 1533 in an unauthorised edition
without place or printer’s name.
FIRST CORRECT EDITION - THE
FERRARA MANUSCRIPT. 12mo, ff. 35, [1,
blank], woodcut printer’s device to title and a variant
device at end, woodcut initials; small repaired tear to
title, very light brown-spotting at the beginning;
nineteenth-century dark red crushed morocco, decorated
in blind and gilt, inner dentelles gilt, Duke of
Sutherland’s arms on covers, his signature on front free
endpaper, later circular engraved portrait-medaillon
mounted opposite title, blanks at the beginning and end
of the volume.
‘Altogether some ten editions of Ariosto’s
Satires were prepared, all following the first
of 1534, until Gioliti published his edition
of 1550, the extreme rarity of this edition
caused it to remained unnoticed by the
bibliographers and publishers of Ariosto’s
works’ (translated from Bongi, p. 282).
Ariosto’s satires are a mix of
autobiographical references with criticism
of the machinations at court and the
conduct of the clergy and employ a variety
of languages, from courtly Italian to
vernacular conversational tones. Ariosto
wrote his satires at various times between
1517 and 1524 during which time
manuscript copies circulated. Later in the
sixteenth century the book was placed on
the Papal Index, resulting in the production
of expurgated versions.
‘In 1550, Gabriel Gioliti issued at Venice an
authorised edition, edited by Anton
Francesco Doni, under the alluring title:
“Le Satire di M. Lodovico Ariosto. Tratte
dall’originale di mano dell’autore con due
satire non piu vedute; & con molto
diligenza ristampate.” The text followed in
this edition is that of the manuscript at
Ferrara (including the second series of
corrections and alterations), which had
probably been supplied to the publisher by
Virginio Ariosti [Ariosto’s son] or some
other of the poet’s heirs; but there is
absolutely nothing to justify or to explain
the promise on the title-page of two entirely
new Satires. For this promise, Doni himself,
a most unreliable person, was presumably
responsible; he had, perhaps, expected to
get from Ariosto’s heirs the unfinished
additional Satires mentioned by Virginio’
(Gardner, The King of Court Poets. A Study of
the Work, Life and Times of Lodovico Ariosto, p.
312). At the time the Ferrara manuscript
was believed to be in the author’s hand;
later research proved that this is not the
case, but that its scribe must have worked
under the supervision of Ariosto.
The Sutherland library was dispersed
through two sales in 1906 and 1913.
Bongi I, pp. 280-286; OCLC locates a single
copy, in the British Library; ICCU locates
two copies in Italy, KVK does not add
further locations.
7.
[ARMS AND ARMOUR]. AN
INVENTORY & VALUATION of
Furniture, Fixtures, Plate Glass, Jewellery &
Effects at “Milford House” 2, Holland
Road, Kensington, W. The Property of R.A.
Stevens Esquire. London, R. Webster
Larkin, P.A.S.I., 8 & 9 Great Newport
Street, W.C.2, July 1918.
£150
Folio typescript, pp. [1], 74, [1] summary; original
black roan-backed blue cloth, upper cover lettered in gilt.
R.A. Steven’s home contained a sizeable
collection of Indian, Japanese and Oriental
arms and armour which was of sufficient
importance to form part of a Sotheby Sale
in the early 1930s.
The principle rooms of the house had
clearly been decorated in the the prevailing
taste of the 1890s, These rooms contained a
profusion of Japanese and Indian furniture,
ornaments and textiles together with all the
arms and armour. From the size of this
terraced house it is difficult to imagine how
everything was comfortably accommodated;
the valuation totalled £6,787.
8.
[ATTAR,
Farid
al-Din].
PENDEH-I-ATTAR. The Counsels of
Attar. Edited from a Persian Manuscript, by
the Rev J.H.Hindley. London; Printed for
Black, Parry & Kingsbury …, By W.
Bulmer, 1809.
£450
FIRST EDITION. 12mo, pp. 10 (English), 58
ff. (numbered in Persian), printed Persian text, [2],
Persian title (at the opposite end from the English title);
uncut in the original boards, two-page manuscript
translation inserted, a few pencil or ink notes in the
margins, boards slightly worn and ink-stained, rear endpaper renewed; ownership inscription of Nathaniel
Howard, 1821, on rear paste-down.
As far as we know, this is the first printed
edition in any language of this work,
followed by an appearance in 1811 in a
Viennese anthology, followed by a
translation into French by Silvestre de Sacy,
in 1819.
Farid al-Din Attar (1119-1229), Persian
poet and mystic, started life as Abu Hamid
Mahommed ben Ibrahim, and followed his
father’s profession of perfumer and
druggist, before a wandering dervish
inflamed him with Sufism and prompted a
name change, and the devotion of the rest
of his life to the Sufi cause. A voluminous
writer, his most famous work today is The
Conference of the Birds. J.H. Hindley (17651827) was librarian at the Chetham library,
which contained a wealth of oriental
manuscripts, a circumstance which led to
his study of Persian. The present work,
dedicated to the chairman of the East India
Company, and intended to promote the
study of Persian at Calcutta and Hertford
Colleges, both sponsored by the Company,
was attractively printed by William Bulmer.
OCLC list copies held at 10 libraries, BL,
Cambridge Manchester, Oxford; BNF,
Sächsische
Landesbibliothek
Staatsbibliothek zu Berlin, Cleveland, Johns
Hopkins and NYPL.
9. BAKST, Leon [Lev Samoylovich
ROSENBERG]. THE ART OF LEON
BAKST.
Appreciation
by
Arsène Alexandre. Notes on the Ballets by
Jean Cocteau translated from the French by
Harry Melvill. London, The Fine Art
Society, 148 New Bond Street, 1913.£3,000
Folio (40.5 x 28 cm), pp. [10], 51, [1] blank, [2];
frontispiece-portrait and 77 tipped-in plates including
50 in colour, each with a leaf of text; [4] imprint and
blanks; original half -vellum parchment decorated in
gilt, upper cover with facsimile signature.
One of the most sumptuous works
published on the great Russian painter and
stage designer.
performed and prompted new fashions in
dress and interior decoration. Between 1909
and 1921 he designed more Diaghilev
productions than any other artist and his
name became inseparable from that of the
Ballets Russes. He also designed for other
celebrities, including the artist–producers
Vera Komissarzhevskaya in 1906, Ida
Rubinstein (c. 1885-1960) between 1911
and 1924 and Anna Pavlova (1881-1931)
from c.1916 to 1924. Rubinstein’s ballet Le
Martyre de Saint Sébastien (Paris, 1911)
provided him with another spectacular
triumph. He settled in Paris in 1912, having
been exiled from St Petersburg where, as a
Jew, he was unable to obtain a residence
permit.’ [Grove Art]
10. BARNETT, R. D. [editor ].
CATALOGUE OF THE PERMANENT
AND LOAN COLLECTIONS OF THE
JEWISH MUSEUM LONDON. London,
Published for the Jewish Museum by
Harvey Miller [and] New York Graphic
Society, USA, 1974.
£350
Small folio, pp. xxvi, 414, 19 tipped-in colour plates
in the text and 207 monochrome plates at the end;
publisher’s cloth with dust-wrappers.
‘Making his début with designs for stage
productions at the Hermitage and
Alexandrinsky theatres in St Petersburg
(1902-3), he was then commissioned for
several works at the Maryinsky Theatre
(1903-4). In 1909 he collaborated with
Diaghilev in the founding of the Ballets
Russes, where he acted as artistic director,
and his stage designs rapidly brought him
international fame. His colourful exotic
costumes and décors for Diaghilev’s
Schéhérazade (Paris, 1910) caused a
sensation wherever the ballet was
This comprehensive catalogue of the Jewish
Museum of London includes sliver and
ritual objects and synagogal embroidered
textiles from both the English and
continental tradition, as well as objects from
ancient Palestine and from Jewish
communities in Europe from the first
century to the present. The catalogue is
arranged in sections following the themes
of the Jewish religion ; the Synagogue; the
Festivals and Holidays; the Sabbath and
worship; personalities of various kinds
together with an introductory essay on each
section by acknowledged experts.
11. BARTOLI,
Pietro
Santi,
Giovanni Pietro BELLORI, and
Giovanni Giacomo de ROSSI.
COLONNA TRAIANA ERETTA DAL
SENATO,
e
Popolo
Romano
all’Imperatore Traiano Augusto nel suo
Foro in Roma. Scolpita con l’historie della
guerra dacica la prima e la seconda
espeditione, e vittoria contro il re Decebalo.
Nuouamente disegnata, et intagliata da
Pietro Santi Bartoli; con l’espositione latina
d’Alfonso Ciaccone, compendiata nella
vulgare lingua sotto ciascuna immagine,
accresciuta di medaglie, inscrittioni, e trofei,
da Gio. Pietro Bellori. Rome; Con diligente
cura, e spesa ridotta à perfettione, e data in
luce da Gio. Giacomo de Rossi dalle sue
stampe, [no date, late 1670s].
£1,000
FIRST EDITION, EARLY ISSUE Large oblong
folio, engraved title, engraved dedication, printed ‘A
lettori’, 7 engraved sections and plans of the column and
119 engraved plates; pp. 14 ‘Explicatio,’ [2] Index;
modern black morocco-backed marbled boards, with
vellum-tipped corners, spine with red label lettered in
gilt; armorial bookplate of Lauderdale.
The series illustrates in great detail the basreliefs on Trajan’s Column, with text by
Alfonso Ciacono.
Copies of the work circulated very widely in
Western Europe for it was regarded as the
definitive work on Trajan’s Column. The
continued demand for the work caused it to
be reprinted until as late as 1763. The
presence of De Rossi’s printed address
indicates that this is the original issue.
See Berlin Kat. 3622. Cicognara 3603.
12. [BECKFORD
LIBRARY
SALE]. THE HAMILTON PALACE
LIBRARIES. CATALOGUE OF … THE
BECKFORD LIBRARY, REMOVED
FROM HAMILTON PALACE. Which will
be sold by Auction by Messrs. Sotheby,
Wilkinson & Hodge … On Friday, the 30th
day of June, 1882, and Eleven following
Days. London, Dryden Press for Sotheby,
Wilkinson & Hodge, 1882-83.
£400
4 parts in 2 volumes, 4to., pp. iv, [2], 237, [1], xxxi,
[5, blank], iv, [2], 195, xxvii; vi, [2], 196, xxvii,
[2], iv, [2], 78. xii; partly unopened and with original
printed wrappers bound in at the rear; tear to pp. 87/8
in part two; modern quarter dark blue morocco, spines
lettered in gilt.
Large and fine paper copies (measuring 195
x 285 mm) with the printed lists of prices
and purchaser’s names bound in.
Beckford’s monumental collection sold
over a total of forty days and realised £73,
551. 18s. Sotheby’s then held a further sale
in 1884 which included the remaining 2136
lots of books in the Hamilton Palace
Library that William Beckford did not
inherit. - Ex libris of the bibliophile Brent
Gration-Maxfield with his distinctive notes
on the front paste-down of volume one.
13. BEEVERELL,
James.
LES
DELICES
DE
LA
GRAND’
BRETAGNE, & DE L’IRLANDE; Où
sont exactement décrites, Les Antiquitez,
les Provinces, les Villes, Les Bourgs, les
Montages, les Rivers … Leiden, Pierre Van
der Aa, 1707-9.
£1,200
FIRST EDITION. 8 volumes in 9, 12mo, titles
printed in red and black, pp. [iv], [xxxviii], 248; [iv],
249-520; [iv], 521-734; [iv], 737-872; [iv], [iv],
‘872 (1)’ - ‘872 (119)’, [1], ‘872 (120)’- ‘872
(123)’; [iv], 873-1031, 1032a-1032g; [iv], 10331216; [iv], 1217-1275, [1], blank; 9 additional
double-page engraved titles, engraved double-page
dedication, 242 double-page plates including 4 maps, 8
plans and 4 plates of costumes, of which 3 are folding.
contemporary calf, spines decorated in gilt with black
and red labels, some minor chipping to head or foot of
three spines, some joints rubbed; armorial bookplates of
‘Sr John Eden’ 4th Baronet of West Auckland.
Brunet I, col. 735; Graesse I, p. 322; see
Upcott p. xxiv for the second, 1727,
edition.
14. BELCHER,
John.
and
Mervyn E. MACARTNEY. LATER
RENAISSANCE ARCHITECTURE IN
ENGLAND. A series of examples of the
domestic buildings erected subsequent to
the Elizabethan period. London, B.T
Batsford, 94 High Holborn, MCMI [1901].
£750
FIRST EDITION. Two volumes, large folio, pp.
xxiv 64; [ii] [65]-116; titles printed in red and black;
170 plates and numerous text illustrations;
contemporary brown half morocco, spines decorated and
lettered in gilt, top edges gilt.
‘A close study that served as a visual
textbook for the developing English
classical revival’ (ODNB).
The author’s name is a fabrication,
Beeverell being fictitious, however, the
continuing value of this work is due to the
fine plates by Jan Goeree (1670-1731). The
work is a complete and illustrated
topography of the British Isles, a
stocktaking at the beginning of the 18th
century, issued by the Leiden mapmaker
and publisher Pieter van der Aa, who
specialized in topography, travel, and
natural history.
‘This contains a survey of the architectural
treasures, ports and cities, including
information on the ruling families and their
mansions, major collections, institutions,
the customs and habits of the British
population. Sets of Les Delices de la Grand’
Bretagne have been broken up frequently for
their good engravings, and are scarce,
especially complete and in good condition,
as here. The plates sometimes show an
engraving, with frayed white margins on a
hatched background or placed on an
architectural marble panelling, a playful
feature reminding of illustrations of the
period of mannerism.
The work is short on text but is amply filled
with measured plans and drawings and
superb photographs which were expressly
taken for the work by Charles Latham
whose work is today chiefly known from
his work for the early volumes of Country
Life.
‘1897- 1901 saw the publication, in six parts
at a guinea a part, of what is in some ways
the best, because the most consistent, of
these books, Later Renaissance Architecture in
England by John Belcher and Mervyn
Macartney. Later Renaissance in this case
meant c. 1630-c. 1730 with a heavy
emphasis on the age of Wren. Latham’s
views are now almost always softly lit, to
achieve a good working compromise: the
shadows gave an overall sense of mass, but
they were not so strong as to lose the sense
of detail and texture. The preface to Later
Renaissance Architecture says that the
photographs were all taken from points of
view selected by the editors. Their
supervision may explain what seems to be a
feature of this book, the large number of
views which have people in them. No
doubt Belcher and Macartney did this for
the sake of giving a sense of scale, rather
than from any vaguer and more modern
wish for human interest. But the effect is
the same: despite what must have been slow
LIMITED EDITION, NO XV OF XX COPIES.
Folio, ff. [1], [15], [6], 47, numerous full-page text
illustrations, tin-foil stencil inside rear cover; original tan
morocco, in original marbled slip case.
This special copy contains a set of handcoloured plates showing progressive stages
in the stencil work, colour collotype proofs,
an original guide-sheet and stencil.
Blake published Europe a Prophecy in 1794
following his America, a Prophecy of the
previous year; of the original only nine
copies are known to be extant.
16. BLEWITT, John Octavian.
exposures, the people are captured almost
casually, gardeners going about their work,
people chatting on the bridge at Wilton, and
they give the photographs a pleasantly
relaxed atmosphere’ (Alan Crawford, In
Praise of Collotype: Architectural Illustration at the
Turn of the Century, in: Architectural History,
Vol. 25 (1982), pp. 56-64).
15. BLAKE, William. EUROPE, A
PROPHECY. London, the Trianon Press
for the William Blake Trust, 1969.
£800
THE SIRENS. A Holiday Poem, Recited in
Plymouth School, Easter, 1827. Torquay,
Printed for private circulation, by Edward
Cockrem, 1830.
£185
8vo, pp. 8; folded as issued.
Unrecorded and almost certainly the first
work published by Blewitt.
The introduction on the verso describes
that ‘The subject of the English poem,
proposed to the senior boys of Plymouth
School for the Easter vacation of 1827, was
the well-known adventure of Ulysses and
the Sirens, - and the following, being
declared by the Rev. J.H. Macaulay, head
master the best of these effusions, gained a
general holiday for the institution and was
afterwards
distinguished
in
public
rehearsal.’
The game is illustrated with views of all the
county towns and notable landscape
features with a decorative border of 28
views of interest.
Whitehorse p. 21
18. BONOMI,
Joseph.
A
COLLECTION OF 49 LETTERS TO
SAMUEL SHARPE. .
£3,850
Various sizes.
The poem may have been published so late
as 1830 as in that year Blewitt provided the
printer, Cockrem, with the text of The
Panorama of Torquay, published that year.
Also included is an ALs dated 1882 asking
an admirer to accept ‘a copy of one of my
earliest poems.’
17. [BOARD
Joseph Bonomi (1796–1878), sculptor,
Egyptologist curator of Sir John Soane’s
Museum and Samuel Sharpe (1799–1881),
Egyptologist and biblical scholar first met in
1837 when Sharpe was conducting his
Egyptian inscriptions from the British museum and
other sources through the press in 1836. This
association developed into a close
friendship as they worked together on
numerous
biblical
and
Egyptian
publications and the Egyptian rooms at the
Crystal Palace with Owen Jones. When
Bonomi died Sharpe wrote in his diary ‘This
month I lost my excellent friend Joseph
Bonomi; with whom I had been acquainted
above forty years, and intimate the larger
part of that time; a most cheerful, amiable
man, generous of his time and faculties, a
most careful observer in his own path of
Egyptian Antiquities. Few people ever
brought more life and cheerfulness into the
house.’.
GAME].
THE
GEOGRAPHICAL & HISTORICAL
TRAVELLERS THROUGH ENGLAND
& WALES AN AMUSING AND
INSTRUCTIVE GAME [cover title].
London: [William Sallis?] c. 1845.
£550
Hand-coloured lithograph board game (570 x 470
mm), linen-backed and in nine sections; folding back
into the original publisher’s cloth-covered boards,
ornamented and lettered in gilt and blind; spine slightly
defective.
The aim of the game is to follow a
geographical tour through all the counties
of England and Wales beginning at No. 1 in
Cornwall and ending at No. 102 in London;
Bonomi’s eye for observation and cheerful
outlook on life is apparent throughout the
correspondence from the first surviving
letter of 1857 to shortly before Bonomi’s
death in 1878. Thirty-four of the letters are
addressed from The Sir John Soane
Museum either on headed paper or
sometimes humorously referred to as the
‘13 The Fields of Zoan’ clearly a reference
to their joint interest in Egyptology the
balance chiefly from Bonomi’s home of
‘The Camels’ Wimbledon.
The correspondence is concerned chiefly
with Egyptian works of art, transcribing
inscriptions and recent discoveries. A
detailed description upon request.
The first English language
bookbinding manual
19. [BOOKBINDING].
THE
WHOLE ART OF BOOKBINDING,
containing valuable recipes for sprinkling,
marbling, colouring &c., Oswestry: Printed
and sold for the author, by N. Minshall,
1811.
£4,250
FIRST EDITION. 8vo., pp. xi, [1], 60;
contemporary half vellum, marbled boards, recased,
(slightly soiled, contemporary annotations on verso of
half-title, some marginal foxing and soiling).
‘The first English book devoted wholly to
bookbinding. It is very much a working
bookbinder’s notebook put in order for
publication and owes little to the
encyclopaedias. Forwarding is dealt with
very briefly; the most detailed sections are
those on preparing colours for sprinkling
book edges and on the various methods of
sprinkling and marbling leather covers.
There is a helpful section on gold tooling
and a chapter on stationary binding,
including gilding and marbling edges.’
(Rochester/Middleton).
The identity of the author has never been
established although it has been variously
suggested that it was W. Price, a
contemporary Oswestry bookbinder, the
printer, Nathaniel Marshall, or even the
copyright holder, one Henry Parry.
Contemporary mss. receipt for ‘Birds eye
pible (?)’ on the verso of the half title and
early printed receipt for copal varnish
attached to front paste-down.
Provenance: The bookbinder Frederick
Chivers (1855-1929) with his signature on
the title-page.
Rochester/Middleton 9; Pollard & Potter
89.
20. [BOOKBINDING]. LESNÉ,
Mathurin Marie. LA RELIURE,
POEME DIDACTIQUE EN SIX
CHANTS. Paris, chez Lesné et chez
Nepveu, 1820.
£750
FIRST EDITION. 8vo, pp. [iv], 246; light
spotting to final few leaves; contemporary diced calf,
spine gilt and blind tooled in six compartments, black
morocco label, wide gilt roll-tool borders to sides, inner
gilt dentelles, gilt edges.
This is a fine copy of this poetic account of
French bookbinding dedicated to his son,
who was also a bookbinder. Lesné (17771841) was a self-taught binder of modest
attainments and an incorrigible versifier.
The poem itself is followed by detailed
notes and the 19-page Mémoire … des reliures,
which had first been presented to the
22. [BRETT
AUCTION
CATALOGUE]. THE ILLUSTRATED
CATALOGUE OF THE VALUABLE
COLLECTION OF PICTURES, AND
OTHER WORKS OF ART OF THE
EGYPTIAN, GREEK, ROMAN, AND
MEDIEVAL PERIODS … Of that
eminent Connoisseur, John Watkins Brett
… of Hanover Square … which will be sold
by auction by Messrs. Christie, Manson &
Woods. London, Christie, Manson &
Woods, 1864.
£675
Societé d’ Encouragement two years earlier.
Of his bindings opinions vary from
Brunet’s ‘mediocre’, through ‘Aussi mauvais
poète que triste reliure’ (Thoinan) to
Ramsden’s ‘very competent’. All, though
agree with Ramsden’s verdict on La Reliure
that ‘whatever its value as poetry it is an
invaluable guide to the French binders and
the binding practice of the first quarter of
the nineteenth century’.
An excellent copy, authenticated with his
signature on the verso of the half-title and
possibly bound by Lesné himself.
Thoinan, p. 339; Ramsden, p. 129; Pollard
& Potter 49; Vicaire V, 259f.
21. BOYS,
Thomas
Shotter.
ORIGINAL VIEWS OF LONDON, AS
IT IS. Drawn from nature expressly for this
work and lithographed by Thomas Shotter
Boys. Exhibiting its principal streets and
characteristic accessories, public buildings
in
connexion
with
the
leading
thoroughfares, & c, & c, &c…. Guildford:
Charles Traylen, 1954-55.
£350
Two volumes, folio, pp. [xviii]; [xviii]; 26 colour
plates; signed by James Laver; contemporary half
maroon morocco, spine lettered gilt; contained in original
slipcase.
A finely produced facsimile with prints
produced from ektachromes and printed in
seven colours by offset lithography.
Large 8vo, pp. 146, 48 mounted albumen photographs;
evenly a little browned; original dark green cloth, lettered
and ornamented in gilt, all edges gilt.
John Watkins Brett (1805–1863), a talented
draughtsman, telegraph engineer and art
collector, died in a lunatic asylum before he
could see the success of the transatlantic
telegraph. He had ruled in his will that his
collections was to be sold at auction and the
proceeds to be given to benefit various
missionary societies. The obituarist writing
for the Proceedings of the Royal Geographical
Society (188) praised Brett as follows: ‘It is
rare to find a highly cultivated taste for the
fine arts combined with such an
enterprising mind, yet such was eminently
the case with Mr Brett, as proved by his
choice and varied collection of works of
art.’ Some prices realised entered in ink.
Although Gernsheim calls for 49
photographs by Stephen Ayling, all the
previous copies of this catalogue that we
have handled contained only 48.
Gernsheim 218; Lugt 27813.
23. [BRIGHTON]. BRUCE, John.
JUVENILE
VARIETIES
OF
BRIGHTON [cover title]. Brighton, Drawn,
Engraved, Printed & Published by J. Bruce,
[1825].
£750
12mo, 12 engraved and hand-coloured plates, each with
five lines of text underneath; lightly spotted in places;
original cardboard wrappers with engraved and handcoloured title label with large vignette; a little rubbed
and worn; contained in a mid-20th-century folder;
bookplate D. G. Mackenzie inside front cover.
The Brighton printmaker and printseller
John Bruce had a flourishing business in the
1820’s and is known for his Brighton
characters,
engraved
silhouettes
of
prominent political figures and socialites
milling around the ‘Capital’ of the Regency
period. This rare and charming book for
children (and adults) visiting Brighton
opens with a view of the Steine (a green
space in the centre of town) with a band
performing to a leisurely audience. Other
views are of the Pavillion, Pier, a storm
ravaging the beach, the Chalybeate Spring
Building, the famous Mahomed’s Bath, run
by Mahomed, ‘who is sure to cure all that
are really not quiete dead’.
Saxon Heptarchy. … The whole being
finely engrav’d, and made portable either
for cloak-bag, portmanteau, or pocket.
London: Phil. Overton, Map and PrintSeller, at the Golden Buck against St.
Dunstan’s Church in Fleetstreet: And Tho.
Bowles, Map and Print-Seller, next the
Chapter-House in St. Paul’s Church-yard…
At which places the following new and
most correct of two sheet maps, now
extant, are sold; viz. 1. The world. … 23.
West Indies., [1735-38].
£4,000
4to, engraved folding title, printed in black and red,
scale and explanation leaf pasted on verso, engraved
wall-map on eight sheets, bound in four strips to form a
travelling atlas, the names of each county covered
engraved at the top of each sheet; fine original outline
hand-colouring, three or four stains to southern sheets,
one or two small nicks at margins skilfully repaired,
nineteenth century maroon limp morocco cover, split at
spine.
The first edition in ‘Portmanteau’ form, the
map is a later edition of ‘Nova Totius
Angliae Tabula,’ first published by
Christopher Browne in 1700.
OCLC locates copies at Toronto Public
Library, Atlanta, Princeton, Indiana and in
the Morgan Library .
24. BROWNE, Christopher. THE
ENGLISH GENTLEMAN’S GUIDE: Or,
A New and Compleat Book of Maps of all
England and Wales. Shewing its Ancient
and Present Government, divided as in the
As the full title explains, the map describes
‘England and Wales shewing Its Ancient
and Present Government, divided as in the
Saxon Heptarchy; Also into Dioceses,
Judges Circuits, and Counties; Describing
all the Cities; Market-Towns, Parishes,
Villages, Noble and Gentlemens Seats,
Archbishops
and
Bishops
Sees,
Universities, Places which send Members to
Parliament, &c. With the names of the
Rivers, Sea-Ports, Sands, Hills, Moors,
Forests, &c. All the Great or Post Roads,
Cross-Roads, Ports for Directions on the
Roads, Ponds, Inns and Houses on the
Roads, with the Distances of Measur’d
Miles, according to Mr. Ogilby’s Survey:
With many Additions and Corrections not
Extant in any Maps.’
A further, rather unusual, feature not
mentioned in the title, is the inclusion of
the sites of naval battles round the coast.
The sheets which were originally included
to complete a rectangular map, in which
only the sea was shown, have been
excluded and neat lines marked with
latitude have been added to the side borders
to ‘complete’ the map.
We are aware of only two other copies of
this map (one in the British Library and one
in a private collection).
Shirley ‘Browne 2’ State vi/vii (variant a);
BLMC Maps C.21.c.18.
25. CAMDEN, William. BRITAIN,
OR A CHRONOLOGICAL DESCRIPTION
OF THE FLOURISHING KINGDOMES,
ENGLAND, SCOTLAND, AND IRELAND,
AND THE ISLANDS ADIOYNING, OUT OF
THE DEPTH OF ANTIQUITIE Beautified
With Mappes Of The severall Shires of
England: Written first in Latine by William
Camden Clarenceux K. of A. Translated
newly into English by Philémon Holland
Doctour of Phisick: Finally, revised,
amended, and enlarged with sundry
Additions by the said Author. London:
impensis Georgii Bishop & Ionnis Norton
MDCX [1610].
£6,000
FIRST ENGLISH TRANSLATION. Folio,
pp. [16], 822, [2], 233, [55]; 57 engraved double
page maps; maps of Cornwell and ‘Cantivm’ slightly
shaved on right margin; Norfolk with margin of lower
left hand corner torn away with partial loss to numeral;
Leicestershire with loss of blank margin on lower left
corner; leaves Lll3-4 with loss of some text to lower
corners; contemporary calf, rebacked to style with red
label lettered in gilt.
In 1577, with the encouragement of
Abraham Ortelius, Camden began his great
work Britannia, a topographical and
historical survey of all of Great Britain and
Ireland. His stated intention was ‘to restore
antiquity to Britaine, and Britaine to its
antiquity.’
First published in 1586, in Latin, ran to
seven editions by 1607, each with the text
revised and extended. The 1607 edition
included county maps for the first time
based on the surveys of Christopher Saxton
and John Norden. This copy is the first
English language edition which was
translated by Philemon Holland with the
verso of the maps left blank.
Chubb XIX
26. CARY, John. CARY’S NEW &
CORRECT ENGLISH ATLAS Being A
New Set of County Maps from Actual
Surveys Exhibiting All the Direct &
principal Cross Roads, Cities, Towns, and
most considerable Villages, Parks, Rivers,
Navigable Canals &c. London, John Cary,
Engraver, Map and Print-seller, the corner
of Arundel Street, Strand 1787.
£1,500
4to, engraved title, engraved dedication, pp. [iv]
‘Advertisement’ and ‘Contents’ engraved map of ‘South
Britain’ 43 county maps, and two maps of Wales each
accompanied by a leaf of descriptive text, pp. 17
‘Directions’ [1] blank, [6] ‘Subscribers’; contemporary
tree calf; skilfully rebacked preserving original spine
with lyre motif, red label lettered in gilt; armorial
bookplate of Alex Gordon, Glasgow.
‘Cary’s first known engraved plan is dated
1779. Henceforth, the quality of his
engraving established new standards and a
new style, with his effective, starkly
beautiful, plain design being widely
adopted. His firm’s cartographic output was
prolific and diverse, ranging through maps,
plans, atlases, astronomical and educational
works, road-books (including works based
on surveys by Aaron Arrowsmith the elder,
who probably trained him), guides, and
globes. Particularly noteworthy are the
immensely popular New and Correct
English Atlas (editions from 1787), which
became the standard county atlas of the
period …’ [ODNB].
27. CHALON,
John
James.
TWENTY
FOUR
SUBJECTS
EXHIBITING THE COSTUME OF
PARIS the Incidents taken from Nature,
London: Rodwell & Martin. New Bond
Street. C. Hullmandel’s Lithography 1822.
£8,500
faithful studies of Parisian manners and
customs in the years 1820’ (Ray, 124).
Chalon was born in Geneva, but spent most
of his working life in London, where he
attended the Academy School and was
elected R.A. in 1846.
Beall F 47; Colas 588; Lipperheide Fd 15;
Ray, The Art of the French Illustrated Book, 124.
See front cover illustration
28. CHAMBERS,
William.
DESIGNS OF CHINESE BUILDINGS,
FURNITURE, DRESSES, MACHINES
AND UTENSILS Engraved by the Best
Hands; From the Originals drawn in China
… To which is annexed, A description of
their Temples, Houses, Gardens, &c.
London: Published for the Author, and sold
by him: also by Mess. Dodsley; Mess.
Wilson and Durham; Mr Millar, and Mr R.
Willcock,, 1757.
£2,000
FIRST EDITION. Folio [580 × 380 mm.], pp.
[viii] 19, [1] blank; 21 engraved plates; old stamp
erased from foot of title; modern half calf, spine with
label lettered in gilt.
Chambers’ remarkable folio on Chinese
design had its most lasting influence on
garden design. His text really disparages
Chinese buildings as mere ‘toys in
architecture’ however Chambers did build a
remarkably large toy, probably his best
known work today, the Pagoda at Kew.
Folio [440 × 310mm.], lithograph title; 24 handcoloured lithographs by Hullmandel; contemporary
maroon, spine lettered in gilt, some minor scuffing;
bookplate on front paste-down of Robert Lionel Foster;
together with a loosely inserted lithograph of the artist.
‘According to Beraldi (XII, 232) this “very
curious and rare album” appeared as a small
quarto in London. These plates, which are
large folio in size, may represent a French
issue of the work, though the English
edition had captions in French. … His
designs are by no means mere costume
plates. Instead they are animated and
‘The fashion for Chinese design in English
architectural literature was nearly limited to
the decade of the 1750s. At the pinnacle of
this fashion was Chambers Designs for
Chinese Buildings, certainly the most
authoritative book on the subject, and also
the most controversial. His designs were
not fantastic or exuberant as others,
ostensibly based on firsthand observations
made during a voyage to China (preface).
Although subsequent scholars have
seriously challenged that claim, Chambers
work
strongly
influenced
his
contemporaries, more that a fourth of the
162 subscribers were peers, including the
Prince of Wales and other members of the
royal family. Subscriber architects included
John and James Adam, James Pain, and
John Vardy. Chambers subsequent
commissions for Chinese work at Kew
reflect the confidence and interest of the
royal family in his work, and further
established the Chinese taste in England’
(Archer).
Archer 38.1
29. [CHANNEL TUNNEL]. A
COLLECTION
OF
TEN
PRINTED
SPEECHES, PAMPHLETS, MEMORANDA,
REPORTS AND BOOKS ON THE
CHANNEL TUNNEL PROJECT. London,
1882 - 1961.
£950
10 volumes in 8vo, housed in a custom-made red dropback cloth box with green gilt-stamped lettering piece
and library shelfmark label on spine; a little dusty;
withdrawn from Nottingham Reference Library.
Proposals for a Channel Tunnel go back to
Albert Mathieu’s 1802 plan involving horsedrawn carts and an artificial island in the
middle of the Channel. For over 150 years,
British political and media pressure over
compromised national security stalled
attempts to construct a tunnel, which is well
documented in this collection and
illustrated by quoting from item number II:
‘As for the Tunnel, I have been delighted to
hear so many eminent authorities say today
that it is going to be a great risk, a great
danger, and a great source of anxiety to the
nation.’
The collection contains:
I. TYLDEN-WRIGHT, Charles. THE
CHANNEL TUNNEL. 1882-3. II. THE
CHANNEL TUNNEL. Royal United
Service Institution. Important Discussion
[drop-head title]. [London, 1907]. - III.
[CLARKE,
George
S.]
LORD
SYDENHAM OF COMBE. The Channel
Tunnel. Military Aspect of the Question.
[London, A. E. Walter] for the House of
Commons, 1914. - IV. DE HORSEY, Sir
Algernon. NATIONAL DEFENCE V.
CHANNEL
TUNNEL.
Second
Impression. London, Longmans, Green, and
Co., 1914. - V. CHANNEL TUNNEL
COMPANY. THE CHANNEL TUNNEL
and the World War. [London, January, 1917].
- VI. FOX, Francis. GEOGRAPHICAL
ASPECTS of the Channel Tunnel [drop-head
title] [London, William Clowes], 1917. VII.
FELL,
Arthur.
THE
BRITISH
GOVERNMENT and the Channel Tunnel.
London, Hugh Rees, 1917. - VIII.
[CHANNEL TUNNEL COMPANY]. The
Channel Tunnel. London, McCorquodale,
[1918]. - IX. ECONOMIC ADVISORY
COUNCIL.
CHANNEL
TUNNEL
COMMITTEE. Report. Presented to
Parliament by Command of His Majesty.
London, H. M. Stationery Office, 1930. - X.
ABEL, Deryck. Channel Underground. A
New Survey of the Channel Tunnel
Question. London and Dunmow, Pall Mall
Press, [1961]. – Full details on request .
30. [COKER COURT LIBRARY]
CATALOGUE OF BOOKS AND
MANUSCRIPTS AT COKER COURT.
1913.
£475
4to, typescript on pre-printed and ruled leaves, full
contemporary morocco gilt by Zaehnsdorf, gilt edges,
slightly rubbed; Coker Court bookplate.
Coker Court near Yeovil, Somerset, appears
to have housed quite an extensive library,
the present catalogue extending to some
several hundred unnumbered closely typed
pages. Much is as one would expect from a
country house collection; myriad editions of
the classics (Badius’ edition of Virgil, an
Eton printing of Ovid’s Metamorphoses),
literature in abundance (Scott, The Tatler,
Burns, Shakespeare et al.), theology,
hunting, fishing, travel, horticulture, politics
and a smattering of philosophy (Paine’s
Rights of Man and Kant). Amongst the
manuscripts are listed Mrs. Heylar’s volume
of receipts c. 1690 and two previous
inventories of the library dating from 1771
and 1842. Two further volumes relating to
the bishopric of Exeter are listed as having
been sold or given to the Dean and Chapter
of Exeter in 1927. Some entries scored
through in pencil, one excised altogether.
Sold together with a copy of Matthew
Nathan’s Annals of West Coker, 1957,
inscribed by the author’s son to J. Stevens
Cox, for ‘the help he has given me in
arranging … the books in the library here.’
A superb catalogue designed and engraved
by Mardara & Co., containing all manner of
dangerous-looking novelties, conjuring
tricks, etc. The upper wrapper declares this
printing to be the 648th Thousand,
however, we have never seen another copy.
32. CONRAD,
Joseph.
THE
NIGGER OF THE “NARCISSUS” A Tale
of the Sea London: William Heinemann
1898.
£375
31. [CONJURING]. CATALOGUE
OF THE CONJURING APPARATUS,
ELECTRICAL
GOODS,
STEAM
BOATS, ENGINES, & C., MAGIC,
MIRTH & MYSTERY, Kensington
[London], J. Theobald & Co., 1890. £750
Small 4to, pp. 48, printed on tinted papers, slightly
brittle due to paper quality, illustrated throughout; lower
cover defective (repaired), preserved in a recent cloth
folder.
FIRST ENGLISH EDITION, FIRST
ISSUE. 8vo, pp. [viii] 259 [1], [4], 16 pages of
advertisements dated Autumn 1897; Original dark
grey cloth, lettered and decorated in gilt on front cover,
lettered in gilt on spine, uncut; marks of the removal of
circulating library label on upper cover.
Conrad’s best early work.
Thomas Hardy’s copy
33. CONRAD,
Joseph.
THE
ROVER London: T. Fisher Unwin Ltd…
Adelphi Terrace. [1923].
£950
FIRST ENGLISH EDITION, FIRST
ISSUE. 8vo, pp. 317 [1] imprint; Original dark green
cloth, lettered in gilt on spine and upper cover, spine
dulled and slightly shaken; bookplate ‘From the library
of Thomas Hardy, O.M. Max Gate’
Conrad’s novel set against the backdrop of
the French Revolution.
account of the fire, and the buildings
injured by it. Oxford: Robert Bliss, 1809.
£575
Folio, (39 × 28 mm.), [engraved vignette on title-page],
pp. 6 [2] letterpress; engraved plan (of the building
destroyed), 6 (recte 7, plate 4 in 2 states) soft-ground
etchings; original pale grey paper wrappers, printed label
on upper wrapper, uncut, now reserved in a modern
brown cloth portfolio with red morocco label lettered gilt.
Although Hardy and Conrad were writing
some of their most important works
contemporaneously, and while they had
many literary friends and acquaintances in
common, they actually barely knew each
other. This copy was sold at Hodgson’s
Rooms in 1938 purchased by W. Heffer &
Sons who included inserted a bookplate to
their own design and subsequently
marketed in their catalogue 532 item 1881.
A label on the rear pastedown of ‘The
Times Book Club’ could be how Hardy
acquired this copy and a pencilled price
12/- may be the Heffer & Sons catalogue
price.
See Michael Millgate Thomas Hardy’s Library
at Max Gate: Catalogue of an Attempted
Reconstruction
online
at
@
www.library.utoronto.ca/fisher/hardy/intr
o.html for a full history of the dispersal of
Hardy’s library.
34. CONRAD,
The text covers the events surrounding the
fire, providing much incidental information,
including a list of previous conflagrations,
and the painful observation that ‘The only
serious accident which took place happened
to Mr. Smith of Oriel College, who in
endeavouring to open a door dislocated his
knee.’
Joseph.
UNDER
WESTERN EYES London: Methuen &
Co. Ltd, 36 Essex Street W.C. 1911. £75
FIRST ENGLISH EDITION, FIRST
ISSUE. 8vo, pp. [viii] 377 [1] imprint, [4], 32 pages
of advertisements dated august 1911; Original red
cloth, lettered in gilt on spine, uncut; circulating library
label on rear paste down.
Considered to be one of Conrad’s major
works the subject matter is full of cynicism
and conflict about the historical failures of
revolutionary movements and ideals.
35. CROTCH,
William.
SIX
ETCHINGS … OF THE RUINS OF
THE LATE FIRE AT CHRIST CHURCH,
OXFORD. To which is prefixed some
A plan is provided, showing the building in
question, known as Dr. White’s house, to
have been adjacent to the great hall, which
nearly burnt with it. The plates, etchings in
the crayon style, were prepared and
executed by John Girtin and William
Crotch, after original drawings by
H.O’Neill. They depict the smouldering
interior of the ruins, prior to the rebuilding
and redesigning by Wyatt. A very good,
clean copy, as originally issued.
UCBA, 353. Clary 297, Cordeaux & Merry
Univ. 7050.
38. [DARTON
&
CLARK
publishers] THE WORLD AND ITS
Christian camouflage
FIRST EDITION. 4to, pp. [16]; eight hand
coloured lithograph plates each with a sketch map
original decorated wrappers, the upper cover with a title
enclosed within a rustic intertwining frame with four
cartouches each illustrated by a woodcut, printed in red
and gilt.
36. [CRYSTAL PALACE]. PALAIS
DE SYDENHAM [drop-head title]. [Paris,
Charles Meyrueis et Cie., c. 1854].
£150
Small 8vo, pp 12, wood-engraving depicting the interior
at the beginning; a little browned and spotted in places;
unbound and stitched as issued.
This French guide booklet opens with the
technical details of the building and
describes its move to Sydenham in 1854,
before detailing the exhibits, and on
occasion of describing what the labourers
did on Sunday afternoon, namely drinking
and gambling, the anonymous author fills
the latter part of this curious publication
with Christian propaganda. The publisher
Charles Meyrueis was a Christian publisher
and this pamphlet, marked as No 336 de la
collection can certainly called a ‘camouflage
publication’ enticing the reader with the
image and description of the Crystal Palace
to read on about Mademoiselle Marsh’s (a
pastor’s daughter) successful mission
among the lost souls of these English
workers.
Apparently unrecorded.
37. DALE,
INHABITANTS, London, Darton & Clark,
Holborn Hill circa.1845.
£850
Only edition of this attractive, if somewhat
moralistic illustrated guide to the countries
of the world, which provides an insight into
mid-nineteenth century British attitudes
towards the rest of the world.
Anthony.
JAMES
WYATT. Architect 1746-1813. Oxford,
Basil Blackwell, 1936.
£75
AUTHORS ANNOTATED COPY FOR
SECOND EDITION 8vo, pp. [xii], 139,
frontispiece and 17 plates, title and frontispiece a little
foxed, one plate loose; original publisher’s green cloth;
corners a little bumped.
The historian Anthony Dale reworked the
first edition of his monograph of one of the
greatest eighteenth-century architects for
the second edition, which came out 20 years
later, in 1956. He crossed out large passages
and left many alterations in this copy.
Opening with a general description of the
world (Africa, apparently is very hot, and
many of its “rude and uneducated”
inhabitants “have been cruelly stolen away
as slaves”), the authors leave little doubt as
to their attitudes to the ways in which other
European powers treated their colonies. Of
the Dominican Republic, they note that it is
“now held by Negroes, who have expelled
the French in consequence of the tyrannical
manner in which they ruled the Islands”.
Britain does not escape censure, however:
of Australia, it is noted that ,”When it was
discovered it was inhabited by savages, who
were some of the most ignorant and
degraded people in the world … I am sorry
to tell you that they [the English] have not
treated the natives as they ought to have
done, but instead of teaching them, and
enabling them to participate in their own
advantages, they forcibly took possession of
land, and have destroyed great numbers of
them, driving the rest to the worst parts of
the country, where they are degraded and
worse than ever … I hope they will treat
the New Zealanders more honestly and
kindly than their countrymen have the
Australians”.
The cover design is the work of R.A.
Harrison, his name is faintly visible on the
lower left corner; a similar example is
illustrated in Ruiri McLean. Victorian
Publishers’ Book-Bindings in Paper London
1983 p. 45.
COPAC & OCLC locates copies at Oxford,
British Library, Florida, Indiana, Princeton,
and Turnbull NZ.
41. DE RICCI, Seymour. FRENCH
SIGNED
BINDINGS
IN
THE
MORTIMER L. SCHIFF COLLECTION
with] British and Miscellaneous Signed
Bindings …, New York, 1935.
£3,000
Together 4 vols., large 4to., pp. [10], 206; [6], 207399; [6], 400-613; [8], 161, 319 plates; uniform
blue buckram, lettered gilt.
A total of 413 bindings from the extensive
Mortimer L. Schiff collection are described
in detail. Many are illustrated with a full-size
photograph and in most cases the
doublures and inner dentelles have been
reproduced. Binders stamps and tickets are
all given in facsimile.
The focus of the collection is primarily
French signed bindings, although volumes
from British, Russian, Spanish, Italian,
Mexican and even North American
craftsmen are represented.
42. [DEGAS,
Edgar].
THOMAS BERTHELET, Chicago: The
Caxton Club, 1901.
£300
CATALOGUE
DES
TABLEAUX
MODERNES ET ANCIENS aquarelles,
pastels, dessins ; par Bartholomé (A.),
Boudin (E.), Brown (J.-L.), Caillebotte,
Cassatt (Mary), Cézanne, Corot, Daumier
(H.), David (J.-L.), Delacroix (Eug.), Forain,
Forestier, Gauguin, Guillaumin, Le Greco,
Ingres, Legros, Manet (Ed.), Millet (J.-F.),
Morisot (Berthe), Perronneau, Pissarro,
Puvis de Chavannes, Raffet, Renoir, Ricard,
Rousseau (Th.), Serret, Sisley, Van Gogh,
Zandomeneghi. œuvres importantes de
Delacroix et de Ingres composant la
Collection Edgar Degas et dont la vente aux
enchères publiques après son décès aura
lieu à Paris, Galerie Geoges Petit … les
Mardi 26 et Mercredi 27 Mars 1918 a deux
heures [Paris 1918.
£250
LIMITED EDITION, ONE OF 250
COPIES. 4to., pp. 102, 18 plates, 8 coloured;
original cloth-backed boards, paper label; bookplate of
John Spoor, engraved by Emery Walker.
large 8vo, pp. [viii] 101, [3] blanks; halftone
illustrations; uncut and preserving original wrappers in
contemporary blue cloth, spine with brown skiver label
lettered in gilt; priced throughout in pencil
Thomas Berthelet was royal printer and
bookbinder to Henry VIII.
Degas was not only a great painter but also
a great collector. The sale of his collection
ran to 247 lots and included thirteen
39. DAVENPORT, Cyril. SAMUEL
MEARNE, Chicago: The Caxton Club,
1906.
£350
LIMITED EDITION, ONE OF 250
COPIES. 4to, pp. 118, [1], 25 colour plates and 17
text figures; original cloth-backed boards, paper label,
some light foxing, mainly to fore-margins, book-label of
Paul Hirsch.
Samuel Mearne (1624-83) is chiefly
remembered as the binder to Charles II.
40. DAVENPORT
(Cyril)
paintings and two hundred drawings by
Delacroix, twenty paintings and eighty-eight
drawings by Ingres, seventeen works by
Gauguin, several by Corot, Manet, Pissarro,
Sisley, Mary Cassatt and Berthe Morisot and
three El Greco’s.
eventually let me have way as a sort of
joke.” Keynes was accompanied by Charles
Holmes, the director of the National
gallery. Big Bertha was shelling Paris during
the auction, and this is said to have
depressed prices. Keynes also made some
purchases on his own account, including
Cézanne’s Apples and a drawing by Ingres.
This event was really the beginning of his
career as a collector of modern paintings.’
R.F. Harrod The Life of John Maynard Keynes
London 1951 p. 224
43. [DORÉ,
Gustave].
LA
FONTAINE, Jean de la. FABLES
DE LA FONTAINE AVEC LES
DESSINS DE GUSTAVE DORÉ.
Paris, Hachette, 1868.
£500
Folio, pp. lx, 864, 84 full-page wood-engravings and
numerous vignettes after Doré; occasional light - mainly
marginal - foxing; contemporary full green morocco by
Walker & Son of Plymouth, richly gilt, marbled
endpapers, all edges gauffered and gilt; hinges weakened,
corners a little rubbed.
The sale is famous for another reason when
J.M. Keynes was able to persuade the
Treasury to let him buy paintings at the sale
for the National Gallery. ‘The Distress of
war and politics were relieved at this time
by a ray of sunshine. An auction was held in
Paris of Degas’s private collection,
including some of his own work. Duncan
Grant suggested that the national gallery
should be a buyer. Keynes took up the
point with the chancellor of the exchequer.
Our loans to France were running up up
and we did know when we were likely to
see them back. Why not help the French
balance of payments by buying some
pictures? Bonar Law was converted and
Keynes was given £20,000 to take to Paris
on one of his excursions on treasury
business. “Bonar Law was very much
amused at my wanting to buy pictures and
‘Doré’s illustrations were first published in
part form during 1866-67, before appearing
as a bound volume in 1868 … These tales
proved convivial subjects for him not only
for their whimsical humor, but also because
of his love for seeing things from unusual
viewpoints, in this case usually an animal’s
perspective. Doré described this project as
one of his most difficult tasks, but was
nevertheless a large success going through
many editions and providing what was to
become the definitive form for a number of
the fables …’ (Robert Rosenblum and Lisa
Small, Fantasy and Faith: the Art of Gustave
Doré, p. 96).
44. [DREDGERS]. A. BOS & J.P.
HEIJBLOM, DORDRECHT. Dordrecht:
H.J. Tollens circa 1920.
£2,000
4to [310 × 375 mm], pp. 58 fine original photographs
[160 × 225 mm and smaller] by H.J. Tollens,
Dordrecht, of various types of dredgers, dredging
machines, pumps, cranes, tugboats etc., each mounted on
card within a tinted frame, the plate captioned with the
company’s name, the name of the dredger or dredging
machine printed, together with statistical information on
length, breadth, depth of dredging, and horsepower in
English, Spanish, German, and French printed at each
corner; also loosely included is an additional large
original photograph of a bucket dredger; original dark
red cloth portfolio, gilt title on front.
Very rare if not unique deluxe album
containing a series of superb original
photographs each blind-stamped with the
name of the Dordrecht photographer H.J.
Tollens C.H.zn. (1864-1936).
45. [DROUOT].
CATALOGUE
DES
TABLEAUX
MODERNES.
Aquarelles - Pastels - Dessins par Bonnard,
Boudin, Céria, Cézanne, Chagall, Corot,
Coubine, Courbet, Cross, Degas, Derain, R.
Dufy, Dufresne, Eberl, Gaugin, Van Gogh,
Guillaumin, Laglenne, Marquet, Modigliani,
Monet, Monticelli, Pascin, Picasso, Pissarro,
Quizet, Renoir, Rouault, Signac, Souverbie,
Utrillo, Vallotton, Vlaminck, sculptures par
Modigliani et Rodin. Provenant de la
collection “L’Art Moderne” Lucerne
(Suisse) et dont la vente aux enchères
publiques, aura lieu a Paris Hotel Drouot,
salles 7 et 8 réunies le Jeeudi 20 Juin 1935, à
deux heures précises. [Paris, Moderne
Imprimérie, 1935].
£95
Tall 8vo, pp. 35, [2], title printed in red and black,
with 73 illustrations on plates printed on both sides;
text initially a little foxed; uncut in the original printed
wrappers.
The photographs show an enormous
variety of specialised dredging equipment
bucket dredgers, suction dredgers, hopper
suction dredgers, barge unloading suction
dredgers, elevator-conveyors, self emptying
dredgers, tugboats, a steam hoppers,
floating cranes, floating repair shops,
dredger’s machine rooms, etc.
Provenance: From descendants from the Kalis
family (Sliedrecht, The Netherlands),
founders of another well-known dredging
company, which later merged with the ‘Bos’
firm into the pre-eminent Royal Boskalis
Westminster Dredging company.
The reason for this compilation must surly
be connected with the merger of the two
companies when each would have prepared
and exchanged an album of their main
assets. We have not been able to locate
another copy and it is likely only two or
three at the very most were ever produced.
What came up for auction this Thursday
afternoon in 1935 reads like the Who’s
Who of French modernist art since
impressionism. Behind L’Art Moderne were
the leading French art dealers BernheimJeune, who had close personal contacts
with many of the the artists themselves.
46. DUGDALE,
Sir
William.
MONASTICON ANGLICANUM, [Volumen Alterum - Volumen Tertium] sive
Pandectæ coenobiorum Benedictinorum
Cluniacensium
Cisterciensium
Carthusianorum A primordiis ad eorum
usque dissolutionem Ex MSS. Codd. Ad
Monasteria olim pertinentibus; archivis
Turrium
Londinensis,
Eboracensis;
Curiarum Scaccarii, Augmentationum;
bibliothecis Bodleianâ, Coll. Reg. Coll.
Bened.
Arundellianâ,
Cottonianâ,
Seldenianâ, Hattonianâ aliisque digesti per
Rogerum Dodsworth Eborac. Gulielmum
Dugdale, Warwic. [ London: impensis
Christopheri Wilkinson, Thomæ Dring, &
Caroli Harper, in vico vulgo vocato Fleetstreet [London: Typis Aliciæ Warren -
Savoy: excudebat Tho. Newcomb, &
prostant venales Ab. Roper, Joh. Martin, &
Hen. Herringman ad signa Solis in
Fleetstreet, campanæ Cœmeterio; meterio
Paulino, & Anchoræ Bursa Nova, 1682 1661 -1673.
£2,850
SECOND EDITION AND FIRST EDITIONS.
Three volumes, folio, titles printed in red and black,
[inconstant pagination] pp. [xxxii], 1159 [1] blank;
[xxii], 72, 71-94, 87-732, 735-828, [6], 8311057, [57]; [viii], 392, [2], 119, 130-218;109
engraved plates and one engraved cut by Daniel King,
Wenceslaus Hollar, and Robert Vaughan, one folding
and many double-page , ‘Mappa Thaneti Insule’ laid
down; modern calf backed buckram spine with raised
bands, red labels lettered in gilt
‘Monasticon Anglicanum established for the
first time the importance of charters as a
primary source for the writing of medieval
history, and as a source for understanding
the legal practice of earlier centuries and
aspects of the feudal system relating to
conditions of tenure. Equally it established
for the first time since the Reformation the
importance of monasteries and the scale of
their territorial possessions.’ [ODNB]
Wing D2485, D2486 and D2486B
47. DULWICH
GALLERY.
[A
SERIES OF 50 COLOURED PLATES
FROM THE MOST CELEBARTED
PICTURES IN THAT COLLECTION],
[London] [ca. 1830].
£7,500
50 hand-coloured aquatint plates, cut round
and mounted within rules on cards mounts [420 × 540
mm.],each with numbered in pencil, unobtrusive library
blind stamp in lower corner of mounts contained in the
orig. portfolio, half purple morocco, ties broken.
FOLIO,
An outstandingly beautiful series of
coloured aquatint plates reproducing Old
Master paintings in the Dulwich Gallery.
For sheer quality only some of the plates in
Ploos van Amstel’s Collection d’Imitations
come near to rivalling them.
Tooley describes a first issue with 30 plates,
dated 1818, while Abbey had the same
number of plates, which he dated ca. 1830.
Prideaux calls for 50 plates, dated ca. 1830,
as does UCBA.
The engraver and publisher Ralph
Cockburn, a painter who exhibited portraits
and genre scenes between 1802 and 1812
but more importantly he was keeper of the
Pictures at Dulwich College Cockburn
dying in 1820 caused an hiatus in the works
publication program which accounts for the
so called first issue of 1818
Clearly only a very small number of
complete copies with such exquisite
colouring could have been produced with
Lowndes noting the work is seldom found
complete. and further that the published
price was £40 which Bohn reduced to £16
16s. This was an enormous outlay even at
the reduced price and must account for the
works rarity. The plates as listed by
Lowndes:- 1. Cascatella and Villa of
Mæssnas at Tivoli - Wilson; 2. Landscape Claude; 3. Landscape with Cows - Cuyp; 4.
Hunting Party - Wouvermans; 5. Brisk Gale
- Vandervelde; 6. Landscape - Berchem ; 7.
Landscape - N. Poussin; 8. Chaff-cutter Teniers; 9. Jacob’s Dream - Rembrandt ; 10.
Sea Port - Claude ; 11. Landscape - G.
Poussin; 12. Crossing the Bridge Pynaker;
13. Jacoh and Rachel - Murillo ; 14. Water
Mill - Hobbima ; 15. View near Utrecht Cuyp ; 16. Landscape Salvator Rosa ; 17.
Calm - W. Vandervelde; 18. Sunset - D.
Teniers ; 19. Embarkation of St. Paul Claude ; 20. Waterfall - Ruysdael ; 21.
Landscape - Salvator Rosa ; 22. Halt of
Travellers - P. Wouvermans ; 23. Fording
the Brook - N. Berchem ; 24. Landscape A. Cuyp ; 25. Landscape, Morning - J. Both;
26. Landscape Farriers shoeing Horse Wouvermans ; 27. Landscape Evening - J.
Both; 28. The Assumption - N. Poussin; 29.
Cottage and Figures - D. Teniers; 30.
Landscape - A.Vandervelde; 31. Landscape,
with Cows - A. Vandervelde; 32.
Landscape, with Cattle - A. Cuyp; 33.
Landscape, with Cattle - A. Cuyp; 34.
Figures and Animals at a Well - Le Nain ;
35. A Landscape - Teniers; 36. Landscape,
with Figures - J. Wynants ; 37. Landscape J. Wynants; 38. Landscape, with Horses Wouvermans; 39. A Sunset - J. Both; 40.
Landscape, with Windmill - Ruysdael ; 41.
A Calm- W. Vandervelde; 42. Soldiers
Gaming - Salvator Rosa; 43. Swineherd Teniers; 44. Italian Landscape - Karel du
Jardin; 45. The Flower Girl - Murillo; 46.
Saint Cecilia - Guercino ; and ‘Four
additional plates 47.Landscape, with Cattle Karel du Jardin; 48. Interior of a Riding
School - Cuyp; 49. Two Horses - Cuyp; 50.
*Flemish Peasants - Wouvermans.
Cf. Abbey, Life, 201; Lowndes col. 857;
Prideaux, p. 334; Tooley 189-90; UCBA,
Supp., p.150.
See back cover illustration.
48. [DULWICH
GALLERY].
BEAUTIES OF THE DULWICH
PICTURE GALLERY. London: G. and
W.B. Whitaker, Ave Maria Lane. 1824.£265
8vo, vi, vii [i] blank, [9]-101, [1] imprint; original
printed boards, rubbed and worn on corners and spine
defective.
The work has sometimes been ascribed to
William Hazlitt but appears to be an
original work, in as much as the
‘Advertisement’ admits that ‘It is proper to
state that a few of the following
descriptions have appeared in the New
Monthly Magazine, as part of a series of
Papers entitled “British Galleries of Art.”
As these portions are comparatively trifling,
and are scattered irregularly through the
whole, it has not been necessary to place
any mark of distinction upon them.’
This would be Peter George Patmore’s,
British Galleries of Art, published monthly
beginning from January, 1823, doubtless the
author may also have culled material from
William Hazlitt’s Dulwich Gallery that
appeared in the The London Magazine for
January 1823 but in the main the work is
original. The positive notice New Monthly
Magazine tends to confirm some
involvement by Patmore.
49. [DURHAM].
SURTEES,
Robert.
THE
HISTORY
AND
ANTIQUITIES OF THE COUNTY
PALATINE OF DURHAM; compiled
from original Records, preserved in public
Repositories and private Collections and
illusterated by Engravings … Vol. I [-IV].
London, J.B. Nichols and Son, 1816-18201823-1840.
£1,250
FIRST EDITION. 4 vols, large folio, pp. [1-5] 611 [1], [2], [i], ii-ccxxviii, ‘cxxxix-cxliii’, cxlivclxvii, [ii], iii-iv, [1]-318, [2] list of plates; [iv], 408,
[2] list of plates; [iv], 196, 195*-196*, 197-431, [1]
errata, [2] list of plates; iv, 98, 112, 117-144 ‘145-
148’, 149-170, 32, 37-112, 117-173, [1] blank,
[clxvii]- ccxxvi, with 82 engraved plates; contemporary
calf with marbled paper panels; raised bands,
ornamented in blind and gilt; expertly re-backed;
armorial bookplate of James Dearden, Rochdale
Manor.
Volume I. Introduction. Memoir of Robert
Surtees [by G. Taylor] General History.
Topographical History: Easington Ward.
Volume II. Chester Ward. Volume III.
Stockton Ward. Darlington Ward. Volume
IV. Darlington Ward. City of Durham.
50. EXPO
58.
NINETEEN
ORIGINAL
SILVER
BROMIDE
PHOTOGRAPHS documenting the British
Contribution to the Brussels Universal and
International Exhibition. Brussels, 1958.
£225
Each photo measuring 152 x 205 mm and with
typescript caption mounted on verso; in the original
yellow 4to folder with Great Britain and an
illustration of the British pavilion on the front cover; a
little dusted and worn.
Gardner who had become famous for his
designs at the 1951 Festival of Britain.
The Industry pavilion includes exhibits by
the British Atomic Energy Authority and a
large model of Dounreay power station. In
contrast the Government pavilion was
themed around tradition, a celebration of
the monarchy and the idea of a ‘New
Elizabethan Age.’ replete with Henry
Moore sculptures.
51. [EXPOSITION UNIVERSELLE].
STORCK, Adrien, and Henri
MARTIN. LYON À L’EXPOSITION
UNIVERSELLE DE 1889 … Tissus.
Lyon, A. Storck, 1889.
£300
Large 4to, pp. [iv], 120, with several illustrations in
the text and 24 plates in various techniques, one folding,
one in chromolithography with gold-printing, two being
tipped in silk textile specimens; unopened and uncut in
the original colour-printed wrappers.
These quality official press photographs
show what Britain exhibited and the
ephemeral architecture in which they were
housed. The overarching theme was of
scientific progress and was housed naturally
enough in the Atomium pavilion.
The interior and exterior views show both
the Government Pavilion, designed by
Howard Lobb and John Ratcliff, and the
British Industry Pavilion, the work of the
design team Felix J. Samuely & Partners.
The overall responsibility lay with James
The volume documents the history and
achievements of the Lyonnaise silk
industries presented at the world exhibition
in Paris. The text - La fabrique Lyonnaise de
soieries et l’industrie de la soie en France 17891889 - was written by Marius Morand and
illustrated with plates depicting historical
and contemporary textiles. The following
year the textile museum of Lyon was
founded, based on the the research carried
out for this volume.
52. FITZGERALD,
Edward.
RUBAIYAT OF OMAR KHAYYAM
Illustrated by Frank Brangwyn, R.A.
London & Edinburgh: T.N. Foulis, 1919.
£100
LIMITED EDITION OF 300 COPIES. Small folio,
pp. [16], lxv [6]; 15 tipped-in colour plates, each with
an accoumaning leaf of text; original brown stained
vellum gilt top edge gilt.
Published for the year of the centenary of
Fitzgerald’s birth.
53. [FLEET PRISON]. THESE
ARE TO CERTIFIE, That (Pursuant to the
Late Act of Parliament) the Court of
Common Pleas has granted to William
Genow Esqr. a Day Rule to go Abroad to
Transact his Affairs this Day Witness my
Hand this 28th April 1737.
£500
Engraved certificate [92 × 195 mm.] numbered ‘24
and signed in manuscript signed by J. Fothergill and J.
Potton.
We have been unable to trace William
Gonow or why he was placed in the
debtors’ prison.
When a debtor was brought into the Fleet,
they had to pay a commitment fee and
others similar payments to the warden,
garnish money to other prisoners, before
they were assigned the room in the Master’s
side. If they could not pay, they were taken
into the Common side. In principle,
prisoners shared the rooms (rule of
chummage), allowed to play tennis,
ninepins, and wrestling in the prison yard,
billiards and cards inside the rooms, and
sometimes to debate, read books, but more
often than not just indulged in drinking.
Their lives were not strictly confined within
the prison wall, in addition to those allowed
to live ‘in liberty’ of the rules, some were
given ‘Day-Rule’ to meet their lawyers
during the term times.
The warders abused the position, the most
notorious being Thomas Bambridge who
was sentenced to Newgate Prison for his
sadistic abuses. The Day-Rule was abused
with debtors having to pay a charge of 5
shillings to enquire into the sufficiency of
security, with a further 5 shillings for the
keepers attendance.
By 1737 some of these abuses had been
mollified but probably not totally abolished
as John Howard in his famous The State of
the Prisons in England and Wales of 1777
tabulated the indifference and corruption
within the prison system of the eighteenth
century
Early Foulis Press in Handsome Red
Morocco
54. [FOULIS PRESS] TERENTIUS.
COMOEDIAE SEX: EX EDITIONE
WESTERHOVIANA. Glasguae: cura &
impensis Roberti Foulis, Typis Roberti Urie
& Soc. …, 1742.
£480
FIRST GLASGOW EDITION? 8vo, pp. 280;
apart from some very minor light foxing, a clean copy
throughout; contemporary red morocco, covers with triple
gilt line-borders, flat spine gilt, gilt inner borders; a
handsome copy.
A very early Foulis Press imprint,
attractively bound in contemporary red
morocco binding. The work was also
printed in 1742 in a completely different
setting by Robert Urie for himself,
Hamilton and Balfour, and Millar.
ESTC N67923 and T216969; Gaskell 13;
OCLC: 2685107.
55. [FOUNTAINE COLLECTION,
NARFORD HALL, NORFOLK SALE CATALOGUE]. CATALOGUE
OF THE CELEBRATED FOUNTAINE
COLLECTION OF MAJOLICA, HENRI
II. WARE, PALISSY WARE, NEVERS
WARE, LIMOGES ENAMELS, Carvings
in Ivory, Hone Stone and Rock Crystal,
Greek and Roman Coins, Ancient Armour,
&c., &c., Removed from Narford Hall,
Norfolk: Which will be Sold by Auction, by
Messers. Christie, Manson & Woods, …
On Monday, June 16, 1884. [London:
Clowes & Sons], 1884.
£1,250
FIRST EDITION. 8vo, pp. 66, [advertisements],
23 original photos mounted onto card, tipped onto cloth
guards; mount of the first photo (bound as frontispiece)
with tear along gutter; contemporary half black pebble
grained morocco; rebacked preserving original spine,
some prices realized added in manuscript.
Chocolate House, where he stayed after
giving up his house in St. James’s. The
present sale catalogue consists of this
collection augmented by a number of
important pieces added by his heirs,
principally Mr. Andrew Fountaine, who
died in 1873.
56. [FURNITURE]. M. HARRIS
AND SONS A CATALOGUE AND
INDEX OF OLD FURNITURE AND
WORKS OF DECORATIVE ART from
late Sixteenth Century to early Nineteenth
Century Part I [-III] London: M. Harris and
Sons 44/52 New Oxford Street [1931]. £75
4to, three vols. continuously paginated pp. xi, [i] blank,
152; [ii] 153-314; [ii] 315-497 [1] blank; coloured
frontispiece in each vol., 4 coloured plates, one folding
and numerous half-tone plates; original brown cloth
backed decorated gilt boards.
A finely produced catalogue by one of the
leading British antique dealers of the
twentieth century.
The work which was sold for £1 6s, was
well reviewed in The Burlington Magazine
‘Emphatically a catalogue which, so far
from going the way of most catalogues,
should occupy a permanent place upon the
shelves dedicated to books of art reference.’
Not only is the work very well illustrated
but also contains a valuable index of former
owners.
Early aeronautical game
Sir Andrew Fountaine travelled widely on
the Continent in the early years of the
eighteenth century developing his taste and
appreciation of scarce and unusual pieces.
He became a confident of Cosimo III,
Grand Duke of Tuscany and in 1727
succeeded Sir Isaac Newton as Master of
the Mint. His medal collection was disposed
of to the Earl of Pembroke, the Duke of
Devonshire and the Venetian Ambassador
Cornaro. His collection of Majolica
remained mostly intact although a portion
of it was destroyed by a fire at White’s
57. [GAME] AEROPLANE RACE.
British Manufacture n.d. [circa 1908]. £75
Two-fold chromolithograph playing board [435 × 290
mm]; some wear to folds.
A very early aeronautical contest game
graphically illustrating the whole gamut of
disasters, natural or otherwise, that could
overtake the first airmen. Here a 50 point
course takes the budding flyers on three
routes from London to Edinburgh.
An image of a Wright Model A in the top
right hand corner of the game dates it to the
earliest period of manned flight.
Very early aeronautical race game
58. [GAME].
THE
AERIAL
CONTEST. The up-to-date Game [title from
lid]. Manufactured at the Spear Works in
Bavaria, [c. 1910].
£650
Two-fold chromolithographic playing board [585 ×
293 mm.], 6 base metal aeroplane counters, 5 (of six,
number two missing) chromolithographic number cards,
one bone dice; all contained within the original box ,
large chromolithograph pictorial label, printed rules and
advertisements inside lid; a little bumped but overal in
very good condition.
A very early aeronautical contest game
graphically illustrating the whole gamut of
disasters, natural or otherwise, that could
overtake the first airmen. Here an 85 point
course takes the budding flyer from the
launch point at a pier over a castle complex,
out to sea and then in to land atop a racy
cliff. The gaming board itself is vibrantly
illustrated with these scenes and populated
with both mono and bi-planes as well as a
Zeppelin
type
airship
and
two
dreadnoughts at sea. The planes themselves
appear to be of the Wright type as well as
German and French including those of
Henry Farman, Sommer, Blériot, Hubert
Latham (Antoinatte) and Voisin.
the designer of Latham’s Antoinette IV
plane, watched his man make the attempted
flight; the ditched Antoinette, the small
Bleriot Xl aircraft; the cheering crowds. A
scarce survival in fine condition with
virually no marking to the board and the
delicate metal plane playing counters still
intact.
Founded in 1879 in Fürth near Nürnberg,
still the German capital of toy
manufacturing, by Jacob Wolf Spier (born
1832), who during a sojourn in America
changed the spelling of his name, this
successful company produced largely for
the English market. Forced to leave by the
Nazis because of their Jewish origin
production was moved to Enfield, just
North of London.
59. [GAME OF THE GOOSE].
RÈGLE DU JEU DE L’OIE [beginning of
text in the centre]. [France, c. 1858].
£45
Handcoloured lithographic playing board [352 x 405
mm]; lower and left margins a bit frayed, evenly a little
browned.
A French version of the old classic board
game with 62 numbered fields. The game of
the goose is one of the oldest European
board games, which is mentioned first at
the court of Francesco dei Medici, Grand
Duke of Tuscany (1574-1587). He sent a
copy to King Philip II of Spain where it was
much appreciated and played. However,
Sappa gives the game more antiquity,
tracing it back to Roman times, and linking
it to the legend of the geese that rescued the
Capitol from the Gauls.
60. [GEOGRAPHICAL GAME].
In October 1908, the London Daily Mail
had offered a prize of £1,000 to the first
aviator to cross the Channel in either
direction. Certainly all the elements of that
classic contest are present here, as they
were in 1909: the stormy weather that
assailed Latham’s attempt; the French
destroyer from which Leon Levavasseur,
TO THE NEAR & FAR EAST BY P&O
& B.I. The Eastern Highway [title on lid].
Harborne, Manufactured for the P&O and
British India Steam Navigation Companies
by the Chad Valley Co. Ltd. [c. 1930]. £650
Offset colour-printed playing board (folded vertically in
the middle; measuring 387 x 538 mm) with five
painted base metal cast model ship counters, together
with bone dice and wooden tumbler painted in the
British colours; well-preserved in the original cardboard
box (320 x 420 x 32 mm) with colour-printed label
on front cover, printed rules inside lid; corners a little
worn.
SOLE EDITION. Small 8vo, pp. 24, [27]-30
(apparently no text missing), with portrait, steelengraved by Woolnoth after Wageman; portrait spotted,
cropped and with minor damage to outer margins, title a
little spotted; contemporary half-calf over marbled
boards; extremities a little worn, re-cased.
Unrecorded Obituary
Probably suppressed because of the
scandalous revelations of the late King’s
immoral conduct of life, love and
marriage[s]. Passages such as ‘The Prince
was not yet twenty-four. In three years he
had been introduced to circles as dissipated
as they were gay, and as immoral as they
were dissipated’ (p. 7) or the Prince’s
friendship with ‘Sheridan, the wit, the poet,
the dramatist, and the orator; but the
drunkard, the gamester, and the rake’ (ibid.)
were certainly considered not to be
furthering the acceptance of the unpopular
monarchy. This book speaks frankly of
sums of money the Prince and later King
wasted, his love affairs, debts and secret
and illegal marriage to Maria Fitzherbert.
George IV’s extravagant lifestyle synonymous with Regency follies - earned
him the contempt of the people. This frank
obituary was suppressed by the authorities
and accounts for this book being
unrecorded. We were not able to trace the
engraving, which is dated June 28, 1830,
just two days after the King’s death, in the
National Portrait Gallery.
61. [GEORGE IV]. THE LIFE,
62. GIBBS, James. A BOOK OF
REIGN, DEATH, AND FUNERAL, OF
HIS MOST GRACIOUS MAJESTY,
KING GEO. IV. Detailing, from Authentic
Sources, His Birth, Education, early Habits,
Pursuits, and Attachments; the Steps taken
by Geo. III. to induce him to marry; his
Union with Her Late Majesty, and the
Causes which ended in their unhappy
Separation. With the Events which
transpired before and since his Succession
to the Throne. And the Particulars of his
last Illness, Death, and Funeral.
Embellished with a finely-engraven and
striking Likeness. London: Dean and
Munday, [1830].
£850
ARCHITECTURE, Containing Designs of
Buildings and Ornaments … The Second
Edition. London, W. Innys, R. Manby, J.
and P. Knapton and C. Hitch, 1739.£2,000
The game for five participants leads the
players from London to all the major ports
of the Empire and beyond, These include
Yokohama, the Arabic Gulf, the East Coast
of Africa, and Australia. It is probable that
this rare board game was sold or given away
on board of the ships of the two shipping
lines.
The lid illustrates the S.S. Talambaon and
another liner towering over traditional small
Chinese boats outside Hong Kong harbour.
S.S. Talambaon was built in 1924 an plied
the route to the Far East refitted in 1939 as
troop transporter she was sunk in 1943.
Large folio, pp. [4], xxv, [1] blank; with 150
engraved plates ( including 4 folding or double page;
plate 1 shaved at head and foot and plate 7 with old
tear at with some loss, repaired. modern calf backed
cloth, spine with label lettered in gilt.
First published in 1728 for subscribers, this
second edition - for the book trade remained unchanged, apart from the
omission of the list of subscribers.
‘Gibbs was the first British architect to
publish a book entirely devoted to his own
designs … The influence of The Book of
Architecture was enormous and long lasting,
extending beyond the remotest parts of this
country to the West Indies and America,
and later to India and South Africa … It
was a source of inspiration for the
President’s House (later the White House)
in Washington …’ (Harris, p. 210). Gibbs,
born in the far north of Scotland in 1682
first built for the local nobility, before he
was appointed one of the surveyors to the
Commissioners for Building Fifty New
Churches in 1713, and his official London
career was initiated with the design and
construction of St. Mary-le Strand. Gibbs
was not a Palladian, his Baroque designs
were much discussed and vehemently
opposed by his fellow Scotsman Colen
Campbell, who could not avoid to have
several of Gibbs’ works included in the
Vitruvius Britannicus; however, without
acknowledgement. The book opens with
illustrations of ‘one of the most original and
influential achievements of English
Protestant church architecture. The
publication of the Saint Martin designs in
Gibb’s A Book of Architecture (1728) assured
its imitation throughout the Englishspeaking world, particularly in America’
(Macmillan Encyclopedia of Architecture).
Berlin Katalog 2270; Fowler, 138; Colvin, p.
229; Park 17; Harris 258.
63. GILBERT,
Christopher.
FURNITURE AT TEMPLE NEWSAM
AND LOTHERTON HALL. National ArtCollections Fund and Leeds Art Collections
Fund, 1978 & 1998.
£175
3 vols. folio; profusely illustrated; original cloth, dust
jackets.
64. [GLAZED BRICKS]. A SMALL
BRICK BUT IT IS A PRODUCT OF
THE STOURBRIDGE GLAZED BRICK
AND FIRECLAY CO. LTD. Blowers
Green Dudley Birmingham; Drew &
Hopwood Ltd., [1935].
£95
4to, pp [2], 15; half tone and one colour illustration;
original decorated wrappers, cord ties.
A well produced catalogue illustrating the
wares produced for both domestic and
public commissions. To show the strength
of the product the catalogue includes an
artist impression of the ineffectual strength
of an elephant to push down a brick wall.
‘Stourbridge Glazed Brick and Fireclay Co.
Ltd (later known as the SGB Co. Ltd) in the
Blower’s Green area of Dudley was the
largest glazed refractory manufacturers in
the Black Country, with offices in London.
Also known as the ‘German’ company
(because its kilns were of German design), it
was one of three brickyards in the Black
Country specialising in glazing fireclay… .
The Blower’s Green site came about when
it was purchased in 1892 by the Clark
family, which then became their
headquarters and main centre of production
(they also later purchased another brick
yard in Moor Lane, Brierley Hill which was
one of the last to be built in the Black
Country). By 1903, there were 40 kilns in
operation making them the largest sole
operator in the Black Country employing, at
their peak, 350 people. They also owned six
clay and coal pits and had their own rail
connection. By 1966 they had been taken
over by a company called Five Oaks. By
1968 they had gone into voluntary
liquidation and closed after 150 years of
producing fireclay glazed products.’
(http://blackcountryhistory.org)
65. [GREAT
EXHIBITION].
LANE, Charles. LANE’S TELESCOPIC
VIEW OF THE INTERIOR OF THE
EXHIBITION. London, Published by C.
Lane, June 3rd, 1851.
£1,250
Eight hand-coloured lithographic panels and a backscene panel, front panel with hand-coloured title vignette
with peep-hole, without the mica lens which is usually
missing, measuring 175 × 160 mm; extending with
paper bellows to c. 900mm; front panel a bit soiled.
Looking down the central isle with crowds
milling about, the fountains (heightened
with varnish) and statues form a central
spectacle. Designed by T. J. Rawlins and
lithographically printed at C. Moody’s
Establishment, this ‘Telescopic View’ forms
the companion to Lane’s other Exhibition
peepshow by the same artist which
recorded the opening ceremony with Her
Majesty the Queen present.
66. GREENWOOD, Christopher.
MAP
OF
THE
COUNTY
OF
CUMBERLAND, from an actual Survey
made in the Years 1821 & 1822, By C. & I.
Greenwood, Most Respectfully Dedicated
to the Nobility, Clergy, Gentry of the
County By the Proprietors. London:
Published by the Proprietors, Geo. Pringle,
70 Queen Street, Cheapside, April 10th,
1823.
£700
Large engraved map on six sheets [1,830 × 1,540
mm.]; dissected and mounted on linen; housed in
original maroon morocco pull off slipcase, lettered in gilt
to spine.
The maps by Christopher and John
Greenwood set new standards for largescale surveys. Although they were
unsuccessful in their stated aim to map all
the counties of England and Wales it is
probably no coincidence that of the ones
they missed, Buckinghamshire, Cambridgeshire,
Herefordshire,
Hertfordshire,
Norfolk and Oxfordshire, all except
Cambridgeshire were mapped by Andrew
Bryant in a similar style and at the same
period. From a technical point of view the
Greenwoods’ productions exceeded the
high standards set in the previous century
though without the decoration and
charming title-pieces that typified large
scale maps of that period
The Greenwoods started in 1817 with
Lancashire and Yorkshire and by 1831 they
had covered 34 counties. Their maps were
masterpieces of surveying and engraving
techniques, and in view of the speed at
which they were completed, their accuracy
is remarkable. They mark the boundaries of
the counties, hundreds and parishes,
churches and chapels, castles and quarries,
farmhouses and gentlemen’s seats, heaths
and common land, woods, parliamentary
representatives and distances between
towns. The price of 3 guineas each
compares with the the first edition
Ordnance Survey sheets of 7s 6d, though
the latter did not relate to complete
counties.
67. GREENWOOD, Christopher
MAP OF THE COUNTY OF DEVON,
from an Actual Survey made in the Years
1825 & 1826. By C. & J. Greenwood. Most
respectfully Dedicated to the Nobility,
Clergy & Gentry of the County. London:
By The Proprietors Greenwood, Pringle &
Co., Regent Street, Pall Mall, Febry, 20th,
1827.
£1,500
Large engraved map, fine original full-wash handcolour, [2,020 ×1,950mm.] dissected and mounted on
linen, in three sections, edged in green silk, view of
Exeter Cathedral lower right, housed within, tree calf
pull-off slipcase, red morocco label to spine, lettered in
gilt, rubbed
68. GREENWOOD, Christopher
MAP
OF
THE
COUNTY
OF
GLOUCESTER, from an actual Survey
made in 1823. By C. & J. Greenwood, Most
Respectfully Dedicated to the Nobility,
Clergy, & Gentry of the County, By the
Proprietors. London: 13, Regent Street, Pall
Mall, November 22nd, 1823.
£1,400
70. GREENWOOD, Christopher.
MAP
OF
THE
COUNTY
OF
WESTMORLAND, from an Actual Survey
made in the Years 1822 & 1823. By C. & J.
Greenwood. Most Respectfully Dedicated
To the Nobility, Clergy and Gentry, of the
County by the Proprietors. London:
Published by George Pringle Junior, No.70
Queen Street, Cheapside, January 1st, 1824.
£1,400
Large engraved map, [1,000 × 1,200mm.] dissected
and mounted on linen, original outline hand-colour, view
of Appleby lower right, evenly age toned, edged in green
silk; housed in original tree calf pull-off slipcase, red
morocco label lettered in gilt to spine, rubbed and
scuffed.
71. GREENWOOD, Christopher
Large engraved map [1,500 × 1,270mm.], dissected
and mounted on linen, in three sections, fine original
full-wash colour, edged in green silk; housed in original
tree calf pull-off slipcase.
69. GREENWOOD, Christopher
MAP
OF
THE
COUNTY
OF
NOTTINGHAM, From an Actual Survey
Made in the Years 1824 & 1825, By C. & J.
Greenwood, Most Respectfully Dedicated
to the Nobility, Clergy & Gentry of the
County. London: Published by the
Proprietors, Greenwood, Pringle & Co.,
Regent Street, Pall Mall, Jan 9th, 1826.£400
Large engraved map [1,420 ×1,080mm.] dissected
and mounted on linen, evenly toned; housed within red
cloth slipcase, with publisher’s label, rubbed.
MAP OF THE COUNTY OF YORK,
Made on the Basis of Triangles in the
County, determined by Lieu. Col. Wm.
Mudge, Royal Arty. F.R.S. and Captn. Tho.
Colby, Royal Engrs. in the Trigonometrical
Survey of England, by Order of the Board
of Ordnance, and Surveyed in the Years
1815,1816, & 1817, By C. Greenwood,
Wakefield. Published by the Proprietors,
Robson, Son & Holdsworth Leeds, John
Hurst & C. Greenwood, Wakefield, June
4th, 1817.
£2,000
Large engraved map on eight sheets[1,830 ×
2,170mm.], dissected and mounted on linen, in four
sections; housed within two calf pull-off slipcases, richly
gilt.
72. GREENWOOD, Christopher
MAP OF THE COUNTY PALATINE OF
DURHAM, From Actual Survey made in
the Years 1811 & 1819. By C. Greenwood.
Dedicated to the Nobility, Clergy & Gentry
of the County. London: By The Proprietors
Greenwood, G. Pringle and C. Greenwood,
50 Leicester Square, March, 1st, 1820. £450
Large engraved map, [1,040 × 1,260mm.] dissected
and mounted on linen, view of Durham cathedral upper
left housed within quarter black calf over yellow cloth
pull-off slipcase, defective.
73. GRIGNION,
Thomas.
MR.
THOMAS
GRIGNION
WATCH
MAKER GREAT RUSSEL STREET
COVENT GARDEN. The Church
Warden’s Account of the above Parish
from Easter 1769 to Easter 1770. London,
1769-70.
£4,750
4to, manuscript in ink, pp. [iii], 62, [49], ruled in red
ink, numerous receipts and documents in print and
manuscript mounted or tipped in; occasional spotting,
the initial two leaves enforced with transparent celluloid
tape at an earlier date; slightly later half-calf over
marbled boards, spine lettered in gilt; covers detached
and worn.
This is the accounts book for the parish of
Saint Paul’s, Covent Garden, for one year,
opening with detailed chronological lists of
money received and spent by the parish. In
the latter part of the volume are the receipts
and paper slips stating the collections of
money and receipts for the expenditure
tipped in. After the title is the folded
calligraphic
document
stating
the
appointment of Grignion, signed by all
church wardens. Thomas Grignion (d.
1784) of Great Russell Street, Covent
Garden was an acclaimed watchmaker of
Huguenot descent and the nephew of the
engraver Charles Grignion (d. 1810).
The busy inner city ward, populated by
artisans, craftsmen and paupers had to
organise funerals, maintain the fire engines,
clocks, pay the clergy and for laundry
services, etc. Among the tipped-in material
are printed land tax receipts, a statement
that Daniel Green ‘turncock to the New
River Company did turn on the Water and
Draw the first plug in order to Extinguish a
fire that broke oute in the Chimney of Mr.
Borlase’s in Southampton Street.’ There
must have been a serious dispute in 1769
about how the officials had dealt with this
house fire. The maintenance of fire engines
seems to have been one of the most
important tasks in the parish, as is
documented in many entries. Money
distributed to the poor is meticulously
listed, with names of the recipients.
The last item, mounted on the last leaf, is a
printed electioneering card for the election
of a new church organist. This card
encourages the church wardens and
inhabitants, addressed as ‘Ladies and
Gentlemen’ of the parish to attend the
election meeting and vote for Catherine
Frances Linton. The card is dated Drury
Lane, December 7, 1789. There were
indeed a few female church organists
employed in late 18th-century London;
however, the cataloguer was not aware that
they were elected, apparently by men and
women. An example of early local
democracy with an extended suffrage.
‘The church is probably best known in the
anecdote of the Earl of Bedford and Inigo
Jones, published by Horace Walpole in
1765 as told to him by Arthur Onslow
(1691–1768), Speaker of the House of
Commons. ‘When the Earl of Bedford sent
for Inigo, he told him he wanted a chapel
for the parishioners of Covent-garden, but
added, he wou’d not go to any considerable
expence; in short, said he, I wou’d not have
it much better than a barn.—well! then,
replied Jones, you shall have the
handsomest barn in England.’ The possible
relevance of the story to Jones’s search for
an elemental classicism has been explained
by Sir John Summerson. But the evidential
value of the anecdote may be little more
than that of an ex post facto joke, and the
relationship
between
the
church
consecrated in 1638 and the church first
intended is more difficult to determine than
the downright attitudes of the anecdote
suggest.’ (Survey of London Vol. 36 ‘Covent
Garden; see Horace Walpole, Anecdotes of
Painting in England, second edition vol. II,
1765, p. 175 n.).
74. [HAMILTON, Sir William]
and James KIRK. OUTLINES FROM
THE FIGURES AND COMPOSITIONS
UPON THE GREEK, ROMAN, AND
ETRUSCAN VASES OF THE LATE SIR
WILLIAM HAMILTON with engraved
Borders drawn and Engraved by the late
Mr. Kirk. London, Published by William
Miller, Old Bond-Street; Printed by W.
Bulmer and Co. Cleveland-Row, St James’s,
MDCCCIV [1804].
£5,000
LARGE PAPER COPY OF THE FIRST
EDITION. 4to, pp. [iv] xvii [i], 47 [1] blank, 124
plates, being 62 engraved plates each in two states
coloured in red and black and uncoloured; contemporary
red morocco gilt with crowned cipher of Eugene de
Beauharnais, spine in compartments separated by
double raised bands, two lettered in gilt possibly by
Maurais or Lodigian who provided many bindings for
Beauharnais; watered silk endpapers.
This work was probably intended as an
artist’s pattern-book as towards the end of
the preface the author declares that ‘the
chief purport of this work was to form an
elegant and chaste selection of antique
designs, by which to spread the knowledge
of true and legitimate taste, and also to give
such slight explanations of them as the
subjects afforded.
The illustrations derive from both of
Hamilton’s collections, with text from
d’Hancarville. Kirk, a painter and
miniaturist who studied under Cosway and
exhibited at the Royal Academy from 1785
to 1796, drew from d’Hancarville and
Tischbein’s works on the Hamilton
collection for plates to this extremely
attractive work and from the former text;
the ornamental borders to the plates were
designed by Kirk himself.
This copy was probably sold included in the
Leuchtenberg-Beauharnais Library auction
in 1935; later bookplate of H.H. Haut.
Blackmer 915.
75. [HANNETT,
John].
AN
INQUIRY INTO THE NATURE AND
FORM OF THE BOOKS OF THE
ANCIENTS; with a History of the Art of
Bookbinding, from the Times of the
Greeks and Romans to the Present Day;
Interspersed
with
Bibliographical
References to Men and Books of All Ages
and Countries. By John Andrews Arnett.
London, Richard Groombridge, 1837.£750
FIRST EDITION. 12mo, iv, 212 pp., frontis. 13
plates (one of the plates reproduces a binding design by
embossing), woodcuts in the text; contemporary cloth.
First edition of a work which formed the
basis of A History of the Art of Binding, edited
by W.S. Brassington, London, 1894, which
contains a memoir of John Hannett. First
Editions of Hannett’s books were published
under the pseudonym John Andrews
Arnett.
Pollard & Potter, 100.
76. HARRADEN,
Richard.
CANTABRIGIA DEPICTA. A series of
Engravings Representing The most
Picturesque and Interesting Edifices in the
University of Cambridge … Cambridge,
Published by Harraden & Son, Cambridge,
R. Cribb and Son, 288 High Holborn, T.
Cadell and W. Davies, Strand, London,
1811.
£450
ONE OF 100 PROOF COPIES ON LARGE
PAPER. 4to, engraved title-page, pp. [vi] subscribers
and contents, 226, [2] list of engravings; engraved
frontispiece-portrait of the Duke of Gloucester, engraved
map and 35 engraved plates; contemporary Russia, the
spine in compartments and lettered in gilt, gilt edges;
some abrasions to the head of spine and slight cracking
to lower joint.
A fine copy of Harraden’s work on
Cambridge with the armorial bookplate of
the original subscriber Sir William Brown
ffolkes.
the words ‘Views of Cambridge Drawn by
Rd Harraden’ in a ‘stopped-out’ script that
was intended to evoke a monumental
inscription. Indeed, after he opened this
print shop in Cambridge, the recurrent
subject of Harraden’s work was Cambridge
and the University.
Published in the name of Harraden & Son
of Cambridge, Cantabrigia Depicta was
evidently a success. This can be assumed as
his son Richard Bankes Harraden continued
to exploit the market for views of
Cambridge in his own Illustrations of the
University of Cambridge (1830). Also, as
twenty-four of the fifty-eight plates in this
series of ‘engravings of architectural and
picturesque Views’ had already been
published in Cantabrigia Depicta, the younger
Harraden was evidently sensitive to the
continuing taste for them.
ffolkes was admitted at Jesus College,
Cambridge on 6 April 1805 and awarded
B.A. in 1810 and M.A. in 1813.
Upcott 41.
77. [HARRINGTON, Elizabeth
Still Stanhope, Countess of]. POEMS
BY E. S. H. London, Henry Sotheran, 1874.
£100
Small square 8vo, pp. [2], viii, 67; original blue cloth,
covers ruled with double black fillet, spine lettered in
gilt.
Harraden,
Richard
(1756-1838),
topographical draughtsman and printmaker,
was born in London, the son of a physician
who came from Flintshire. In London
Harraden practiced from 16 Little Newport
Street. He specialized in topographical
draughtsmanship and executed most of his
designs in etching or aquatint. This was the
case with the series of six large views of
colleges which he published from his new
premises in Great St Mary’s Lane,
Cambridge, in 1797. Aquatinted by a variety
of engravers, including Harraden himself,
these folio plates were designated a
coherent series by their ornamental titlepage with its heavy aquatint border bearing
Elizabeth Still, née Pearsall, (d. 1912)
married Charles William Stanhope, seventh
earl of Harrington, in 1839. Her father, the
noted musical composer Robert Lucas
Pearsall, spent much time in Munich on
musical matters before finally settling on
Lake Constance in 1842, where he bought
and renovated the beautiful castle of
Wartensee. Hence, the author’s Poems
display a distinctly Bavarian flavour, many
of the pieces being free translations of
German originals.
An unopened, virtually pristine copy.
Printed by Whittingham & Wilkins at the
Chiswick Press, the book contains many
charming initials, head- and tail pieces
designed by Charlotte Whittingham
Stevens, and almost certainly engraved by
Mary Byfield (the Sotheran’s archive, which
would settle the matter, was bombed out in
the war).
OCLC locates four copies only, at
University of Illinois, Baylor University,
University of Vermont and at Cambridge.
78. HAYDEN, Arthur. SPODE &
HIS SUCCESSORS. A History of the
Pottery Stoke-on-Trent, 1765-65. London,
Cassell, [1925].
£95
were produced in 1730–31. If we include
these three, the number of operatic texts
that Haym might have adapted in London
is 35, but only 19 of them are certainly by
him. His work with belles-lettres extended,
however, far beyond opera librettos. In
other publications he drew and described
hundreds of ancient medals belonging to 18
British collectors, edited three Italian
literary works and compiled a valuable
bibliography of Italian books. All of these
projects were partly based on his own
magnificent collections of books, prints,
coins and paintings’ (Grove).
8vo, pp. xxiii [1] blank, 204; 24 tipped-in colour
plates, 64 half-tone illustrations; original pale blue
decorated cloth, spine lettered in gilt, original dustjacket, slightly toned on spine with some minor chips to
head; with a presentation label tipped in from the one of
the company directors.
The first authoritative history of this
famous pottery.
79. [HAYM, Nicola Francesco].
BIBLIOTECA ITALIANA O SIA
NOTIZIA DE LIBRI RARI nella Lingua
Italiana. Venezia, Presso Angiolo Geremia,
1728.
£345
4to, pp. [xxiv], 264; first and last leaves a little
spotted, last with wormtrack to lower margin, a few
leaves with pale marginal waterstain; 19th-century
polished calf by Carrs of Glasgow, covers ruled in blind,
gilt-stamped centrepiece depicting the Hunterian
Museum; spine rubbed, hinges cracked.
First edition to be printed in Italy (allover
the second enlarged edition), after a smaller
format edition published in London, 1726
(Notizia de Libri rari nella lingua Italiana, 8vo).
This is one of the first national
bibligraphies, compiled by the Italian opera
librettist and composer who collaborated
with Georg Friedrich Händel in London,
Nicola Francesco Haym (1678-1729).
‘When he died, Haym was helping Handel
and Heidegger plan a new academy of
music and it is possible that he had already
done some editing of three texts
(Partenope, Ormisda and Venceslao) that
Haym’s work was republished several times
with additional entries and grew into the
definitive bibliography of books in Italian
and a bibliographical guide for collectors
and librarians. It is devided into history,
poetry, prose, arts, and sciences, with an
appendix of works on rhetoric. This
appendix is based on Fontanini’s
bibliography-cum-collection catalogue of
the famous Imperiali collection, which had
appeared in 1711.
80. [HOLLAND]. DAVENPORT
W. A WEEK IN HOLLAND. Vol I [-II]
Some Photographs by W. Davenport.
Easter 1905 [London, Sinclair, Haymarket]
[1905].
£250
2 vols., oblong 8vo, two calligraphic titles and 90
Platinum prints measuring from 48 × 72 mm. to 75
× 104 mm; some occasional foxing; contemporary
crushed full red morocco [125 × 175 mm.], by Sinclair
of Haymarket, London, ruled and lettered in gilt, inner
dentelles ornamented in gilt, all edges gilt, mottled red
endpapers.
Davenport travelled to Holland, first
visiting Delft then to Leiden, Haarlem,
Hoorn, Enkhuisen, Volendam, Edam,
Broek, Monikendam, Marken and ending
the tour by crossing the Zuiderzee to
Amsterdam.
The
photographs
are
principally of vernacular architecture, street
scenes and and traditional costume.
81. HÖPFFNER, N.C. and P. H.
BAAGÖE
[engraver].
ZWÖLF
ALPHABETEN zum Gebrauch für
Schulen und Mahler. Copenhagen: H.J.
Bing, [1825].
£125
Oblong 4to, engraved title and seven engraved plates;
title a little spotted, final plate with loss to outer margin;
original green backstrip.
We have been able to locate only one copy
of this charming guide to penmanship for
Schools at the Danish Royal Library.
82. HOUSE, Gordon. LONDON
BRIDGES. London, Kelpra Studio, 1985.
£1,250
ARTIST’S PROOFS - NUMBER III OF V
COPIES. Eight coloured etchings from shaped copper
plates (195mm radius x 300mm) length on RWS
paper [400 x 527mm]; contained within blocked
portfolio with etched title page.
83. HUTH,
The photographs were processed by James
A. Sinclair & Co., Ltd, founded in 1903 at
34 Haymarket in London who specialised in
all the latest developments of photography
including Lumiere Autocromes, cameras,
fast speed shutters, together with a large
department for Developing, Printing and
Enlargement. The Platinum Process used in
these albums was at the height of popularity
between 1910 and 1914. The process gave
very good permanent prints with soft sheen
that was ideal for small formats. Sinclair
appears to have been active in producing
such albums as these for their well heeled
clients, outsourcing the binding work to
Zaehnsdorf binding works not far away at
Cambridge Circus. The Platinum process
was effectively killed by the enormous
increase in the price of this precious metal
later in the twentieth century.
Together with a smaller album of similar
miscellaneous photographs by Davenport
of France and Britain.
Hans
ROENTGEN
FURNITURE. Abraham and David
Roentgen: European Cabinet Makers.
London and New York, Sotheby Parke
Bernet, 1974.
£125
4tp. pp. viii, 108, highly illustrated with numerous
plates; original publisher’s cloth; dust-wrappers; with a
few marginal tears to wrappers.
84. HYDE, Ralph. THE REGENTS
PARK
COLOSSEUM.
London,
Ackermann, 3 Old Bond Street, 1982. £450
LIMITED EDITION, NO. 51 OF 200. Large 4to,
pp. 73 [1] colophon., 6 plates; full green morocco gilt; in
the original cloth box.
A lavish work by the most author-ative
historian on the subject.
85. INCE, William, and John
MAYHEW.
THE
UNIVERSAL
SYSTEM
OF
HOUSHOLD
FURNITURE. Consisting of above 300
Designs in the most elegant taste, both
useful & Ornamental. London, Sold by
Robt. Sayer map & printseller near Serjeants
Inn, Fleet Street, [1762].
£13,500
FIRST EDITION, FIRST ISSUE. Folio, pp.
iii-iv, 11, engraved title, with an additional engraved
title page in French, printed in sepia, and an engraved
dedication leaf, 101 engraved plates on 95 leaves (nos.
1-3 and 66 in sepia; the final 12 each two on one leaf);
the final 12 leaves with wormholes in upper margins not
affecting engravings, text leaves marginally a little
spotted; overall rather clean and fresh in 20th-century
full panelled calf with raised bands and contrasting
lettering-pieces.
advertised in July 1759 and the sheets being
issued at one shilling each over the next
twelve months. A complete volume was
available in 1762. The work was intended to
have one hundred and sixty plates [in fact it
had one hundred and one] comprising
about three hundred designs, intended “to
render the Work of the greatest Utility, as
well as in assisting the Fancy of the Nobility
and Gentry, as in improving the young
Artist in his Ideas of Designing …”. In their
introduction they acknowledged the
example set by Chippendale’s Director, and
although their work was modelled on that
format and content, it was no slavish copy’
(White, Pictorial Dictionary of British 18th
Century Furniture Design, pp. 48-9). - The
variant with the bookseller’s name A.
Weoblys in the title is generally considered
to be the second issue.
OCLC locates six copies in America, in the
Ocean State Libraries, at Virginia Historical
Society, Redwood Library, Winterthur
Museum, Art Institute of Chicago and in
the Getty.
86. INDEX LIBRORUM PROHIBITORUM
PII
SEXTI
PONTIFICIS
MAXIMI JUSSU EDITUS. Rome,
Typographia Camerae Apostolicae, 17861817.
£425
Small 8vo, pp. xliv, 325 (recte 323), 6, [2, blank], 5,
[3, blank], 8, 7, (including title in red and black),
additional engraved title; occasional light marginal
waterstains, lightly browned in places; otherwise clean in
contemporary boards; rubbed, joints worn.
Ince and Mayhew were ‘cabinet-makers and
upholsterers in partnership in Broad Street,
Carnaby Market, London, from 1758/9 to
1804. Their reputation has hung largely on
their publication, at the very beginning of
their long business partnership, of Rococo
designs for furniture in 1759-60, whereas in
fact the manufacture of high quality
furniture in the neo-classical style, often to
the designs of Robert Adam. The
publication of their only book, The Universal
System of Houshold Furniture, was first
This extensive edition of the “classic
example of censorship” was issued by
Benedict XIV and includes five appendices,
which are more interesting (and harder to
find) then the main work, as they read like a
bookdealer’s list devoted to enlightenment
and anti-Papal slander. Absolute rarities are
listed in there, such as an Altona imprint
with the title Memoires de Candide, sur la liberté
de la presse, la paix generale, les fondemens de
l’ordre Social … par le docteur Emmanuel Ralph.
auctioneer and his clerk; and one further volume
interleaved and marked up for the the French Wine
section sold on the 11th-13th December 1862; bound
in flexible roan and lettered in gilt on upper covers.
A unique set of marked-up copies of what
probably amounted to the largest sale of
alcohol to that time.
The engraved title depicts, appropriately
enough, books being tossed onto a burning
pyre.
Petzholdt, p. 153.
Refreshing the masses
87. [INTERNATIONAL EXHIBITION 1862] A CATALOGUES OF
THE FIRST [SECOND & LAST]
PORTION OF … VERY CHOICE AND
VALUABLE WINES SPIRITS, AND
LIQUEURS…
FURNITURE
AND
FITTINGS Which will be sold by Public
Auction, by Messrs. Green & son … in the
exhibition Building on Monday, December
8th, 1862, and [26] subsequent Days
[London]: J.M. Johnson & Son, Printers,
3& 10 , Castle Street, Holborn. [1862-1863].
£2,500
6 volumes including a especially bound copy in red
morocco for Alderman Samuel Green the proprietor of
Green and Sons; 4 interleaved copies marked-up by the
The sole contractor for the Refreshment
Departments of the 1862 Exhibition was
Frances Edward Morrish of F.E. Morrish &
Co. and M. Veillard & Co. for the French
wines. The quantity left over from the
Exhibition was prodigious with the first
portion of the sale alone containing 3,782
dozens of wine, 13,000 doz. of Allsopps’ ale
and Guinness stout quite apart from the
300,000 feet of counters, shelving and bar
fittings Fifty 2,3, and 4-motion beer
engines’ 5,000 tumblers, 16,000 glasses
30,000 plates 6,500 tea, mustard and salt
spoons, 300 soup ladles the list goes on and
on. All the fittings and fixtures were for sale
ovens. air-pumps, dog carts’ ‘five useful
horses’ ‘brick-work, Chimney Shafts &
other Erections’, everything had to be sold
as the building began top be dismantled.
The marked up copies show the nature of
trying to sell so much in so short a period,
corrections abound somehow they lost 300
white tea cups and 550 cheese plates on day
thirteen. dozen’s become eleven’s as
breakages and sampling took their toll.
The most interesting portion are the
abstract of sales given after the first portion
£5990 7s 4d was sold with £2896 12s 5
bought in against reserve. The net
commission taken by auctioneer for his
services amounted to 2.75% although this
did not include additional costs for
catalogue printing etc. still a far cry from
today’s rates.
cipher the author’s and artist’s initials. The
verso of the title-page reads as follows: ‘A
Beautiful Collection, Delightfully Etched,
Finely Grouped, Highly Imaginative,
Jestingly Knavish, Ludicrously Mischievous,
Notably Odd, Peculiarly Queer, Recreative,
Sensational, Tittering, Unquestionably
Volatile, Whimsically XYZite’.
OCLC locates copies in Toronto,
Cambridge, Princeton, the British Library
and in the Dutch Royal Library.
89. [JUDAICA]. FOR FORM OF
We have found very little about Morrish but
he apparently died at the age of 47 in 1865,
probably the exertion of the Exhibition
took it’s toll.
88. J.
L.
H.
AN ALPHABET.
Allegorical & Alliterative & Amusing. J. L.
H. Artistical Arranger. Appreciable at All
Ages. London, Effingham Wilson, 1871.
£250
SOLE EDITION. Oblong 4to, pp. [28], entirely
lithographic, title printed in red; a few minor marginal
tears, lightly spotted or browned in places; original
publisher’s red half morocco over printed boards, front
cover repeating title; extremities worn; name on title.
This rare and well drawn humorist alphabet
book ranges from Alderman Artichoke to
Zedekiah Zigzag and involves some
seriously absurd and proto-dadaist puns.
Unfortunately we were not able to de-
PRAYERS FOR THE FEAST OF THE
NEW-YEAR, ACCORDING TO THE
CUSTOM OF THE GERMAN &
POLISH JEWS. WITH AN EGNLISH
(SIC) TRANSLATION, CAREFULLY
REVISED BY SAMUEL SUMNER, 8VO,
TITLES IN HEBREW & ENGLISH
Vienna, Schlesinger (Budapest printed),
1900.
£150
8vo pp. 46, 60, 200, 160, 20; celluloid with bone and
brass edges, upper cover with silver-gilt and fabric inlays
all edges gilt; edges worn, one clasp missing.
An elaborate and most unusual binding; the
lower cover is plain, but the upper cover
has an elaborate onlay of successive layers
of purple cloth and elaborately carved or
moulded silver and gilt base metals and
celluloid combined with bone, all in
openwork patterns which display the layers
beneath. Probably skilled amateur work,
and almost certainly unique. The book itself
seems to be the first edition and very rare;
the text, however, is still in print.
Sing around the World
90. [KERSHAW, Frank]. ROUND
THE WORLD WITH THE SHEFFIELD
CHOIR [cover title]. [Sheffield, c. 1911].
£1,850
PRIVATELY
COMPILED
COMMEMORATIVE ALBUM. 4to, ff. 188
(roneographed typescript and with over 200 mounted
original photographs; several ephemeral publications
accompanying the journey mounted or tipped in);
occasional light foxing, a few photos faded; contemporary
full maroon morcco, ruled and lettered in gilt; in a clothedged drop-back box; this with wear.
The album and travelogue opens with a
printed page reading My Letters Home during
my Tour round the World with the Sheffield Choir.
Frank Kershaw. March 17th to October 2nd.
1911. This is followed by a mounted
lithographic world map delineating the the
route and stations of the world tour, leading
from Liverpool to Canada and the United
States, then to Australia and New Zealand
taking in Hawaii and Fiji and back to
England via South Africa, Tenerife and
Portugal.
Most interestingly the text contains not so
much a description of the actual
performances, which are anyway well
represented in contemporary reviews, but
instead concentrates on the extra curricular
activity of Kershaw and the Choir.
The qualifications for choristers were quite
stringent as tabulated by the founder of the
choir, Henry Coward, in his Reminicences of
1919: ‘Each candidate had to pass tests for
(a) power, quality, and intonation of voice;
(b) sight-reading in tune and time; (c)
provide certificate of health if necessary; (d)
attend 100 sectional and united rehearsals;
(e) promise to learn the 150 pieces off by
heart; (f) practise at least thirty minutes each
day and record the time in the special
calendar provided at the end of the book of
instructions; (g) be prepared to be away
from England for twenty-six weeks; (h) to
sing at six concerts and one matinee every
week when on and. In return for these
services second-class rail, steamboat, and
motor carriage would be provided, and
good hotel accommodation, together with
five pounds for laundry. As it was necessary
for each to go as an amateur, no fee would
be paid to any one except to the principals.’
After a rather bumpy voyage across the
Atlantic on HMS Victorian the Choir
arrived at Halifax, Nova Scotia on the 24th
March 1911.
On April 6th the choir was visiting
Toronto, on which occasion Kershaw
describes ‘another reception by the Mayor,
they are very stale, a lot of speeches praising
us for spreading the love of Mother country
hem and saying what self-sacrificing we are
putting ourselves to, in fastening by music
the links which unite the colonies to the old
country, sounds all right, but I am afraid we
have come [on] the trip for other reasons.’
The main reason being for Coward and the
Choir to make money and for Kershaw to
have a good time travelling around the
world with a congenial group of friends.
At Cincinnati on April 17th Kershaw does
describe a concert with Dream of
Gerontius under Sir Edward Elgar’s baton
but for the following day’s matinee he fails
to mention that the young Leopold
Stokowski was guest conductor but instead
mentions ‘a dance in the hotel, very
enjoyable. Dr Coward tried to stop it saying
we ought to rest but was soon dancing with
the rest.’
Kershaw admitted on April 25th that ‘after
a typical American lunch, black waiters but
I am quite used to them. After lunch there
was a rehearsal but I missed it. I had to
come down by the back stairs from my
bedroom by the backstairs to miss it. I
preferred to have a motor run round
Chicago.’
The choir trooped its way across North
America and continued round the world
with similar escapades taken by Kershaw
and his fellow travellers, Kershaw at the
end of the trip felt melancholic as he
trundled his way back to Yorkshire by train.
thorough study of the history of the King’s library. Included
is a list of reference works used for the historical part, the
official regulations for the library, detailed descriptions of
the celestial and terrestrial globes, artwork, medals, book
cases, as well as the organization and arrangement of the
collections.
92. [LE
PRINCE,
Nicolas
Théodore]. ESSAI HISTORIQUE SUR
HOLLAND HOUSE … with numerous
illustrations. Volume I [-II]. London;
Macmillan and Co., 1874.
£385
LA BIBLIOTHEQUE DU ROI, et sur
chacun des dépôts qui la composent, avec la
description des bâtiments et des objects les
plus curieux à voir dans ces différens
dépôts. Paris, Chez Belin, 1782.
£550
FIRST EDITION. 12mo., pp. xxi, [3], 372;
corner of Q4 torn away; contemporary mottled calf,
spine gilt, red morocco label, head and foot of spine
lightly chipped.
Le Prince was in charge of the return of
books at the library at the Chambre
Syndicale of Paris. This work is a survey of
a multitude of libraries and collections later
to become part of the Bibliothèque
Nationale.
Later
librarians
and
bibliographers accused Le Prince of
inaccuracies; however, this work is a pretty
Barbier II, col. 218; Brunet VI, 31144;
Cioranescu 39395.
93. LIECHTENSTEIN,
Marie
Henriette Norberte, Prinzessin von.
LARGE
PAPER
COPY,
ADDITIONALLY
ILLUSTRATED WITH PHOTOGRAPHS. Two
volumes, 4to, pp. xvii, [3], 289; xii, 255, 38
photographs mounted on thick paper, numerous other
text and full-page plates, some foxing as usual; original
blue morocco backed decorative cloth blocked in gold and
black, top edges gilt; spines slightly sunned and cloth
rubbed on corners with some slight damp maks to the
lower corner of vol. II; bookplates of Philip Currie, 1st
Baron Currie (1834-1906).
A magnificent record of Holland House;
large paper copy of the issue with the
additional photographs by P. H. Delamotte.
Holland House was built in 1605 within the
grounds planted with exotic trees imported
by John Tradescant the Younger. The
building was subsequently enlarged and
modernised and served in the 19th century
as one of the most illustrious gathering
places, of luminaries such as Byron,
Dickens, Scott or Disraeli. The Dutch
Garden is heavily featured in this
publication, with both photos and text
illustrations.
Called the ‘Marie Fox of Holland House’ by
The Times review in 1873 Marie
Liechtenstein (1843-1931) is further
falteringly described as ‘under 20 when she
set about her work … She combined the
advantages of a foreign and English
education, and thanks to the Italian part
coming to the aid of rare natural gifts, she
possesses a highly-cultivated taste in
painting, sculpture, and all objects of vertue.
… She maybe conscientiously congratulated
by the most scrupulous critic on the
production of a useful, agreeable,
beautifully-illustrated, and attractive book.’
94. LLOYD,
Nathaniel.
A
HISTORY
OF
THE
ENGLISH
COUNTRY HOUSE from Primitive Times
to the Victorian Period. London, The
Architectural Press, (1951).
£65
THIRD IMPRESSION. Folio, pp. vii, [3], 487 [1];
numerous half-tone plates and illustrations; original
green cloth, upper cover and spine lettered in gilt,
original printed dust-wrapper, frayed at edges.
Nathaniel Lloyd (1867-1933) founded the
firm of Nathaniel Lloyd & Co, Lithographic
Printers but later became joint managing
director of the Star Bleaching Co, which he
sold in 1912. Thereafter Lloyd studied
architecture under Sir Edwin Lutyens,
becoming a Fellow of the Royal Institute of
British Architects in 1931. His interests in
architecture, especially the evolution of the
English house and brickwork, resulted in
publishing a number of books: Building
Craftsmanship in Brick and Tile and in Stone
Slates (1929), A History of the English House
(1931), and A History of English Brickwork
(1934). He also had a keen interest in
topiaries, with Garden Craftsmanship in Yew
and Box being published posthumously in
1995 (see English Heritage website).
London Underworld
95. [LONDON].
A VIEW OF
LONDON AND WESTMINSTER, OR
THE TOWN SPY In two parts. Part I.
Containing, I. Merry characters of the
trades people, half-pay officers, and the
guards at St. Margaret’s in Westminster; and
of the quality, and the secret practices of
their servants at St. James’s. II. The
customs, manners, &c. of the inhabitants in
St. Anne’s Soho, St. Martin’s, and St. Giles’s
in the Fields: together with a true
description of Drury Lane, and the new
votes and schemes of the Irish-Society of
Fortune-Hunters. III. Of a verdict given
against a barrister of the Temple, for p-ssing against a soldier’s post at SomersetHouse; and of the secret practices of the
undertakers, with the physicians servants.
IV. Of the lawyers at St. Clements, and St.
Dunstan’s, the kept mistresses at St.
Andrew’s, the High and Low Church mobs
at St. Brides, the Blackfryers printers, and
the Ludgate Mercury. V. An account of
Jonathan Wild’s funeral procession, and of
a surprising specifick for the cure of
felonious, fraudulent, and corrupt habits,
being an handkerchief dipped in is blood,
very necessary to be used at this time in
Great Britain. VI. A character of a City
churchwarden, the customs of the citizens
on the Sabbath; the pride, intrigues, and
degeneracy of the City wives, of the band of
petticoat pensioners begetting young
merchants and shopkeepers: also of the
adventures of N-rt-n and Rod--igo, two
famous stallions, &c. London: sold by T.
Warner … and by the booksellers. 1728.
[bound with:] A SECOND PART OF A
VIEW
OF
LONDON
AND
WESTMINSTER: or, the Town Spy.
Shewing the several vices, follies, and
impertinencies of the inhabitants: with a
remarkable project for subjecting the D---miners and Sinkers, to add to the sinking
fund of the nation. Of the murders, and
miserable effects of the bottle and the
pestle. The Town intrigues. The modern
criticks and translators expos’d. An exact
and correct list of the kept mistresses, and
their places of abode, and the names and
characters of their respective keepers,
according to the information of the several
Parish Officers: the whole interspers’d with
several entertaining characters and pleasant
stories, &c. London, sold by J. Isted … and
by all the booksellers. 1725.
£3,850
FOURTH EDITION? AND FIRST EDITION.
Two parts in one volume, 8vo, pp. [iv], 59, [1] blank;
complete with the half-title and folding engraved plate;
[ii], 62; title-page with repaired tear (no loss of surface
and text unaffected); nineteenth century calf gilt by W.
Pratt, spine sometime neatly repaired; a very good copy.
Probably the fourth edition of the first part
(based on the appearance of an
advertisement for the 3rd edition in the
1725 2nd part) and first edition of the
second part, rare, of this marvellous book
providing a detailed and salacious survey of
the seamy side of life in early Georgian
London. In addition to a long account of
the funeral of Jonathan Wild and the
“miraculous” powers of a handkerchief
dipped in his blood, there is a vivid portrait
of kept women and kept men.
“I am now coming to perform what I have
long promis’d, and what has been
impatiently expected from me: I mean an
account of the present state of fashionable
fornication, or as the moderns have it,
keeping: a vice, or rather a vertue esteem’d
so nowadays, I must therefore advertise my
courteous readers, that none of the ladies
hereafter mention’d, are to be deem’d and
taken in the vulgar sense as whores; but
gentlewomen that have lost their fortunes
by the South-Sea, or that having had genteel
educations, and their parents failing, have
been chamber’d up and retained by certain
charitable noblemen, and gentlemen,
merchants, and tradesmen, to preserve
them from the street, servitude, or worser
fates”. The author proceeds to provide a
comprehensive directory (Part II, pp.33-54)
of the “unfortunate” women and their
keepers. Presumably in fear of the libel
laws, all the women (and all the men) are
given pseudonyms although the specific
addresses provided appear to be genuine.
The women’s names could easily grace any
modern London telephone box: Miss
Want-It, Miss Leather, Miss Jenny Juicy,
Miss Virginity, Miss Extasy, Miss
Morecock, &c. &c.
The inserted frontispiece is intriguing as it
may have been published, or at least sold,
with this edition of the work and to the best
of our knowledge is unrecorded in any
public collection. The print, if it is of 1725,
is obviously the inspiration behind plate 4
of Hogarth’s The Harlot’s Progress in which
the ‘Harlot’ is beating hemp in Bridwell
Prison, the house of correction in Tothill
Fields, Westminster used principally for
detaining prostitutes, bawds and cardsharps.
Hogarth’s print is the reverse of the scene
depicted in the plate but the foreshorting
and general design are the same. The view
on p. 4 describes Bridewell Prison ‘In the
fields of this Parish stands a famous Factory
for Hemp, which is wrought with greater
Industry than ordinary, because the
Manufactures often enjoy the Fruits of their
own Labour.’ How much the work
influenced Hogarth is open to conjecture,
but the text together with the print strongly
point to a connection between the artist and
the subjects he was depicting.
ESTC locates five copies, at the BL, Bodley,
Folger, Illinois and Kansas of this 1728
edition of the first part, apparently all
bound with the 1725 edition of the 2nd
part; there are also a couple of holdings of a
single 1725 edition of the first part, said to
be by a “German Gentleman”. None of
these copies notices the frontispiece present
in our copy and it may therefore be that it
has been added. It is, however, not only
relevant to the subject matter but clearly
contemporary with the book itself. It shows
“The house of correction (and punishment
of beating hemp) for rogues whores and
other vagrant persons”. - Unfortunately, it
is not signed.
96. [LONDON PLAN] SALWAY,
Joseph, surveyor. PLAN OF THE
ROAD FROM HYDE PARK CORNER
TO COUNTER’S BRIDGE. Made for the
Kensington Turnpike Trustees by their
surveyor, Joseph Salway, in the year 1811.
Lithographed on thirty sheets from the
original drawings in the British Museum for
the London Topographical Society,
London, London Topographical Society,
1899-1903.
£1,250
Large folio [610 × 690cm], printed title-page, 30
chromolithograph sheets, some strengthening to a few
corners modern brown cloth portfolio with original
printed wrapper laid on upper cover; together with a
facsimile of the text published in the journal of the
London Topographical Society
‘The Kensington Turnpike Trust was
formed by Act of Parliament in 1725 to
care for several important roads to the west
of London. The Kensington turnpike
features in novels by Dickens and
Thackeray, whose house at 16 Young Street
fell within the Trust’s jurisdiction. The
heroines of ‘Vanity Fair’, having left their
boarding school, arrive in London by
carriage:
‘“By the time the young ladies reached
Kensington turnpike, Amelia had not
forgotten her companions, but had dried
her tears, and had blushed very much and
been delighted at a young officer of the Life
Guards who spied her as he was riding
by…”
‘In 1811, the Trust commissioned the artist,
Joseph Salway to record everything under
its management. By then it had expanded its
operations
significantly
to
boast
responsibility for some 16 miles of roads
and numerous related buildings and
facilities. This collection of Salway’s images
has been chosen from the complete set of
originals. It depicts the two and a half miles
from ‘Counters Bridge’ – the westernmost
point of today’s Kensington High Street –
through Kensington and Knightsbridge to
Hyde
Park
Corner.’
(http://www.bl.uk/onlinegallery/onlineex/
kensturn/)
Abbey Life 507 incomplete and misdiscribed.
97. [LONDON
-
STRAND].
SURVEY OF LONDON, VOLUME
XVII, THE STRAND (St Martin-in-theFields Part II). London, Published for the
Greater London Council, 1937.
£50
LIMITED EDITION, NO 421 OF 700 COPIES.
4to, pp. xxii, [2], 163, [2], coloured frontispiece, 111
photo-plates and several text illustrations; original blue
cloth, original printed dust-jacket.
98. LOUTHERBOURG,
Phillippe
Jacques de. THE ROMANTIC AND
PICTURESQUE
SCENERY
OF
ENGLAND AND WALES … engraved by
William Pickett and coloured by John
Clarke, London, T. Bensley for R. Bowyer,
1805.
£3,500
moved to London where he painted battle
pieces and scenes for Garrick at Drury
Lane. He was influenced by Hogarth so that
many of the groups in his landscapes tend
to be slightly caricatured like those of
Rowlandson. A first volume of his
topographical paintings were gathered to
form The Picturesque Scenery of Great Britain
containing 6 plates was issued in 1801 with
The Romantic and Picturesque Scenery following
in 1805. A frontispiece, not present here,
was added to the Second Edition.
Abbey, Scenery, 9; Prideaux, p. 343.
99. [MACINTOSH,
Charles
Rennie]. COVER DESIGNS FOR TWO
BLACKIE & SON BOOKS. Glasgow,
Blackie & Son, 1913-14.
£750
The books are the educational brochures In the
Potteries by William J. Claxton and Lewis Marsh’s
The British Empire, both illustrated and in flexible
green cloth-covered wrappers printed in black and
designed by Charles Rennie Macintosh.
FIRST EDITION, FIRST ISSUE. Folio, pp.
[iv], [72], titles and text in English and French,
(watermarked J. Whatman 1801/1805), 18 handcoloured aquatint plates, (watermarked J. Whatman);
modern black half-morocco, spine lettered in gilt.
Loutherbourg (1740-1812) made his name
as a landscape painter, inventor and
illustrator. Having trained under F. G.
Casanova and Carlo Vanloo in Paris he
Every detail of Hill House in Helensburgh,
Walter W. Blackie’s residence, had been
designed by Macintosh in 1902. Blackie had
been introduced to the architect Charles
Rennie Macintosh by the art director of his
firm, Talwin Morris, and the two men made
a favourable impression on each other. So it
was only natural to commission Macintosh
with cover designs for the publishing house.
These are two of three known book cover
designs by Macintosh, the other being
Charles Kingsley’s The Heroes of 1915.
By the time Blackie got Macintosh
designing his book covers, the architect and
pioneer of modernism had fallen severely
out of fashion and was doing little more
than painting watercolours.
Provenance Blackie’s filing copy with
bookplate (modernist and in style as well)
of the Educational Library inside front
covers.
Lewis Marsh’s book is not listed in OCLC.
A group of letters, all addressed to an
admirer and amateur poet John C. Baron of
Witton, Blackburn.
1883 appears to have been a bit of a black
year for Mackay as in the letter dated April
26 1883 Mackay reflects that ‘liberal writers
scarce ever receive recognition or reward at
the hands of a liberal administration & I do
not think I am like to be an exception to the
(ungrateful) rule of the past.’ In the letter of
Oct 1st Mackay again reflects on the poor
lot of his trade ‘I have lain on the bed of
suffering, expecting each day to be my last as looking death in the face … Mr
Gladstone has not responded favourably to
the appeal in my behalf [for] my last years
(or days) from the pressure of the severest
declining distress.’ One feels he protested
too much as he lasted another six years and
left an estate valued at £2718 6s. 9d
according to the ODNB.
100. MACKAY, Charles (1812–
1889), poet and writer. FIVE
101. MASON, George Henry. THE
AUTOGRAPH LETTERS, SIGNED
‘CHARLES MACKAY’ on recent articles,
publications on America to an admirer.
Fern Dell, Dorking 1879 & 1883.
£200
Each letter together with original envelope.
COSTUME OF CHINA. Illustrated by
Sixty Engravings with Explanations in
English and French. London: Printed for
W. Miller, Old Bond Street, by S. Gosnell,
Little Queen Street, Holborn. 1800 [but
1822].
£4,000
Folio, English and French letterpress, pp. [16], [120],
60 hand-coloured stipple-engraved costume plates from
original drawings by Peu Qua of Canton, watermarked
1823; contemporary blue panelled morocco with
decorative borders in blind and gilt, spine in
compartments, two lettered in gilt, gilt edges.
One of the most important of all colourplate books on China and the first of
Miller’s series on world costume, described
in The Monthly Literary Advertiser as ‘ranked
among the finest productions of the present
day’.
This series was of enormous importance in
the development of the colour-plate book,
spawning several smaller offshoots,
including an 8vo series published by
Murray, who then sold the rights for the
same material to Thomas M’Lean, who in
turn brought out another series under the
Matisse’s rising critical reputation as leader
of the Fauves was accompanied by
increased sales. The success of his second
one-man exhibition, held at the Galerie
Druet in March 1906, enabled him to visit
Algeria (Algiers, Constantine, Batna and
Biskra) and to spend longer that year at
Collioure.
The exhibition included 55 paintings 3
sculptures and an unspecified number of
‘Dessins, aquarelles, lithographies et
gravures sur bois.’
103. MECHEL,
Christian
von.
CATALOGUE DES TABLEAUX DE LA
GALERIE IMPÉRIALE ET ROYALE
DE VIENNE. Basle, [ J.J. Thourneisen],
for the author, 1784.
£450
general heading of Picturesque Representations.
Two years after this take-over, M’Lean then
reprinted the original series by Miller.
Abbey, 553; Colas, 2009; Cordier, 1858.
102. [MATISSE]
EXPOSITION
HENRI-MATISSE Galerie Druet 114, rue
de Faubourg Saint-Honoré du 19 mars au 7
avril 1906. [Paris]: Imprimerie A. Lainé 10,
r. de la Coutte d’Or 1906.
£750
8vo, pp. xxx, [2], 384 engraved and woodcut vignettes,
head- and tailpieces in the text, with four large folding
engraved plates; French nineteenth century cloth,
stamped in blind, title in gilt on spine, a little sunned.
This is a delightfully produced and privately
published descriptive catalogue of the
Belvedere in Vienna and the Imperial
collection of art. The art publisher,
engraver, art dealer and art historian
Christian von Mechel (1732-1817) had large
business premises just outside Basle and no
Grand Tour traveller could avoid a visit. He
hosted Goethe and the Austrian Emperor
Joseph II; the latter commissioned him with
rearranging the collection. For the first time
the new system of grouping the paintings
according to ‘schools’ was consequently
carried out. It is the first comprehensive
catalogue of this outstanding collection,
which remained the unchallenged standard
reference work up the end of the nineteenth
century. A German edition had been
published the previous year.
104. [MEN’S
FASHION].
[THOMAS, Louis, editor]. NOS
8vo pp. [8] on cream paper, 3 illustrations including
cover, slightly soiled stapled as issued.
ELÉGANCES
&
LA
MODE
MASCULINE [cover titles]. [Paris, Société
Générale d’Impression, August 1, 1911 December 1, 1911.
£1,750
Five issues (probably all published), small folio [300 ×
204mm], each with 32 pages profusely illustrated in
half-tone; lithographic wrappers printed in two colours;
clean and fresh.
A rare and beautifully produced fashion
magazine unusually aiming at gentlemen
and promoting English fashion in France at
the close of the Belle Époque. Celebrating
high fashion, dandyism, the latest from
Savile Row in London, the perfect apparel
for the huntsman, golf and polo, this
fashion magazine for men contains
contributions by Albert Flament, Marcel
Boulestin, Pierre de Trévières, Marcel
Boulenger and others. In the first issue the
publishers state that they ‘do not strife for
success through a too wide distribution’ (p.
32); they want to keep the magazine
exclusively reserved for the elite of
cognoscenti. This might explain a small
print run of the publication; however, not
the extreme rarity.
The notice given at the end of each issue
refreshingly states that they would not spare
anyone, as the work was intended only for
the elite who knew the price of a joke and
would not be outraged when a ridiculous
point or thought was voiced. The editors
also express their hope to pay tribute to
true culture, refinement and courtesy,
wherever these qualities happen to appear.
The editors were not able to announce in
advance what would be published as the
year progressed; however, each number
would contain ‘Variations sur le Costume’
by Mr. Albert Flament, a chronicle of
fashion together with another on sports, by
Marcel Boulenger, essays on ‘Le Bel Air’ by
Pierre de Trévières; and a series on the
latest fashions in London by Marcel
Boulestin.
Not in BUCOP; OCLC locates issue 4 only,
in Berkeley; not in KVK.
105. MONIER,
Pierre.
THE
HISTORY OF PAINTING, SCULPTURE,
ARCHITECTURE, GRAVING, and of those
who have excell’d in them: in three books.
Containing their rise, progress, decay, and
revival; with an account of the most
considerable productions of the best artists
in all ages: and how to distinguish the true
and regular performances, from those that
are otherwise. London, T. Bennet, [and
others], 1699.
£575
FIRST ENGLISH EDITION. 8vo, pp. [xxx],
192 [16, advertisements]; a little browned, frontispiece
with small hole at inner margin; contemporary panelled
calf; rebacked with black morocco lettering-piece.
This work is one of the first to deal with the
history of applied art and design - not
merely with painting or sculpture. The
painter and writer on art Pierre Monier
(Meunier, Monnier, Monsnier, Mosnier;
1641-1703) published this work first, one
year before this translation under the title
Histoire des arts qui on rapport au dessin. Based
on public lectures delivered at the
Academie Royale, he gives a history of art
from earliest antiquity, its decline and rebirth during the Renaissance, including
details on the graphic arts and the design of
tapestries, glass and ceramics. The motto of
the frontispiece ‘Designing is the Father of
Arts’ sums up well Pierre Monier’s
pragmatic approach to history of art, which
is fundamentally a history of designing and
draughtsmanship.
Schlosser-Magnino, p. 498; UCBA p. 1397;
Wing M 2419.
106. MORRIS, Francis Orpen. A
SERIES OF PICTURESQUE VIEWS OF
SEATS of the Noblemen and Gentlemen
of Great Britain and Ireland. With
descriptive and historical Letterpress.
London, William Mackenzie, [c. 1880].£400
FIRST EDITION IN BOOK FORM. 7 vols,
4to, pp vi, 91; iv, 80; iv, 80; iv, 82; iv, 80; iv, 88; ff.
[i], [1]-19, pp. 20-215, [2]; additional colour printed
titles and 234 plates printed in colours from woodengravings by Fawcett, original cloth, spines and upper
covers elaborately gilt-blocked, gilt edges; some spotting
to contents as usual; otherwise a fine and tight set.
This extensive survey, which includes some
notable Irish houses, was first published in
108. [NAUTICAL LITERATURE].
HENDERSON. H. J. THE CRUISING
ASSOCIATION LIBRARY CATALOGUE. A
Collection of Books for Seamen & Students
of Nautical Literature, Atlases, Charts, etc.
London, Chiltern Court, 1931.
£150
8vo, pp. [iv], 439, 2 frontispiece-plates (interiors of the
library), 98 collotype plates; original plum-coloured
cloth, lettered in gilt,
parts between 1864 and 1880. The seventh
and concluding volume, contains facsimile
signatures of the subscribers to the set.
Regarding the plates, McLean notes ‘the
best are of great charm and beauty, and the
colour printing, is, as usual, superb’ (p. 204).
Ray 104.
107. [MUSSEAU, J.C.L.]. MANUEL
DES
AMATEURS
D’ESTAMPES.
contenant : 1° Notice sur la gravure et
conseils aux amateurs pour former une
bonne collection d’estampes ; 2° Notice sur
les principaux graveurs et amateurs morts et
vivans ; 3° Notice sur les différentes
manières de graver usitées jusqu’à ce jour ;
4° Catalogue abrégé des meilleures pièces
des bons graveurs, avec leurs prix dans les
ventes publiques ; 5° Procédés pour
nettoyer les. Paris, chez J.L.F. Foucault,
Libraire, rue des Noyers, No. 37, 1821.£165
Second edition (1st, 1926), but the first with
these illustrations and extensive additions.
A useful bibliographical guide, with
collations. - Together with the third edition
of 1954 (pp. [x], 96, frontispiece and 16
pages of plates; uniformly bound) and the
Supplement of 1965-7 (a staple-bound
pamphlet of 14 pages).
109. NEALE, John Preston. VIEWS
OF THE SEATS OF NOBLEMEN AND
GENTLEMEN in England, Wales,
Scotland, and Ireland. London, Sherwood,
Neely, and Jones, 1820-29.
£3,000
LARGE PAPER COPY. Eleven volumes; 4to [30 ×
22.5 cm], 11 engraved titles and 721 plates, all on
India paper and marked ‘proof’, mounted, 7 woodengraved text vignettes; late nineteenth century purple
half-morocco by Sotheran & Co.
Small 8vo, pp. 242, [2]; contemporary half-calf;
rubbed, upper board detached.
A useful little guide for the collector of
engravings. It includes advice to amateurs
on how to form a good collection, some
notes on the best engravers and their
techniques, a list of prices of the most
important prints at auction and some
simple conservation procedures. It is,
though, perhaps most valuable as a
snapshot of collecting tastes of Restoration
France.
UCBA p. 1440.
‘began in 1818, his Views of the Seats of
Noblemen and Gentlemen in England, Wales,
Scotland, and Ireland, of which the first series,
in six volumes, was completed in 1824. The
second series, in five volumes, was
published between 1824 and 1829, and the
entire work comprised no less than seven
hundred and thirty-two plates’ (DNB).
Harris 29.
110. NICHOLSON, James B. A
MANUAL
OF
THE
ART
OF
BOOKBINDING … Also, the Art of
Marbling
Book-Edges
and
Paper.
Philadelphia, Henry Carey Baird, 1856.£950
8vo., pp. 318, [20] publisher’s adverts, 12 lithograph
plates, 7 samples of marbled papers and numerous
wood-engraved text figures, publisher’s brown verticalgrained cloth, blocked in blind and spine lettered gilt;
head and foot of spine defective, corners slightly worn.
First Edition of the first practical manual
on the subject by an American, and an
important source of binding techniques of
the period. Drawing on sources such as
Cundall, Cowie, Arnett and Woolnough.
Mejer 1950.
111. [OCEAN LINER]. DECORATIVE
INTERIORS OF SS “ORVIETO” FOR THE
ORIENT LINE Executed by Messrs H.H.
Martyn & Co. Ltd Cheltenham [cover title].
[N. p. 1910].
£250
Oblong folio [32 × 38.5 cm], 10 leaves printed in
bistre with nine mounted photographs; original
wrappers, the upper cover with text in gold, tied with
cord; 5 cm tear to upper cover, corners slightly frayed.
‘H. H. Martyn & Co., founded by the
craftsman of that name in 1888, began as a
firm of stone, marble and wood carvers
specialising in gravestones, memorials and
ecclesiastical decoration. By 1900, when it
became a limited company, it had
diversified into decorative plaster work,
joinery, cabinet making, wrought iron work
and castings in bronze and gun metal. It
later became involved in the production of
stained glass and pressed steel. The range of
its activities was therefore unique for its
time. By 1920, it was employing over a
thousand men at its Sunningend Works in
Lansdown, and it remained the largest
employer in the Cheltenham area for many
years. Its virtually unrivalled reputation for
excellence meant that its services were in
demand from a wide range of customers
from many parts of the world
(http://www.nationalarchives.gov.uk).
The Orient Line (changing name several
times) started in 1877 with chartered
steamers to Australia. In 1906 the company
was acquired by the Royal Mail Steam
Packet Co. and the service became known
as the Orient-Royal Mail Line. The S. S.
Orvieto was built by Workman Clark &
Company of Belfast. She was launched on
Tuesday July 6th, 1909 and delivered to the
Orient Line on November 6th of that year.
112. OFFICIUM BEATÆ MARIÆ
VIRGINIS OFFICIUM. Venice, G. B.
Pasquali, 1740.
£2,500
12mo, engraved throughout, pp. [lx], 427, [4], text
engraved by Angela Baroni, engraved frontispiece, 15
full page illustrations, title vignette and 20 tail-pieces,
all by Marco Pitteri after Giovanni Battista Piazzetta;
contemporary Italian (Venetian?) binding of full dark
red morocco gilt, spine gilt in 5 compartments with leaf
and flower tool decorations, narrow roll-tool borders of
interlinked leaves enclosing contrasting onlaid borders of
dark olive morocco to sides enclosing floriated tool
decorations to the central panels with a further oval olive
morocco onlay forming a centre piece which is overtooled
in gilt with arched bands and sprouting pomegranates to
top and bottom, gilt edges, light green silk doublures.
Pasquali’s beautifully printed little work is
complemented by this handsome binding,
possibly the product of either a Venetian or
Bolognese workshop.
Morazzoni, pp. 115-16.
113. OGILBY,
John.
OGILBY’S
ROAD MAPS OF ENGLAND AND
WALES FROM OGILBY’S BRITANNIA
1675. Reading, Osprey Publishing Ltd,
1971.
£75
Folio, pp. [14], 100 double-page maps; original red
cloth, spine with black label lettered in gilt, upper cover
also lettered in gilt.
114. PALLADIO,
Andrea.
THE
ARCHITECTURE OF A. PALLADIO; in
four books. Containing A short Treatise of
the Five Orders, and the most necessary
Observations concerning all Sorts of
Building; as also The different Construction
of Private and Publick Houses High-Ways,
Bridges, Market-Places, Xystes, Temples,
with their Plans, Sections, and Uprights.
Revis’d, Design’d, and Publish’d By
Giacomo Leoni, a Venetian; Architect to
His most Serene Highness, the Late Elector
Palatine. Translated from the Italian
Original. In Two Volumes. The Second
Edition. London, Printed by John Darby,
for the author, and all the plates by John
Vantack, M.DCC.XXI [1721].
£1,250
SECOND LEONI EDITION. Folio, pp. [xiii], 154 text of book 1; [55-56] 57-93 text of book 2; [2]
1-37 text of book 3; [2] 1-37 [38-40] 41-90 [91-94]
text of book 4; frontispiece and 203 engraved plates and
12 text illustrations; lcaking engraved portrait of
George II. contemporary calf, rebacked to style, spine in
compartments profusely decorated in gilt, brown label
lettered in gilt
‘Leoni’s long-standing desire to present
Jones and Palladio as the models of
perfection for English and all other
architects was, as Summeron noted,
something he shared with Colen Campbell
and Lord Burlington. It was not however
something that he acquired from them but
rather from his mentor Matteo de’ Alberti
in the Palatine Court before his arrival in
England. The lavish edition of Palladio’s
works published by Leoni proved far too
fanciful for the didactic perfection
demanded by Burlington’ (Harris).
Fowler, 224 Harris 684.
Ex dono Earl of Burlington
115. PALLADIO,
Andrea.
THE
FOUR
BOOKS
OF
ANDREA
PALLADIO’S
ARCHITECTURE:
Wherein after a short treatise of the Five
Orders, Those Observations in Building.
Private Houses, Streets, Bridges, Piazzas,
Xisti & Temples are treated of London,
published by Isaac Ware, [1755].
£1,250
Folio, pp. [viii, including engraved title], [1]-36 text of
book 1; [37]-56 text of book 2; [57]-78 text of book
3; [79]-110 text of book 4; etched and engraved title
page is reused with alterations for following divisional
titles and 205 plates numbered VIII-XXXIV, ILVIII, I-XXI, and I-XCIX without leaves of
subscribers list or technical terms. contemporary calf,
rebacked to style, spine in compartments profusely
decorated in gilt, brown label lettered in gilt; inscribed on
endpaper ‘G. Morrison given the Earl of Burlington,
1746’ armorial bookplate of G. Morrison.
This important edition was sponsored by
Burlington and given by him to George
Morrison in 1746. We have not been able to
establish a connection of George Morrison
to Lord Burlington or why he was given a
copy or indeed why this copy does not
include the subscription list or the list of
leaves of technical terms, as neither seem to
have ever been bound in - maybe this
explains the gift! Of Morrison all that we
can establish is that his family may have
come from Lancashire.
Harris 692.
116. PAPWORTH, John Buonarotti.
RURAL RESIDENCES, consisting of a series
of designs for cottages, decorated cottages,
small villas, and other ornamental buildings;
accompanied by hints on situation,
construction, arrangement and decoration
… interspersed with observations on
landscape
gardening.
London,
R.
Ackermann, 1818.
£985
underlying theories, and encourages through example and sound architectural
guidance - the liberal, moral and aesthetic
transformation of a gentleman’s estate in all
its aspects.
Abbey, Life, 45; Archer 246.2; Colvin, p.
437 ; Prideaux p.347; Tooley 359.
FIRST EDITION. Large 8vo, viii, 106, [4] , 27
hand-coloured aquatint plates, some minor spotting;
modern marbled paper boards, spine with label lettered
in gilt.
117. PAPWORTH, John Buonarotti.
A charming work, a triumph of the
picturesque imagination over mundane
necessity.
The versatile author Papworth provides a
host of ornamental and picturesque designs
for peasant dwellings, farm houses, dairies,
thatched and flowered cottages ornés,
fishing lodges, garden seats, and verandahs.
The accompanying text explains the
RURAL RESIDENCES consisting of a series
of designs for cottages, decorated cottages,
small villas, and other ornamental buildings;
accompanied by hints on situation,
construction,
arrangement,
and
decoration….interspersed
with
observations on landscape gardening.
London: Printed for R. Ackermann, 96
Strand, by Sedding and Turtle, 30, Arundal
Street, 1832.
£1,400
SECOND EDITION. Large 8vo, pp. [i-] viii, [9]108 [2] ‘index of plates’ and imprint index (one leaf of
text cockled); 27 hand-coloured aquatint plates; original
green cloth, upper and lower covers with dolphin and
fountain design; sympathetically rebacked; Inscribed on
title Samuel Clegg Jun 1840.
One of the most attractive and charming of
the ‘cottage architecture’ books, a triumph
of the picturesque imagination over
mundane necessity.
This copy once belonged to the civil
engineer and architect Samuel Clegg Jr
(1814-1856) and contains a few drawings of
cottages with measurements in the margins.
He is best remembered for his publications
on gas.
Abbey, Life, 45; Archer 246.2 (first edition);
Colvin, p. 437.
118. [PEEPSHOW]. AN AUTHENTIC
VIEW OF THE GREAT INDUSTRIAL
EXHIBITION PALACE OF 1851. [German],
‘G.&W.’, 1851.
£1,650
Hand-coloured lithograph concertina-folding peepshow,
with four cut-out sections, the front-face [155 ×190
mm] heightened with gum arabic, extends, by paper
bellows to approximately 360 mm.
abundance of elaborate chandeliers that
must surely be the product of the German
maker’s imagination.
Printed label affixed to the back ‘The Civet
Cat, 23, Victoria Road, Pimlico, J. Cole,
Combs, Brushes, Perfumery, Toys, Baskets,
China, Cabinet Work, Cutlery, Wholesale &
Retail’.
119. PHILLIPS, John, and W. F.
HUTCHINGS. A MAP OF THE
COUNTY OF STAFFORD Divided into
Hundreds & Parishes, From an Accurate
Survey, Made in the Years 1831 & 1832.
London, By J. Phillips & W. J. Hutchings,
August 1st, 1832.
£1,350
Large engraved map, [1,370 × 990mm], dissected and
mounted onto linen, fine original full-wash colour, south
east view of Lichfield cathedral, edged in green silk;
housed in original tree calf pull-off slipcase, spine ruled
in gilt, red morocco label lettered in gilt to spine; rubbed.
A fine example in full original wash colour.
The large calligraphic title at the upper right
surmounts the ‘Scale of Miles’ and vignette
view of the Customs House in Liverpool.
A table of explanation towards the bottom
left outlines a wealth of topographical
detail,
including
ichnographic
representations of the principal towns,
villages, churches, gentleman’s seats,
commons, heaths and hills, parish and
other boundaries, canals, wind and watermills, roads, lanes, toll-bars and rivers.
120. PUGIN, Augustus Charles,
[and Augustus Welby N. PUGIN?]
The front-face of this uncommon German
peepshow carries a view of the exterior of
the Great Exhibition building surrounded
by floral decoration. Beneath the image are
two winged figures elevating a crown over a
wreath containing the letters ‘G.&W.’
Through the circular peephole is seen the
inside of the the building with visitors and
exhibits. It is an extremely crowded and
claustrophobic scene with a curious
GOTHIC FURNITURE; consisting of
twenty-seven Coloured engravings, from
designs by A. Pugin. London, M.A. Nattali,
23 Bedford Street, Covent Garden, [c.
1845].
£1,800
4to, pp. iv, 27, 27 hand-coloured aquatint plates
including an additional aquatint pictorial title-page and
26 plates; title-page somewhat browned; later brown
half morocco.
The plates originally appeared in
Ackermann’s Repository of Arts between 1825
smaller copy; full green morocco by Charles E. Lauriat,
Boston, USA, the covers with ruled borders enclosing
spandrels of leafy sprigs and flower heads, spines in six
compartments, four similarly decorated and lettered in
gilt, dates at foot, silk endpapers; bookplate of Thomas
W. Lawson.
and 1827. There is no substantive evidence
on whether A.W.N. Pugin, who was only
fifteen years old in 1827, had any hand in
the work; however, he was employed from
March 1827 together with just about every
other artist from the architectural drawing
school run by A.C. Pugin in providing 214
coloured drawings which were worked up
into furnishing schemes by Morel and
Seddon for Windsor Castle. A.W.N. Pugin a
few years later disassociated himself from
these early works but it seems likely that he
was probably pressed into service in some
capacity by his father.
Issued by Ackermann in book form late in
1827, the remaindered sheets were reissued
with a cancel title by Nattali, who advertised
the book at least as early as 1846 at ‘15s
(reduced from £1 11s 6d) together with
other works by A.W.N. Pugin
One of the great colour-plate books of its
time, originally published in twenty-five
parts; it brought Pyne into severe financial
difficulties as a consequence of which he
spent much time in the King’s Bench
Prison. Amongst the finest of the plates are
those of the shortlived, but magnificent,
Carlton House, built for the Prince Regent,
and demolished in 1827-8.
121. PYNE, William Henry. THE
HISTORY
OF
THE
ROYAL
RESIDENCES of Windsor Castle, St.
James’s Palace, Carlton House, Kensington
Palace, Hampton Court, Buckingham
House, and Frogmore … In three volumes.
Vol. I [-III]. London, Printed for A. Dry, 36
Upper Charlotte-Street, Fitzroy-Square …
L. Harrison, printer, 373, Strand,
MDCCCXIX [1819].
£7,500
FIRST EDITION, LARGE PAPER COPY.
Three volumes, 4to, pp. [iv], ii, 188, [ii], 21; [iv], [ii],
88, [ii], 28, [ii], 88; [iv], [ii], 80, [ii], 92, 16 (list of
portraits and plates), 100 hand-coloured aquatint
plates; plate of Frogmore Exterior supplied from a
From the tissue guards to the plates the
binding can be dated to 1899. It was in that
year William W. Lawson (1857-1925), the
former owner of this work joined Henry H.
Rogers and William Rockefeller in forming
the
Amalgamated
Copper
Mining
Company. He appears to have lost his
immense fortune by the time he died.
Abbey, Scenery 396; Adams 132; Tooley 389.
122. [REINHARDT,
Karl
Heinrich Leopold]. LETTRES SUR
DRESDE
À
MADAME
***
CONTENANT UNE ESQUISSE, de ce
que celle ville offre de plus remarquable aux
étrangers. Berlin: H. Frölich. 1800. £575
Small 8vo, pp. xxiv, 262; nineteenth century halfmorocco; engraved armorial bookplate of Duff-Gordon,
Aberdeen bookseller’s ticket inside front cover.
The first subscriber to this handy work on
the Dresden Gallery was John Quincy
Adams here designated as ‘Mr Adams,
Ministre plénipotentiare des Provinces
unies de l’Amerique.’ He had been
appointed as minister to Prussia, where he
remained until his father lost his bid for a
second term as President later in 1800.
See Walter J. Morris, John Quincy Adams’s
German Library, with a Catalog of His German
Books, in: Proceedings of the American
Philosophical Society, vol. 118, No. 4
(September 13, 1974), pp. 321-333.
Barbier II.1290.
123. RENOUARD,
Antoine
Augustin. CATALOGUE D’UNE
PRÉCIEUSE
COLLECTION
DE
LIVRES, manuscrits, autographes, dessins
et gravures composant la bibliothèque de
feu M. Antoine-Augustin Renouard. Paris,
[Firmin Didot] for Poitier and Jules
Renouard in Paris and Barthèz and Lowel
in London, 1854-55.
£500
8vo, pp. [iii]-xxxii, 433, 27 (price list), with portrait
etched by G. Staal on India; evenly lightly browned,
portrait a little foxed; later red morocco-backed marbled
boards, spine with raised bands and lettered in gilt,
upper edge gilt; price list with the original printed
wrappers bound in; bookplate R. Chevanne inside front
cover.
This is the sales catalogue of celebrated
collection of the bookseller and
bibliographer, complete with price list.
Many lots are priced in ink and a few are
annotated. Augustin Antoine Renouard
(1765-1853) is still remembered for the
Aldus and Estienne bibliographies.
Among the highlights of this remarkable
sale is the first edition of Cicero’s Orationes
(1471; 9200 francs), a miniature book of
hours, illuminated manuscript on vellum
(10,350 francs), or Rabelais’ 1513 works by
Plato, lacking the last leaf (but with the
owner’s humoristic annotations 550 francs).
Rabelais himself was placed in the section
headed Facéties, plaisanteries, among which
we find the 1532 Le grand Roy de Gargantua
which was bought by the French National
Library for 1825 francs, hammer price.
Blogie II, 78-79.
124. REPTON, Humphrey. THE
RED BOOKS. London, Basilisk Press,
1976.
£1,750
LIMITED EDITION NUMBER 111 OF AN
EDITION OF 515 COPIES. 4 vols., various sizes,
facsimiles; half red morocco in fitted brown cloth case.
Fine reprints of the Red Books for Antony
House in Cornwall, Attingham Park in
Shropshire, and - most detailed and
attractive of the three - Sheringham Hall in
Norfolk, with an introduction to the three
by Edward Malins. The reproductions
include the celebrated overslips, with
before-and-after designs or alternative
landscaping
arrangements,
and
the
complete ensemble offers an attractively
presented exposition of the work of this
most distinguished landscape architect.
Repton’s first work
125. REPTON, Humphry. SKETCHES
AND HNTS ON LANDSCAPE GARDENING
collected from designs and observations
now in the possession of the different
noblemen and gentlemen, for whose use
they were originally made the whole tending
to establish fixed principles in the art of
laying out ground.
London, W. Bulmer & Co. for J. & J.
Boydell and G. Nicol, [1794].
£12,500
FIRST EDITION OF THE FIRST OF REPTON’S
THREE GREAT WORKS ON LANDSCAPE
GARDENING. Landscape folio (27.5 x 37.5cm
approx.), half-title, pp. xvi, 83, [4], 10 hand-coloured
aquatints engravings (1 folding 3 double-page), each
with one or more over-slips, and 6 aquatint plates
printed in black with a single tint added (4 with one or
more overslips), 2 wood-engraved illustrations, 1 woodengraved tailpiece; contemporary green morocco-backed
cloth boards, spine lettered in gilt, raised bands; a very
good copy.
Humphry Repton (1752-1818) was the main
successor to Lancelot ‘Capability’ Brown as
an improver of grounds for the English
gentry in the late eighteenth and early
nineteenth century. He was particularly
noted for his ‘Red Books’. These were
produced for each individual client and
were made up from a manuscript
description of his proposed improvements
bound with Repton’s own watercolour
drawings of the grounds, with his proposed
alterations displayed on an overlay. The
present work is made up to a large degree
of extracts from the Red Books of 57
houses which Repton had been called upon
to ‘improve’. A list of these houses, their
location and their owners is given in a
valuable two-page list towards the front of
this volume. The work is broken down into
various chapters: ‘Concerning Buildings’,
‘Concerning
Water’,
‘Concerning
Approaches’, etc. In each chapter Repton
selects the relevant section from each Red
Book that is helpful to the point he is trying
to make.
In addition to the specific ideas that he is
trying to convey, Repton also enters the
fray on behalf of Capability Brown. The
theoreticians, Payne Knight and Uvedale
Price, had both written disparagingly of
Brown’s work and Repton here answers
their arguments; a lengthy letter that Repton
wrote to Price in July 1794 is quoted in full.
The work ends with an intriguing list of
sixteen ‘Sources of pleasure in Landscape
Gardening’ and William Wyndham’s letter
to Repton in support of his theories: ‘Places
are not to be laid out with a view to their
appearance in a picture, but to their uses,
and the enjoyment of them in real life, and
their conformity to those purposes is that
which constitutes their true beauty: with
this view gravel walks, and neat mown
lawns … are in perfect good taste, and
infinitely more conformable to the
principles which form the basis of our
pleasure in these instances, than the docks
and thistles, and litter and disorder, that
may make a much better figure in a picture’.
The plates echo the watercolours with
which Repton invariably illustrated the Red
Books. He makes extensive use of movable
flaps or ‘slides’ - generally to explain the
effect he is trying to create by showing the
property before his improvements (with the
flap down) and after (with the flaps lifted).
The quality of the aquatints is exceptional,
and the folding view of the Duke of
Portland’s house Welbeck Abbey in
Nottinghamshire is particularly interesting
as it apparently shows Repton and his
assistants at work on a survey of the estate.
Abbey Scenery 388; Archer 280.1; Henrey
III, 1269; RIBA III, 405; Tooley 400.
A Kantian Pioneer.
126. RICHTER,
Henry
James.
DAY-LIGHT: A RECENT DISCOVERY
IN THE ART OF PAINTING: With Hints
on the Philosophy of the Fine Arts, and on
that of the Human Mind, as first dissected
by Emanuel Kant. London, R. Ackermann,
1817.
£1,250
combined his artistic interests with his study
of metaphysical philosophy’ (Oxford DNB).
His literary output was slender, and usually
of a philosophical nature. He published part
of an article on ‘Metaphysics’ for the
Encyclopaedia Londinensis, 1814, a paper on
German Transcendentalism, 1855; his work on
a translation of a metaphysical work by
Beck was suspended by his death in 1857.
The present work (12 pages and a further
52 pages of notes) is the only separately
published work and, as such, is the most
extensive exposition of Richter’s thinking.
FIRST AND ONLY EDITION. 8vo, pp. ix, 67,
hand-coloured woodcut illustration at the beginning of
the text, most likely by the author himself; occasionally
a little spotted; uncut in the original publisher’s boards
with printed label on upper cover; rebacked, a little
spotted and worn.
Henry (or Heinrich) Richter (1772-1857),
born in London (1772), studied art under
Thomas Stothard, and from the age of 16
was an exhibitor at the Royal Academy. He
was also a long term member of the Society
of Painters in Oil and Water Colours. A
popular and reasonably prolific artist and
illustrator, Richter was a devoted disciple of
Kant, and a close friend of William Blake.
Richter was most suitable to write about
plein air painting, as he ‘was a pioneer in
painting from nature, in both practice and
theory. In 1812 he painted the oil Christ
Giving Sight to the Blind, in bright sunlight
on the roof of his house in Newman Street;
the work was purchased by the trustees of
the British Institution for 500 guineas and
presented to the New Church, Greenwich.
A second version, attempting to improve
on its truth to nature, was exhibited four
years later. Then, in 1817, he published the
pamphlet Daylight: a recent discovery in the art of
painting, with hints on the philosophy of the fine
arts, and on that of the human mind, as first
dissected by Emmanuel Kant. His more general
ideas, including his approach to colour and
use of models of his compositions in clay or
wax, influenced other painters, notably the
miniature painter James Holmes. Daylight
Richter begins with the insistence that
‘Originality is the Soul of Art’, before
starting his discussion of day-light (as
opposed to sunshine). He then employs the
device of his own visit at closing time to the
celebrated Exhibition of Dutch and
Flemish Pictures at the British Institution,
where he witnesses a discussion on the
subject between the ghosts of Rembrandt,
Van Dyke, Teniers, Rubens, et al. A
fascinating essay on the artists’ ideas and
perception of light, further elaborated in the
notes, where Richter closely discusses
particular works of art (‘The Death of
Wolfe’, the Elgin Marbles, Hogarth’s
‘Harlot’s Progress’, etc.), with reference to
his and the philosophers’ ideas of subject /
object consciousness, and the implications
for artists: ‘in perceiving, I really contribute
something to the phenomenon perceived.’
Richter says that refinements and new
discoveries in the sciences should be
paralleled by continued originality in art. A
dense and subtly revolutionary piece of
writing, and an uncommon book.
UCBA p. 1737.
127. ROCQUE, John. AN EXACT
SURVEY OF THE CITY’S OF
LONDON, WESTMINSTER… and the
Country 10 miles Round London and
ROCQUE (John). A Plan of the Cities of
London…, Lymphe Castle, H Margary,
1971.
£250
Large folio, double-page title, double-page explanation,
pp. [8], 1 double-page map, 16 double-page map-sheets;
1 double-page map (‘Contracted Sketch’), double-page
sheets A1-H3, the whole contents stub-mounted,
original red cloth with paper label on upper cover.
Useful study copy of this famous survey
with introduction by Howgego.
128. [ROTHSCHILD].
R.S.
GARRARD & Co. INVENTORY OF
JEWELS, BELONGING TO MRS
LEOPOLD DE ROTHSCHILD. 5,
Hamilton Place W. [London]: R. &. S.
Garrard & Co. July 1887.
£750
Manuscript on ruled paper 4to ff. [iv], 65, [35];
contemporary black morocco, covers and spine decorated
in gilt, gilt edges.
A finely presented manuscript inventory of
Rothschild Jewels.
The index tabulates the collection:Diamonds, Rubies & Diamonds, Emeralds
& Diamonds, Sapphires & Diamonds,
Pearls & Diamonds, Pink Pearls &
Diamonds, Turquoises & Diamonds,
Catseyes & Diamonds, Rings, Sundries,
Brooches, Bracelets, Necklaces, Chains &c.
Pins, Watches.
Clearly items were altered as fashion
changed and Garrard inventory is marked
in red ink to reflect this ‘Used in small bar
Brooch,’ ‘Used for centres of Collar’
‘Broken up.’
129. [ROYAL
ACADEMY].
SELECTION COMMITTEE A series of
92 letters to Henry Howard requesting
works of art to be shown at the Royal
Academy Summer Exhibition. 1828-1841.
£1,750
Contained in a late nineteenth century scrap album;
original cloth, spine broken.
The archive of letters and notes, apparently
all addressed to Henry Howard (1769–
1847) painter and secretary to the Royal
Academy, contain requests for works of Art
to be exhibited at the annual Summer
Exhibition and in a few cases the return of
items either rejected, or to be returned after
the close of the exhibition.
It would appear that this group of
ephemeral letters were to accompany the
works of art as they were sent in for the
years Summer Exhibition. The letters
mostly concern the Selection Committee’s
work. Today the selection falls into three
categories ‘A’ for accepted ‘D’ for doubtful
and ‘X’ for turned down; however in
Howard’s time it seem a straight tick for
accepted or ‘X’ for turned down was the
procedure. The Hanging Committee are
always faced with the impossibility of trying
to hang more pictures than there is wall
space to accommodate them. Clearly in the
first half of the nineteenth century quite a
number of works approved by the Selection
Committee were ‘crowded out’ during the
hanging Committees work and and thus do
not a appear in the printed catalogues.
Mounted hand-coloured lithographic transformational
print (transforming when held to a strong light), with
printed mounted label mounted beneath, as usual, Price
2/- entered in a neat hand in ink.
‘This print at first represents the venerable
building early in the morning on the 10th
day of January [1838]; and upon holding it
before the light, you will observe the awful
conflagration, as it appeared on the night of
the same day, which totally destroyed the
Exchange.’
131. RUBENS, Alfred. A HISTORY
OF JEWISH COSTUME Forward by
James Laver. [London]: Peter Owen
Limited, 1981.
£75
REVISED EDITION. 4to, pp. xvi, 221 [1];
profusely illustrated; original cloth, dust-jacket, some
shelf wear.
The standard and most readable work on
the subject.
132. RUTTER, John. DELINEATIONS
OF FONTHILL AND ITS ABBEYS.
Shaftesbury: For the Author, London, C.
Knight & Co., 1823.
£950
The archive also contains a number of
requests for return; (one gentleman being
twice sent the wrong painting!) and another
wondering what has become of his work
has the curt pencilled note ‘7d to Pay.’
How this rather odd group of artist and
years came to be placed in an album, or
why, is something of a mystery. The artists
on the whole have dropped from general
record.
A list of the the artist. the year in which
works were either accepted or rejected and
the published catalogue numbers available
upon request.
130. [ROYAL EXCHANGE LONDON]. MORGAN’S IMPROVED
PROTEAN SCENERY. NO. 6. The Royal
Exchange, London. Morning v. Night.
London, W. Morgan, n.d. [ca. 1838]. £350
LARGE PAPER COPY. 4to, pp. xxiv, 112, [2]
(Appendix C explanation), [4] genealogical tables, [2]
colophon, 16 woodcut vignettes in the text (including
armorial vignette on title, and end-piece); hand-coloured
aquatint frontispiece(plate 7); additional hand-coloured
aquatint pictorial title-page (plate 8); engraved plan
(plate 2); engraved section (Plate 3); engraved section
(Plate 9) ; engraved view (Plate 4) ; engraved interior
(plate 5); hand-coloured aquatint interior view (Plate 6)
; engraved ‘specimens’ (Plate 10); engraved view (Plate
11); engraved view (Plate 12); engraved view (unnumbered); engraved view (plate 13); lithograph folding
plan, hand-coloured in outline; later tan half morrocco
over blue boards.
We give the full collation, since it is our
experience that copies vary, sometimes with
the genalogical table as a folding plate,
sometimes with xxvi pages, not xxiv. In this
copy appears an extra un-numbered plate
which does not appear in Abbey’s collation.
Abbey, Scenery, 418.
133. SALOMAN, Charlotte LIFE
OR THEATRE? An
with music. introduced
Translated from the
Vennewitz. [London:
Swarrtz (1971).
autographical play
by Judith Herzberg.
German by Leila
Allen Lane] Gary
£55
large 4to, pp. xvi, 784; original cloth, pictorial dustjacket.
134. [SALT MINING TOY] AN
UNUSUAL TABLE-TOP THEATRICAL
TABLEAU, Germany ? , ca. 1860. £650
a hand-coloured lithographic subterranean background
scene, an add-on surface scene, and 14 free-standing
scenes depicting miners at work, loose, unboxed.
A very rare and unrecorded item that
probably depicts the famous Wieliczka Salt
Mine. The mine had become a point on the
tourist map as early as the eighteenth
century and a number of views and
souvenirs were produced through the
nineteenth century.
The main back scene contains cleverly
hewn facial features in the rock salt, miners
work in the cavernous depths with smaller
scenes of and a factory appears in the
distance of the surface scene. The
individual parts include miners at work with
wagons and rails; with flares and candles
hewing the salt in small recesses of the
mine.
135. [SATIRE] THE SCHOOL
FOR SATIRE OR, A COLLECTION
OF MODERN SATIRICAL POEMS
WRITTEN DURING THE PRESENT
REIGN, London, Printed and Sold by
Jaques and Co., 1801.
£225
FIRST EDITION. 8vo, bound without half-title,
pp. [v], 416 pp. (pp. 81-96 duplicated in pagination),
contemporary half sheep, slightly scuffed,
The collection satirical pieces chosen for
this collection includes:- An heroic epistle
to Sir William Chambers [by William
Mason]; An heroic postscript to the public
on their favourable reception of the Heroic
epistle to Sir W.C. [by William Mason]; An
epistle to Dr. Shebbeare, by Malcolm
Macgregor [pseud. of William Mason]; The
imperial epistle from Kien Long, emperor
of China, to George the Third … in the
year 1794 [by T.J. Mathias]; An heroic
epistle from Donna Teresa Pinna ÿ Ruiz, of
Murcia, to Richard Twiss; An archæological
epistle to … Jeremiah Milles … to which is
annexed a glossary [by William Mason]; An
epistle form Oberea, queen of Otaheite
[pseud.] to Joseph Banks; The wreath of
fashion; or, The art of sentimental poetry,
by Richard Tickell; An epistle in verse to
the Rev. Dr. Randolph [by T.J. Mathias];
New morality from the Anti-Jacobin [by
George Canning]; The shade of Alexander
Pope on the banks of te Thames, a satirical
poem [by T.J. Mathias]; Patriotism; a mock
heroic poem.The battle of the wigs; a mock
heroic poem [by Bonnell.; Thornton];
Pandolfo attonito! or, Lord Galloway’s
poetical lamentation on the removal of the
arm-chairs from the pit at the opera house!
[by T.J. Mathias]; Capell’s ghost to Edmund
Malone; a parody [by George Hardinge];
The old hag in a red cloak: a romance,
inscribed to Matthew Lewis.
OCLC records copies at Alberta, BNF,
Durham. Harvard, Michigan, Oxford and St
Andrews
136. SAWYER, John. AUTOMATIC
ARITHMETIC: A New System for
Multiplication and Division without mental
Labour and without the use of Logarithms.
London, [William Clowes and Sons] for
George Bell and Sons, [1878].
£750
FIRST EDITION, PRESENTATION
COPY. Oblong 8vo, pp. 17, [3, the final linencovered and blank], 10 tables printed in red and black,
9 of which cut into horizontal strips of increasing length;
original plum pebble-grained cloth, covers ruled in blind,
gilt-stamped lettering on front cover; light wear to
extremities; front inner hinges strengthened with cloth
strips at an early date; presentation copy, inscribed by
the author To my good Friend Frederick Brown.
John Sawyer.
A paper calculating machine in the form of
a book with moveable parts. By the aid of
1,759 figures the user is able to multiply or
divide any two numbers, each not
exceeding 999,999,999. with a further
advantage over logarithms of accurate
instead of approximate results.
description it will, we think, be readily seen
how to apply the tables to multiplication. …
A mere child who can add numbers
together can thus perform mechanically (or
automatically)
difficult
exercises
in
multiplication. Division is similarly reduced
to subtraction. Whether much saving of
time and labour is effected is a question we
leave to practical men. We showed the work
to a class of boys, and they were much
interested in watching the process, the
principle of which was readily understood
by them. Numbers can thus be easily raised
to powers, but the method does not serve
for the extraction of roots. We need hardly
state that the tables are protected by letters
patent.’
The delicate format of the work probably
contributed to both rarity and survival, A
pocket edition in 16mo appeared in 1879
OCLC locates copies at Cambridge and the
British Library (who both hold a copies of
the pocket edition as well), and Harvard
and the National Library of Scotland.
137. SCHNECK, Adolf G. DER
STUHL … Alte und neue Typen aus
verschiedenen Ländern in Konstruktion,
Ansicheten und Maßzeichnungen. 2.
Auflage,
mit
137
Abbildungen.
Herausgegeben
im
Auftrag
der
Württembergischen Landesgewerbeamts.
Stuttgart, Julius Hoffmann, [1930]. £125
The reviewer in Nature (July 25, 1878, p.
327) describes the format and operation of
the ‘Tables.’ ‘The principle of construction
is very simple: take ten pages; at the top of
each write the nine digits in succession (for
facility in working, the numbers are printed
red and black alternately); cut each page
into nine horizontal sections, and at the end
of each strip write the same number (viz.,
for the fifth page the constant number will
be 4), then on each strip will be printed 04
08 12 16 20 … 36 the printing being so
arranged that each strip shall have the
numbers of the previous strip printed one
place further to the right. From this
4to, pp. 60, [2, advertisements]; occasional light foxing.
advertisements a little browned; original publisher’s grey
printed wrappers.
THEREBY [drop-head title]. [No place,
printer or date, i. e. London, Bernard Alsop,
1637].
£1,250
This
highly
illustrated
publication
documents the development of the chair
from the earliest days of modernism before
the first world war to the late 1920’s,
including such iconic pieces of furniture as
the Rietveld chair, Marcel Breuer’s designs
and Bauhaus productions next to French
art deco and bentwood chairs by Thonet. This work appeared in the series Das Möbel
als Gebrauchsgegenstand.
FIRST EDITION. 4tp pp. [8]; a little browned;
uncut with backstrip hinged into modern wrappers; a
few passages underlined in ink in a contemporary hand.
138. SEARLE, Mark. TURNPIKES
AND TOLL-BARS, London, Hutchinson
& Co. (Publishers) Ltd. 1930.
£500
LIMITED EDITION, NUMBERED 411 OF 500
COPIES. 2 vols., 4to., pp. xxxiii [1] blank 450 [2];
[vi] 451-871 [3] blank, numerous illustrations (some
coloured), half red rexine, original dust-wrappers.
A comprehensive and profusely illustrated
history, with a wealth of anecdote and
detail.
139. [SHAW, John, sometimes
SHAWE]. HOW TO ORDER ANY
LAND, SO AS IT MAY RETEYNE ALL
THE MOYSTURE THAT FALLETH
THEREON: AND TO IMPROVE IT
In 1637 John Shawe (1608-1672) was a
priest at Allhallows-on-the-Pavement, York.
In this early monograph on the retention of
water in the soil and improvements of the
soil in order keep ‘the Fatnesse, and
Richnesse of the soyle’. Shaw work is
focussed on three points proper banking of
land and drainage; ‘How to prepare barraine
land that yealdeth no profit, for the
Improoving of it, and how to make it fertill’
and ‘The severall benifits that will arise
from Mounding of ground with bankes and
stopping of Currents of landwaters’ The
work ends with arguments on the
profitability of gained from land that has
been prepared.
ESTC 006197162 locates copies in the
Huntington Library and in Rothamsted
Experimental Station Library in Britain;
OCLC adds one copy, in the Bavarian State
Library
140. [SHAW, Simeon]. HISTORY OF
THE STAFFORDSHIRE POTTERIES, and
the Rise and Progress of the Manufacture
of Pottery and Porcelain with references to
genuine Specimens, and Notices of
Eminent Potters. Hanley, for the Author,
1829.
£700
FIRST EDITION. 12mo, pp. viii, 244; original
boards; rebacked with cloth, printed lettering-piece.
Dedicated to Josiah Spode, this chronicle of
the potter’s art in Staffordshire is enlivened
by personal anecdotes, which the author
relates from the reminiscences of master
craftsmen and workers in the staple
industry of the county. ‘The book will
always be a reference … for the student of
early Staffordshire pottery. All subsequent
writers on the subject have derived their
information from this modest volume, and
much is still to be learned from it’ (Solon).
Solon 390.
141. SHERATON, Thomas. THE
CABINET DICTIONARY, containing An
Explanation of all the Terms used in the
Cabinet, Chair & Upholstery Branches, with
Directions for Varnish-making, Polishing,
and Gilding. To which is added A
Supplementary Treatise on Geometrical
Lines, Perspective, and painting in general.
London, printed by W. Smith and sold by
W. Row, J. Mathews, Vernor and Hood, M.
Jones, and by the author, 1803.
£950
FIRST EDITION. 8vo, pp. viii, 440, 8
‘subscribers’ names’, [2, ‘subscribers’ names, additional
to those of the former list’], 87 engraved plates, several of
which are folding; minimally spotted in places only;
original publisher’s reversed calf, covers and spine ruled
in gilt, gilt-stamped red morocco lettering-piece on spine;
extremities worn and with repairs, front inner himge
with repair.
The furniture designer and drawing teacher
to the trade Thomas Sheraton had begun to
publish in 1791 The Cabinet Maker and
Upholsterer’s Drawing-Book, which became an
instantaneous success. ‘In 1803 he
published his second furniture book, The
Cabinet Dictionary, containing 134 engraved
designs and a lengthy text. By this date
avant-garde taste had moved towards the
more massive and archaeologically correct
vocabulary of classicism advocated by C. H.
Tatham, but not yet popularized. Sheraton
included ornamental features of this type in
the dictionary, but married somewhat
awkwardly to more conventional forms.
The strength of the dictionary lay more in
its detailed descriptions of the production,
use, and function of different types of
furniture and of the interiors for which they
were intended. Its weakness was the
author’s verbosity and tendency to stray
into irrelevant areas’ (Oxford DNB).
The collation of plates is confusing, as the
numbering for the list of plates does not
correlate with the actual engraved
numbering. There are two sets of plates
numbered 1 to 4 and the main bulk of
plates numbered 1 to 80, whereby plates 77
and 78 are actually one. The two-page list of
additional subscribers is rarely found in
other copies of this work.
Berlin Katalog 1235.
142. [SHIPBUILDING]. YARROW &
Company. STEAM LAUNCHES AND
TORPEDO BOATS. London: Poplar, [c.
1885].
£2,750
Oblong large 8vo, title printed in mauve on card, 94
photographs (103 x 152 mm) each mounted on card
with printed numbers and ornamental framework; cards
a bit browned, a few photos spotted; original tan
morocco, ruled in black and gilt, remnants of brass
clasp, front cover titled in gilt Little Screws, inner
dentelles gilt, all edges gilt; somewhat rubbed, front cover
with small portion worm-damaged.
A fascinating photograph album probably
produced in order to solicit orders from
customers visiting the Yarrows yard.
The album includes photographs of elegant
little steamers for private use together with
photographs of the many torpedo boats
built for the expanding navies of the world.
The private boats begin with ‘The
Celebrated Twin Screw Launch “Isis”’ that
Yarrow built during his apprenticeship with
Ravenhill and Salkeld. Others boats include
a ‘Saloon Launch for the Viceroy of Egypt’;
a ‘Twin Screw Launch. in which Lord
Southwell steamed up the Rhine and down
the Danube during the Autumn of 1869’,
‘The “Eclipse,” used as a Ferry at Hobart
Town.’ ‘The “Explorador.” Built to the
order of Colonel Church for the Exploring
the Amazon and Madeira Rivers,’ and also
launches for missionary work at Zanzibar
for Captain Young, this boat was
transported to Lake Nyassa and thus sports
painted numbers as a guide to the jigsaw of
pieces that had to be reassembled after
being hauled over half a continent.
Another boat in kit form was ‘“Le Stanley”
built for L’Association Internationale du
Congo, for the use of Mr Stanley on the
River Congo and its tributaries.’ This
shallow draft paddle steamer was
constructed to ‘explore’ or more correctly
subdue the Congo by H.M. Stanley at the
behest of Leopold II of Belgium. Another
associated photograph has a section of the
boat, strapped to a purpose built carriage,
show how it was to be hauled overland,
Stanley himself seems to be posing for the
camera in front of this section while some
burly workers grapple with the ropes.
The yard started to convert to the
production of torpedo boats in the 1880s,
as orders flooded in from from the
governments of Brazil, Spain, Russia, Italy,
Austria, Argentina and German navies One
photographs for the British government
and dated March, 1879 proudly states that
when loaded a speed of 21.9 knots was
achieved ‘3 knots faster than any similar
vessel constructed at that time’. Other
torpedo boats illustrated include one
destined for Brazil shown hauled onto the
deck of a battleship; another advanced craft
being powered by electricity.
The engineer and shipbuilder Sir Alfred
Fernandez Yarrow (1842–1932) ‘rapidly
developed the business after 1875. Shallowdraught river and lake boats, such as the
Ilala, were built for use in Africa, and
vessels were generally prefabricated for easy
carriage and reassembly on site. The
enthusiasm for torpedo boats by the
world’s navies was a huge boost to Yarrows
and the subsequent development of
destroyers was equally beneficial. The
Yarrow water tube boiler, a design of classic
simplicity, was another development,
stemming from dissatisfaction with the
performance of existing boilers. They were
installed in warships from 1887 and found
to be lighter and more economical … In
1897 the business was incorporated as a
limited liability company, Yarrow & Co.
Ltd. Despite the success that the company
enjoyed, Yarrow perceived that the Thames
was in decline as a shipbuilding river and
that a move was necessary in order to
remain competitive. Between 1906 and
1908 the enterprise was moved to
Scotstoun, on the River Clyde, a site chosen
after careful deliberation.’ (ODNB)
143. SMITH,
Albert.
THE
POTTLETON LEGACY, A STORY OF
TOWN AND COUNTRY LIFE, London,
D. Bogue, 1849.
£90
FIRST EDITION. 8vo, pp. viii, 472, 20
engraved plates by Hablot K. Browne, half calf, gilt
tooled spine, labels, marbled boards, matching edges and
end. papers.
Published at the height of railway mania the
story consist of the efforts of an
unscrupulous investor and a villainous
subcontractor to possess themselves of the
property of a miserly old lady, who has
been persuaded to make a will in favour of
her niece and to the disinheriting of her
nephew. one feels sure that the villains will
come to no good and the cousins will win
the day.
Wolff 6416a.
145. [SOCIETY OF ANTIQUARIES].
VETUSTA MONUMENTA: Qvae ad rervm
Britannicarvm memoriam conservandam
Societas Antiqvariorvm Londini svmptv svo
Edenda Cvravit. London, [various printers],
1747-1789 -1796- 1810-1815.
£2,500
FIRST EDITIONS. Four volumes in two, large
folio, pp. [Vol. I.] 4, 4, 3; 70 engraved plates; [Vol.
II.] pp. 4 ( misprinting 4 as ‘3’), 4, 2, 2, 4, 2, [ii],
15, 8, 5, 7, 7, 5, 2, 13, 5, 7, 2, 2, 3; 3; 55 engraved
plates; [Vol. III] pp. 17, 6, 5, 4, 4, 14, 7, 2, [ii], 44,
9, 13, 2, 1, 15, 19 (index for volume I-III, 1810); 45
engraved plates [Vol. IV] pp. 3, 17, [i], 3, 2, 3, [1],
l [1], 2; 52 engraved plates; in total 222 engraved
plates (several folding and double-page size, two handcoloured); and 5 engravings in the text; occasionally a
little foxed; early nineteenth-century calf, spines and
covers ornamented in gilt, gilt-stamped red morocco
lettering-pieces; hinges and corners restored.
The Society’s first Secretary, William
Stukeley, was a strong advocate of the
importance of accurate drawings and the
value
of
engravings
to
convey
understanding of historical monuments and
antiquities. The series issued under the
collective
title
Vetusta
Monumenta
encapsulated the increasingly scientific
approach to the past that developed during
the eighteenth and nineteenth centuries.
144. SOCIETY OF ANTIQUARIES.
LIST OF PRINTED BOOKS IN THE
LIBRARY OF THE SOCIETY OF
ANTIQUARIES OF LONDON. London, F.
Pickton for The Society, 1861.
£75
8vo, pp. iv, ii, [2, blank], 166, [2, blank]; light
marginal offsetting from binder’s glue to title and blank;
otherwise clean in the original publisher’s cloth, front
cover lettered in gilt; hinges with short slits at head and
tail, a little spotted.
First edition of the catalogue of the oldest
archaeological library in the country.
Included are the rules of the library, issued
in December, 1860.
The Society was fortunate in being able to
employ one of the country’s leading
engravers, George Vertue, who was
responsible for almost every print issued by
the Society until his death in 1756. He was
succeeded James Basire, who had among
his apprentices the artist and poet William
Blake, who is known to have worked on
drawings and copperplates for the Society
while serving his apprenticeship from 1772
to 1779. James son and grandson, both also
called James, continued to serve the Society
as engravers with Jacob Schnebbelie.
‘Almost 350 prints were issued in the series
that was known as Vetusta Monumenta from
1747 but which began with the first print of
the lamp issued in 1718. All were printed on
imperial-folio size paper (21 ½ × 14 ½ in.;
54.6 × 36 cm). Most were published before
1842, although the series continued
intermittently until 1906, and all but three
related to Great Britain. The title page,
issued in 1747, followed Stukeley in
outlining the purpose of the series as the
preservation of the memory of British
things. The Society was thinking of future
generations; concerned by the number of
losses of historic monuments, it included
drawings discovered of buildings previously
demolished that were ‘thus transmitted to
posterity The 70 engravings in the first
volume were accompanied by no more than
brief descriptive captions, but gradually
more text was added, which developed into
substantial articles. There was a great
diversity of subjects and any survivals from
the past were seen as suitable: coins, seals,
documents, historic buildings, wall
paintings and mosaics were all featured. By
producing representations of ordinary
objects, the Society extended the idea of
what would be acceptable for publication,
and some of the first illustrations showing
archaeological excavations in Britain were
included . Although drawings were often
prepared in watercolour, such as those
attributed to William Blake of monuments
in Westminster Abbey they were
reproduced in black and white. Colour
plates were first published in 1803… . ‘
(Brian Nurse. Bringing Truth to Light
http://makinghistory.sal.org.uk/assets/essa
ys/08_BN_Bringing_Truth_to_Light.pdf)
Three further volumes were published, the
last of which remained unfinished.
Catalogue of the British Architectural Library,
early imprints collection, IV, 3115-3119
146. STANHOPE, Elizabeth Still,
Countess of Harrington. THE
STORKS. THE FALSE PRINCE, FROM
THE GERMAN, freely translated. London,
Henry Sotheran, 1875.
£100
Square 12mo, pp. 78; entirely unopened in original
publisher’s blind-stamped purple cloth, spine ruled and
lettered in gilt; spine discoloured due to humidity.
This is a free translation of two of Wilhelm
Hauff’s romantic fairy tales. Elizabeth Still
Stanhope, née Pearsall (1819-1912) was a
painter and writer, who had spent most of
her youth in Germany.
Not in Alston, Women Writers or OCLC;
COPAC lists three copies, in the National
Library of Scotland, at Oxford and in the
British Library.
147. STOW, John A SURVEY OF
THE CITIES OF LONDON…, London,
W. Innys [et al.], 1754, 1755.
£16,500
SIXTH AND BEST EDITION. 2 vols., folio,
titles printed in red and black, pp. xx, [8] contents,
758; , pp. [2] title [3]-838, [14] binder’s and index,
132 engraved plates, including many double-page,
folding plates and maps; neat early twentieth-century
brown morocco, spines in seven compartments with
raised bands, lettered and dated in gilt, inner gilt
dentelles, gilt edges by Rivière.
The best edition, with the famous series of
plates of London squares, all of them built
since the previous Survey of 1720. They are
depicted here for the first time. The
spring to mind … The contents of
Strawberry Hill were put up for sale fortyfive years after Horace Walpole’s death (in
1842). The auctioneer responsible was that
famous master of his craft, George Robins.
The Catalogue is an example of his fulsome
style … Many pieces were bought by the
great collectors of that time, Lord
Northwick, the Duke of Bedford and the
Duke of Sutherland among them’
(Hermann, pp. 116-121). - A complete but
somewhat
dog-eared
copy
made
presentable in a modern binding.
150. STRUTT,
amendments to the text in this edition,
however, like the 1720 edition, are by
Strype.
Adams 37.
148. [STRAWBERRY
HILL].
EPILOGUE TO THE THEATRICAL
REPRESENTATION AT STRAWBERRY
HILL. Written by Joanna Baillie, and
spoken by the Hon. Anne. S. Damer,
November, 1800. [London, 1800].
£90
Jacob
George.
SYLVA BRITANNICA; or, Portraits of
Forest Trees, distinguished for their
Antiquity, Magnitude, or Beauty. London,
Published for the Author, n.d. [1831-36].
£1,250
Royal 8vo, pp. viii, 151; additional etched vignette title
and 49 plates etched after J.G. Strutt, all on India
Paper; title and front fly-leaf with repaired holes to lower
inner margins, corner of one plate with repair, only
occasional light foxing; contemporary green pebble-grain
cloth, black paper label on spine; rebacked relaying the
original backstrip.
4to leaf printed on both sides, with integral blank,
Hazen, Detached Pieces 94: ‘ … genuine
enough … but certainly not printed at
Strawberry Hill.’
149. [STRAWBERRY HILL - SALE
CATALOGUE]. CATALOGUE OF
THE
CLASSIC
CONTENTS
OF
STRAWBERRY HILL, collected by Horace
Walpole, [London], George Robins, 1842.
£150
4to, title, pp. xxiv, 250, lithographic portrait
frontispiece on India paper, wood-engraved title and text
vignettes; some foxing to frontispiece, occasionally a little
spotted; modern calf-backed green cloth, spine with red
label lettered in gilt.
‘When there is talk of English collectors,
the names of Horace Walpole and
Strawberry Hill are some of the first to
Octavo edition of the original folio work,
first issued 1822-6. The author cites the
history of many of the Kingdom’s ancient
trees including the Tortworth Chestnut, the
Tutbury Wych-elm and the Great Oak of
Panshanger. Jacob George Strutt (17901864) became, after studies in Switzerland
and Rome, the English pictorial specialist of
trees. He painted Torquato Tasso’s oak tree
in Rome, and after the present series, he
etched the Deliciae sylvarum, or grand and
romantic Forest Scenery in England and Scotland.
The present work is a complete and
comprehensive study of trees and their
surroundings, from all over England and
Scotland.
Bridson & White C537; Nissen BBI 1907.
151. [SURVEY OF LONDON].
SURVEY OF LONDON, VOLUME XL,
THE GROSVENOR ESTATE IN
MAYFAIR, PART II, THE BUILDINGS.
London, The Athlone Press for the Greater
London Council, 1980.
£50
4to, pp. xix, [1] 429, [1], frontispiece and 96 photoplates, 83 text figures, 2 folding panoramas and folding
map in rear pocket, original cloth with dust-jacket.
the principal towns, villages, churches,
gentlemen’s seats, commons, heaths and
hills, parish and other boundaries, canals,
wind and water-mills, roads, lanes, toll-bars
and rivers.
153. THACKERAY,
Makepeace
THE
William
NEWCOMES.
Memoirs of a Most Respectable Family.
Edited by Arthur Pendennis, Esq. With
illustrations on steel by Richard Doyle.
London: Bradbury and Evans, 11 Bouverie
Street 1854.
£300
FIRST EDITION BOUND FROM THE
ORIGINAL PARTS. Two volumes, 8vo, pp. viii, 380;
viii, 375 [1] blank; with engraved title-page to each
volume and 46 full-page engraved plates, some
discoloration and foxing contemporary half green
morocco over marbled boards, some rubbing.
Published over two year, Thackeray’s
peculiar style reached perfection in his
portrayal the marriage market and early
Victorian life.
152. SWIRE, W., and W. F.
HUTCHINGS. A MAP OF THE
COUNTY PALATINE OF CHESTER.
Divided into Hundreds & Parishes, From
an Accurate Survey, Made in the Years 1828
& 1829. By W. Swire & W. F. Hutchings,
London. London, Published by Henry
Tessdale & Co. 302, High Holborn, August
1st, 1832.
£750
Large engraved map [990 × 1330mm]; dissected and
mounted on linen, fine original full-wash colour, South
West view of Chester Cathedral, lower right, edged in
green silk, lower left silk edging missing; housed in
original tree calf pull-off slipcase, spine ruled in gilt, red
morocco label lettered in gilt to spine, rubbed.
A fine example in full original wash colour.
The large calligraphic title at the upper right
surmounts the ‘Scale of Miles’ and vignette
view of the Customs House in Liverpool. A
table of explanation towards the bottom left
outlines a wealth of topographical detail,
Illustrated by Richard Doyle, with some of
his most delightful vignettes and chapter
headings. Thackeray himself took exception
to the illustration at p. 35 of volume I
illustrating Charterhouse boys playing
marbles, this he thought historically
inaccurate and had it supressed in later
editions.
154. THOMSON, James. RETREATS: A
series of Designs, consisting of Plans and
Elevations for Cottages, Villas, and
Ornamental Buildings. London, Printed for
J. Taylor, Architectural Library, 59, High
Holborn, 1827.
£2,000
FIRST EDITION. 4to, pp. viii, 32; 41 engraved
plates including 31 hand-coloured aquatints; pp. 16
‘Works recently published.’ half-title with foxing and a
few finger marks to a number of plates; uncut in modern
half calf, spine lettered in gilt
‘At the time this book was published
Thomson acted as executant architect for
Cumberland Terrace and Cumberland
Place, Regent’s Park … In 1842 Thomson
was involved in the planning of the
Ladbroke estate development, Notting Hill
… Between c.1827 and 1853 Thomson
worked for Joseph Neeld, a lawyer and later
MP, and collector of Victorian sculpture,
who had inherited a fortune and bought an
estate on the Wiltshire–Somerset border.
Construction, centring particularly on the
villages of Alderton, Grittleton, Leigh
Delamere, and Sevington, included schools,
farmhouses, lodges, and cottages’ (ODNB).
Abbey Life 76; Archer 333.1; Weinreb Cat.
35 No, 234.
155. THOMSON,
Peter.
THE
CABINET-MAKERS SKETCH BOOK, A
Series of Original Details for Modern
Furniture. Glasgow and Edinburgh, William
Mackenzie, [1852-53].
£1,350
Folio, pp. 12, iv, 45, with engraved title, engraved
dedication, folding plate (tears repaired) and 94 plates
(1 double-page), numerous text illustrations;
occasionally a bit browned or spotted; contemporary half
calf over cloth; spine with gilt-stamped lettering-piece;
hinges and corners worn.
A pupil and later assistant to John
Buonarotti Papworth, James Thomson
(1800-1883) was a successful designer of
villas in the post Regency period. His work
consists of three categories: cottage
including ichnographic representations of
residences: country villas or ‘retreats’, and
ornamental building. Though most of the
designs include plans, Thomson designed as
well a few ‘irregular buildings’, as those ‘are
often preferred by persons of limited
income.’ The work continued to be reissued
until 1854 by which time many of the
designs where surely outdated; however, the
plans and concepts of the buildings would
still be useful.
Issued in 20 parts, this collection of eclectic
and predominantly extremely curvilinear
neo-baroque furniture design is preceded by
an article on perspective. and one on
geometry. Many designs seem to be inspired
by Thomson’s visit to Paris in 1851 and
they mark the onset of mid-Victorian
design with uncluttered sweeping curves
and the move away from neo-classicist
influences. The Scottish furniture designer’s
influence was literally far-reaching:
Governor Sir William Denison replaced the
original furniture of the Government
House of Sidney in 1857 with more
sophisticated ‘modern’ designs, which were
based on Thomson’s book.
UCBA, p. 1983; OCLC: 40510707 cites
three copies at Vancouver, New York
Public Library and the National Art Library.
Two volumes in one, Folio [440 × 290 mm] ff. [2]
title and dedication, [61] [1] title [62-107], [5]
‘Indice’; 124 line engraved plates by Franco Garzolli
including 9 bis and Nos 33/34 on one plate and one
double-page; contemporary half calf, spine decorated and
lettered in gilt, joints repaired, book label of Shipp,
Blandford; amorial bookplate of Sir John James Smith.
Bertel Thorvaldsen (1768 or 1770-1844)
was, after the death of Antonio Canova in
1822, considered the foremost neo-classical
sculptor.
156. THORNTON, Robert John.
TEMPLE OF FLORA with Plates faithfully
reproduced from the original engravings
and the work described by Geoffrey
Grigson with bibliographical notes by
Handasyde Buchanan. London, Collins,
1953.
£700
Folio, pp. viii, 20, colour frontispiece and 11 colour
plates, 1 portrait plate, 2 text plates, 21 black and
white plates; publisher’s crushed half morocco over
boards, top edge gilt, other edges uncut, original
decorative slipcase; a bit dusty and with joints repaired
at foot.
Edition-de-luxe on hand-made paper, copy
number 172 of 250, signed by Grigson,
Buchanan and William Stearn.
157. [THORWALDSEN]. MISSIRINI,
Melchiorre. INTERA COLLEZIONE DI
TUTTE LE OPERE INVENTATE E
SCOLPITE DAL CAV. ALBERTO
THORWALDSEN; Incisa a Contorni con
Illustrazioni del Chiarissimo abate Misserini
dedicata a sua eccellenza Rodolfo Conte di
Lützov … Roma: Nella tipografia di Pietro
Aurelj, con approvazione, 1831.
£1,250
Born and educated in Copenhagen,
Thorvaldsen’s talent was soon recognized
and through a scholarship he was able to
continue his studies in Rome were he was
to remain for most of his working life.
‘Although the heroic quality of his early
Roman work was later modified by certain
naturalistic features, he never abandoned
his fundamental, classicizing ideals. His
pan-European
reputation
led
to
commissions from public and private
patrons in many countries, and in order to
supply these he ran a large and wellorganized studio. His collection of
contemporary paintings was probably the
finest in 19th-century Rome and, together
with many of his sculptures, is now housed
in the Thorvaldsens Museum, Copenhagen
(opened 1848). (Unless otherwise stated,
the models and versions of the works
mentioned in this entry are there.) In the
decades after his death, the taste for Neoclassicism, and thus his reputation, declined,
and it was not until the mid-20th century
that his art was re-evaluated’ (Grove Art).
UCBA p 1985.
18th century satellite
technology and photography
158. [TIPHAIGNE
ROCHE,
Charles
DE
LA
François]
GIPHANTIA: OR, A VIEW OF WHAT
HAS PASSED, WHAT IS NOW
PASSING, AND, DURING THE
PRESENT CENTURY, What Will Pass, in
the World. Translated from the French,
With explanatory Notes, London, Printed
for Robert Horsfield, 1761.
£1,750
FIRST EDITION IN ENGLISH 8vo, 2 parts in 1,
red & black printed title, pp. [iv],130; part title, pp.
125, [2] advertisments; contemporary calf, marbled
end-papers, expertly rebacked to style.
‘Tiphaigne de la Roche made a remarkable
forecast of photography in Chapter 18 of
his book Giphantie (1760) - an anagram on
the author’s Christian name….a book of
fantasies or prophetic vision a la Jules
Verne and H.G.Wells…’ (Gernsheim). This
extraordinary
description
of
the
photographic process occurs in Part I,
Chapter XVII, pp. 93-98.
In Chapter XI, The Mirrour, seems to
describe satellite spying: ‘there are in the
atmosphere portions of air which the spirits
have so ranged, that they receive the rays
reflected from the different parts of the
earth, and remit them to this Mirrour….if
the Mirrour is placed successively in all
possible aspects. It is in thy power to view
the habitations of every mortal…’ Much
else of interest appears in this rare and
charming work, which is at heart an
imaginary voyage.
Raven 678; Gernsheim, The History of
Photography, p. 35
page, by Le Keux and others after Mackenzie, one text
page plan and 28 plates on India paper, one double
illustration and a full page mezzotint portrait by
Reynolds after Owen, double page genealogical table;
occasional soiling to the margins of some plates; original
quarter green straight grained morocco, lettered gilt,
bound by Wilson with his label, pages uncut, rubbed
and corners bumped, foot of spine defective.
Large paper copy of the second, much
expanded edition, privately printed at the
expense of the Earl of Bridgwater, whose
portrait appears in this volume. A first
edition had been issued in 1812. The print
run of the present edition was limited to
200 copies.
Anderson p. 55; Martin p. 305.
Late Regency designs for
chairs by a Bath carver
160. TOMS, W. THIRTY SIX NEW &
PRACTICAL DESIGNS FOR CHAIRS
adapted for the Drawing and Dining Room,
Parlour and Hall. Bath, W. Evans, [c. 1840].
£950
Small 4to; lithographic title and 36 lithographic plates;
original printed boards, maroon embossed cloth spine;
spine repaired preserving original backstrip, light
spotting to endpapers just lightly affecting title.
159. [TODD, James Henthorn].
THE HISTORY OF THE COLLEGE OF
BONHOMMES AT ASHRIDGE, in the
County of Buckingham, founded in the
Year 1276, by Edmund, Earl of Cornwall.
London: Printed by R. Gilbert, 1823. £950
Folio, pp. viii, 91, [2]; engraved frontispiece, double
A rare furniture pattern-book by W. Toms
Junr., ‘carver in general’ who seems to have
had little success with this collection of
designs for chairs. As the title proclaims, J.
Hollway, lithographer of 10 Union Street,
Bath to be the publisher, the original boards
note that the Bath bookseller W. Evans has
recently “purchased all the remaining
copies” and now offers them for sale at the
substantial price of 16 Shillings. The designs
themselves, competently, though simply
executed, are in the early Victorian style
with turned or carved decoration and
occasionally including short notes indicating
their intended use as dinning room, hall or
parlour chairs. Apart from this publication
there is no information on the craftsman,
who was presumably working in Bath.
OCLC records only 3 copies, at the
University of California, Grand Rapids, and
Cleveland Public Library; with COPAC
adding copies at the British Library, Oxford
and V&A.
University, at Ohio State, Indiana and in the
Corporation of London Libraries.
162. [TOY
CATALOGUE]
ILLUSTRATED
CATALOGUE
OF
IRON TOYS. Manufactured by The Dent
Hardware Co. Fullerton, Pennsylvania c.
1905.
£90
Large 8vo, pp. 39, [1] blank; illustrated throughout;
original brown printed wrappers.
The catalogue includes an array of horse
drawn carts, trucks, wagons, fire engines,
also locomotives, and carriages but only
one automobile.
Dent together with two partners, Kaiser
and Newhard, formed The Dent Hardware
Co. in Newark, New Jersey before shortly
thereafter moving to Fullerton, PA. The
company specialised in refrigeration
equipment and children’s toys.
161. [TOWER OF LONDON]. A
NEW HISTORY AND DESCRIPTION
OF THE TOWER OF LONDON, and its
Curiosities, Contained in the Royal
Menagerie, Horse Armory, Spanish
Armory, Small Armory, Royal Train of
Artillery, Jewel Office, Mint, &c. including
an Account of the Spanish Armada; and of
Colonel Blood’s daring Attempt to steal the
King’s Crown Jewels. London, G. Brimmer,
[c. 1810].
£450
163. [TRADE
CATALOGUE].
SILVER AND TIN WARE. [Southern
Germany or Austria c. 1835-40].
£6,000
Large folio (450×300mm); 132 engraved plates on 66
leaves, several of which contain more than one
illustration; original wrappers; slightly soiled, spine torn.
12mo, pp. 36, wood-engraved illustration on title and
wood-engraved vignette of a bird at the end; apart from
a few dog-eared pages clean and fresh in the original
plain wrappers, stitched as issued, ownership inscription
by one Alexandre Doria, dated 1814 on both title
verso and recto.
First published by Bateson in 1806 this rare
and patriotic guide to the Tower gives a
history of the compound, describes its
contents and retells attempts to end the
English monarchy or deprive it of the
crown jewels, as a reminder of the threat
from the Napoleonic Continent.
OCLC locates a single copy of the first
edition, in Alberta and five of the the
present edition, at Berkeley, Depaul
A bewildering variety of designs including
candlesticks (one neatly excised), sconces,
candelabra, lamps, snuffers and trays,
pitchers, cups and cans, napkin rings, coffee
and tea pots, cut glass vessels with silver
fittings, hair and clothes brushes, dressing
glasses, hand mirrors, table and flat wares,
besides nutcrackers, lorgnettes, corkscrews,
buckles, pens, clocks, spurs and an iron
bedstead.
A superlative trade catalogue, unique in our
experience both in size and scope. The
plates are numbered variously throughout, a
few have directions in French (?), while the
last is measured in Wiener Schuh. They are
printed in full size on both sides of the page
with quite admirable clarity.
Bradford; Brighton; Burnley; Cardiff;
Birmingham; Blackpool & Fleetwood;
Doncaster; Hudderfield; Hull; Isle of Man;
London; Manchester; Mansfield; Rochdale;
Rotherham; South Lancashire; South
Shields and for shipment abroad:
Alexandria & Ramleh - with the rear seating
reserved for the Harem ‘II Class’); Anglo
Argentina; Asuncion; Athens; Bahia
Blancha; Batista Campos; Belém, Brazil;
Bucharest; Calcutta; Cape Town; Monte
Video; Nueva Córdoba; Para; Suriname and
Porto Alegre.
164. [TRAMWAYS].
UNITED
ELECTRIC CAR COMPANY. A
REITER-METAMORPHOSEN. NAPOLEON
I. KAISER VON FRANKREICH. Equestrian
Transformations. Napoleon I. Emperor of
France. Metamorfosi Equestri. Napoleone
di primo Imperator. Changements de
Cavalier. Napoleon I. Empereur des
Français [title on lid]. [Germany: ‘D’, c.
1845].
£2,500
COLLECTION OF 53 ORIGINAL
PHOTOGRAPHS built for various
tramway companies in Britain, the Empire
and Latin America. Preston, [c. 1905]. £750
Most of the photographs stamped with the company
name in red ink on the verso.
In 1898 the Electric Railway and Tramway
Carriage Works Ltd. (a subsidiary of a
partnership of two Glasgow merchants, W.
B. Dick and John Kerr, formed in 1875)
took over premises formerly occupied by
the North of England Carriage and Iron
Co. (1867-78). The company grew with the
development for world market in electric
urban tramway systems, and in 1905
changed its name to the United Electric Car
Co Preston Ltd.
165. [TRANSFORMATION GAME].
Six hand-coloured plates heightened with varnish on
thick card, dissected into 18 segments and housed in the
original publisher’s decorated pink box (185 × 215 ×
22 mm.) the lid with a hand coloured lithographic label
with a gilt embossed border; a few flecks of foxing but
generally a very clean.
The six interchangeable characters include
Wellington, Napoleon, Sancho Pansa riding
a large goat, a Latin American Gaucho, an
Arab, and a Saracen knight.
Unusually the characters are divided on a
diagonal pattern into three changeable
sections to form the head and front legs of
the horse; the rider; and the hindquarters.
We have not been able to locate any other
copy of this game although similar item,
later, smaller, and incomplete, is described
in the Gumuchian catalogue.
See Gumuchian, Les livres de l’enfance du XVe
au XIXe siècle 2972.
166. TROUILLARD,
The trams depicted in the photographs
were destined for: Ashton under Lyne;
Pierre.
MEMOIRES DES COMTES DE MAINE.
Le Mans, Jérôme Olivier, 1643.
£350
FIRST EDITION Small 8vo, pp. [xxiv], 197,
[1], [2] ‘Faultes’; title with woodcut device, decorative
initials and tail-pieces in the text; contemporary limp
vellum; spine defective at head, upper edge frayed,
circular stamp of a Jesuit college on title.
Cicognara 201; OCLC locates five copies at
the V&A; Columbia, Yale, UCLA, Chicago
and Harvard.
Troillard (sometimes Trouillart, as on the
title) was a local lawyer who claimed to
descend from an noble family of the
province of Maine. He was one of the first
to examine the history of the Counts of
Maine,
critically
eliminating
much
apocryphal and legendary sources and
documents, held at the local archives.
Trouillard continued this history up to his
own time, concluding ‘La paix est la fin & la
couronne des Roys, & la felicité des
peuples’.
Brunet 969 ‘peu commun’ ; OCLC records
copies at five libraries in the UK and
America, at BL, Yale, Harvard, Newberry
and Michigan.
GEOLOGICAL MAP OF ENGLAND
AND WALES, Showing also the Inland
Navigation by Means of Rivers and Canals,
With their Elevation in feet above the Sea,
together with the Rail Roads & Principal
Roads, London, J. & C. Walker, December
18th, 1835.
£2,500
168. WALKER,
J.
&
C.
Folding engraved and fully hand-coloured map, dissected
and mounted onto linen, measuring approximately 125
× 98cm, contained within the original dark green
pebble grained cloth slipcase, in the form of a book,
spine with gilt bands with red label lettered in gilt,
marbled edges; armorial bookplate of ‘John Amery
FSA’ of Park House, Stourbridge, Co. Worcester.
French Painting Superior to Italian?
167. [VENUTI, Ridolfinoand Jean
Baptiste de BOYER, Marquis
d’Argens].
RISPOSTA
ALLE
RIFLESSIONI CRITICHE Sopra le
differenti Scuole di Pittura del Sig.
Marchese d’Argens. Lucca, Per il Busdrago,
1755.
£450
8vo, pp. [iv], 213, [7], woodcut vignette on title,
woodcut head- and tail-pieces, woodcut initials (the first
one engraved); initially traces of humidity, mainly
marginal, light foxing throughout; contemporary Italian
acid-mottled calf, all edges rubricated; rubbed, head of
spine chipped.
A polemical work attacking the highly
controversial Marquis d’Argens’ Réflexions
critiques sur les différentes écoles de Peinture of
1751, in which he had the audacity to think
French painting was superior to Italian.
Venuti was enraged and wrote his riposte
which in its turn was twice attacked by
Francesco Algarotti. Today the work is
chiefly interesting for its art criticsm, and
for the emergence of national thinking in
art history.
A wonderfully comprehensive map with an
interest that extends far beyond the
geographical features of the country
providing a snapshot of the progress of
industrialisation in 1835. Here the prolific
partnership of J. & C. Walker provides a
graphically coloured representation of the
mineral deposits of England, Wales and
Southern Scotland all linked to a detailed
key. There is also an interesting coloured
cross section from ‘Land’s End to the
German Ocean’. More interestingly,
though, the Walkers depicted railroads
completed or in progress, projected
railroads, canals, copper, tin, lead, zinc, coal
and salt mines. Suddenly, some of the
reasons for the rise of industrial centres or
ports like Sheffield, Manchester and
Tynemouth (at the centre of dense coal
fields and already with extensive rail links)
becomes very obvious. Additionally
Frederick Burr provides an extended note
on the Metalliferous Tracts of England and
Wales.
Clean into the Victorian age
169. WALKER, Mrs. Alexander.
FEMALE BEAUTY, AS PRESERVED
AND IMPROVED BY REGIMEN,
CLEANLINESS AND DRESS; and
especially by the Adaptation, Colour and
Arrangement of Dress, as variously
influencing the Forms, Complexion, &
Expression of each Individual, and
rendering
cosmetic
Impositions
unnecessary … All that regards Regimen
and Health being furnished by medical
Friends, and revised by Sir Anthony Carlisle
… Illustrated by coloured Drawings of
Heads by J. W. Wright and of Figures by E.
T. Parris. London, Thomas Hurst, 1837.
£950
FIRST EDITION. 8vo, pp. xxxvi, 432, with
hand-coloured frontispiece and one engraved and 10
hand-coloured lithographic plates (nine with handcoloured overlays); occasional light toning; original green
morocco, panels in blind and spine blocked in gilt, some
rubbing and upper joints splitting; bookplate of Florence
and William Parkinson.
‘The idea of “cleanliness” which runs
through Mrs Walker’s advice book results,
perhaps, less from external than internal
supervision, turning the female body, with
its fluids and secretions, into a version of
the industrial city’s drains and sewers
circulating human waste’ (Laurence
Talairach-Vielmas, Moulding the female body in
Victorian fairy tales and sensation novels, p. 136).
The concept of ‘cleanliness’ extends
naturally beyond physical appearance, as
one chapter is headed Thought, & c. Wrong
employment of it. The fine hand-coloured
plates with overlays show how to correct an
unwanted tone of the skin with contrasting
clothing and the correction of plumpness or
short limbs with concealing dresses.
The work has been ascribed to Alexander
Walker (1779–1852) and ‘nominally at least
by Mrs Alexander Walker.’ A medical
student in Scotland, and contributor to
several medical journals, Walker came to
London to seek literary work, and went on
to have a prolific literary career, writing or
contributing to a variety of medical and
scientific works, including The Nervous
System (1834), Intermarriage (1838),and Women
psychologically considered … (1839).
See Hiler p. 889 for later American edition.
170. WARE, Isaac. DESIGNS OF
INIGO JONES AND OTHERS, London,
J. Millan, 1743.
£1,100
8vo. engraved throughout, title displaying an urn on
pedestal, index leaf and 48 plates counted as 53 (6
folding), contemporary acid mottled calf, spine gilt, red
morocco label, skilfully rebacked and preserving spine,
armorial bookplate of Thomas Wydham of
Hammersmith.
12mo, engraved portrait frontispiece, title, pp. iv, [2],
ix, [i], blank, [6] contents, 332, 2 advertisement
contemporary black goatskin, covers panelled in gilt,
with gilt corner and side-pieces, spine with raised bands
ruled in gilt, gilt lettered directly onto the spine, marbled
end-papers, gilt edges, (small piece of blank margin on
title restored),
The Second Edition, but the first ‘pocket’
edition, and rarer than the first edition, the
quarto of 1736. No further editions
appeared in the eighteenth century with this
title. A lovely, unpretentious copy.
172. WHEATLEY,
Henry
B.
LONDON PAST AND PRESENT Its
History, Associations, and Traditions,
Based upon the Handbook of London by
the late Peter Cunningham London: John
Murray, Albemarle Street 1891.
£1,250
The second issue of a work that illustrates
chimney-pieces, stair-cases etc., by Jones,
Burlington and Kent. In fact Burlington’s
own designs for piers flanking the entrance
to Chiswick (pl. 30) acts as the book’s
pivotal point where plates 1-29 are after
Inigo Jones and plates 31-53 by William
Kent. All are finely cut by the experienced
engraver P. Fourdrinier. ‘Most of these
designs (for chimney-pieces, staircases,
ceilings, mouldings and ornament) are
already executed, & the rest, are at
Burlington House’ announced the original
1735 edition. Both issues would become
welcome source works for contemporary
architects.
Harris 910; Berlin Kat. 2274; Fowler 437;
Colvin, p. 865.
EXTRA ILLUSTRATED WITH 170 PLATES
Three vols., 8vo, pp. xxxii 545 [1] blank [2]
advertisements; [iv] 622; [iv] 607; 170 engraved and
lithograph plates including 15 hand-coloured;
contemporary half green morocco, spines gilt in six
compartments, two being lettered in gilt, top edges gilt,
by Hatchards 167 Piccadilly.
171. WESLEY, Samuel POEMS ON
SEVERAL OCCASIONS, THE SECOND
EDITION,
WITH
ADDITIONS,
Cambridge, Printed by J.Bentham, Printer
to the University, 1743.
£450
An attractive and comprehensively
extended set of Wheatley’s eternally useful
guide.
173. WHYMPER, Edward. THE
VALLEY OF ZERMATT AND THE
MATTERHORN. London, John Murray,
1897.
£295
FIRST EDITION. 8vo, 24 [illustrated
advertisements], [ii], 2, advertisement, [iii]- xiv, [2],
212, 25-44 [advertisements with illustrations], highly
illustrated in the text, with folding panorama based on
a photo by Whymper and folding map (loose); this
lightly browned; printed pictorial wrappers, round edges;
spine with tears.
Best known for the first ascent of the
Matterhorn, in 1865, Edward Whymper
(1840-1911) was a pioneer of alpinism,
writer and illustrator. Trained as a wood
engraver he illustrated most of his books
himself, such as the present one, which had
come out for the first time in 1896.
FIRST EDITION. Small 4to, pp. [vi], 28,
wrappers, stitched as issued; title lightly spotted.
A short description of the collections of the
De La Gardie family, Swedish soldiers and
patrons of the arts. the pamphlet describes
the manuscripts and printed books and the
museum, containing maps, herbals,
scientific instruments (among them a clock
which once belonged to Tycho Brahe),
arms and armour.
OCLC locates three copies in America, in
the Getty, Grolier Club and Harvard.
175. WILLIS, Robert &John Willis
CLARK. THE ARCHITECTURAL
ANTIQUITIES OF THE UNIVERSITY
OF CAMBRIDGE and of the Collleges of
Cambridge and Eton. Edited with large
additions and brought up to the present
time by John Willis Clark. Cambridge: at the
University Press, 1886.
£350
4 Vols. pp. [i-iv] [2] errata [v-vii] vii-cxxxiv 630 [2]
blank, 19 plates ; [i-v] vi-xiii [i] [2] errata 776, 32
plates; [i-v] vi-xi 722 [2] advertisements, 5 plates; [i-v]
vi, 29 double-page plans with transparent overlays;
contemporary fawn morocco baked green cloth with
vellum tipped corenres, spines in compartments with red
and green labels lettered in gilt.
Fine copies of the first edition such as this
are scarce due to their fragile bindings.
174. WIESELGREN,
Petrus.
DELICIAE BIBLIOTHECAE DE LA
GARDIANAE IN LÖBERÖD, quas
leviter adumbratas, consent. ampliss. facult.
philos. Lund et praeside Andr. O. Lindfors.
Lund, ex Officina Berlingiana, 1823. £285
‘Willis’s most important unfinished work
was an architectural history of Cambridge
University. When the Archaeological
Institute visited Cambridge in July 1854,
Willis lectured in the Senate House on the
collegiate
and
university
buildings.
Subsequently he laboured assiduously but
sporadically to compile a complete history.
He lectured on the same theme at the
Architectural Congress of 1860. As Rede
lecturer in 1861 he addressed a Senate
House audience including the prince
consort on the architectural and social
history of Trinity College. By June 1869
Willis had resigned his lectureship at the
Royal School of Mines and was seeking
support from Cambridge University Press
for a monumental architectural history of
his alma mater. Before embarking on the
final leg of that project, [his wife] became ill
and died. Shocked by his bereavement, he
wrote no more. His notes went to his
nephew, John Willis Clark, who struggled
for a decade to reconstruct Willis’s
intentions in The architectural history of the
University of Cambridge, and of the colleges of
Cambridge and Eton, (ODNB).
176. WISE,
Francis.
FURTHER
OBSERVATIONS UPON THE WHITE
HORSE and other Antiquities in Berkshire
With an Account of Whiteleaf-Cross in
Buckinghamshire. Oxford: Printed for
Thomas Wood, 1742.
[bound with:] WISE, Francis. A Letter to Dr
Mead Concerning some Antiquities in
Berkshire. Oxford, Printed for Thomas
Wood, 1737.
[bound with:] STUKELEY, William.
Palaeographia Britannica: Or Discourses on
Antiquities in Britain. Number 1. London,
Printed for R. Manby, 1743. .
£450
THREE FIRST EDITIONS. 3 works in one
volume, 4to, 57; 58; [iv], 52; one text engraving, 2
text figures, 2 engraved plates in pagination, one folding
engraved view of the landscape around the Crux
Saxonica 2; 2 engraved folding plates; engraved
frontispiece and 2 engraved folding plates; the first title
minimally spotted; fresh copies in later diced calf,
rebacked to style, red morocco label, marbled edges;
rubbed; from the noted library of the historian and
author Sir Henry Edward Bunbury, with his engraved
bookplate.
I & II. Two early pamphlets debating the
origins of the White Horse at Uffington.
Described by Mr. Blakiston as ‘a
competent, perhaps too competent
archaeologist’, Francis Wise sought to show
that the White Horse is a monument
constructed by the West-Saxons in memory
of a great victory obtained over the Danes
in A.D. 871. His work was criticised in a
pamphlet ‘The Impertinence and Imposture
of Modern Antiquaries display’d’ sometime
thought to be by the Rev. William Asplin.
Wise responded with his ‘Further
Observations upon the White Horse’ in
which he states “When I first saw the White
Horse, I could not hesitate to pronounce it
an antiquity of the Saxon age …”.
III. Stukeley’s ‘Palaeographia …’ was
published in 3 numbers 1743-1752.
Number 1 contains ‘an account of the
Oratory of Lady Roisia Foundress of
Royston, discovered at Royston, in august
1742.’
I & II. Upcott p. 23.
177. [WOLSELEY
CARS].
THE
NEW WOLSELEY SUPER SIX. [cover
title]. [Nottingham, J. Howitt & Son for
Wolseley Motors Limited in Birmingham.
August, 1937].
£75
Oblong large 4to, pp. 22, [2], most pages with fine
colour-printed illustrations, price list bound in; original
black wrappers, front cover embosses and printed in gold
and green.
This is the rather stylish and luxuriously
produced advertisement for the newly
launched Wolseley Super-Sixes, which was
available as 16, 21 or 25 h.p. saloon.
OCLC locates a single copy, at the
Smithsonian Institution.
178. WOOD, Robert. THE RUINS
OF PALMYRA, otherwise Tedmor, in the
Desert, London: Printed in the Year M
DCC LIII [1753].
£4,000
FIRST EDITION. Folio, pp [6], [1] 2-50; 3
engraved tables of inscriptions and and 59 engraved
plates i.e. numbered I-LVII with the panorama plate I
unjoined on three separate sheets; contemporary calf,
decorated spine with red label lettered in gilt;
contemporary amorial bookplate of ‘J[ames]. Ibbetson of
Leeds’ (1747-1795).
First Edition of the immensely influential
book; ‘by all accounts a triumph such as no
English architectural book had ever before
achieved (Harris)’. The plates are after
drawings by the Italian architect, G.B.
Borra.
Bosnia-Herzegovina.
There are apparently variants of the
unpaginated contents and series numbers of
this rare publication; the present copy is
marked as volume II on the spine and on
the front cover is printed ‘Groupe II,
classes 7 à 10.’
OCLC does not locate a single copy in
America.
180. YETTS, W. Perceval THE
CULL CHINESE BRONZES London:
University of London, Courtauld Institute
of Art M CM XXXIX [1939].
£650
LIMITED EDITION NO. 3 OF 350 COPIES IN
A SPECIAL BINDING. 4to, pp. x, 197 [1] blank;
‘Robert Wood’s discovery of Palmyra and
his great publication … prompted interest
in Zenobia’s city at many levels. Architects
incorporated motifs in buildings in many
parts of Europe’ (Richard Stoneman,
Palmyra and its Empire. Zenobia’s Revolt against
Rome, p. 198).
Harris 939; Berlin Kat. 1884 & 1887;
Fowler 443 & 444; Cicognara 2722.
35 plates; contemporary brown crushed morocco the
upper cover with the Cull coat of arms, enclosed by a
oval Chinese design, the corners each with the Cull crest,
spine with raised bands and lettered in gilt by Sangoski
and Sutcliffe; bookplate of Hermann Marx.
179. [WORLD EXHIBITION 1900].
EXPOSITION
INTERNATIONALE
UNIVERSELLE DE 1900. Monographies des
grandes industries du monde. Volume
annexe du catalogue officiel. Paris and Lille,
Lemercier and L. Daniel, [1900].
£250
8vo, pp. [351], highly illustrated; clean and fresh in the
original publisher’s colour-printed wrappers designed by
Theobald Chartran, rounded edges.
This publication - filling in the gaps left by
other and offical catalogues documenting
the legendary world exhibition of 1900 in
Paris - has long sections on the printer
Lemercier
himself,
the
Compagnie
Internationale de Wagons-Lits (including a
photograph of the wreckage of a train on
the Balkasn, where only the carriages built
bu the company were left intact), the car
manufacturer Peugeot, and on Alfons
Mucha’s decoration of the pavillion of
This important collection of bronzes, now
in the British Museum, was collected by
A.E.K. and James K. Cull, and here
described by Precival Yetts whose career
developed from naval surgeon to important
sinologist.
This copy is clearly a specially bound,
probably
for
presentation.
RECENT CATALOGUES
213
Art & Illustration
214
London A-L
215
London M-Z
216
Illustrated Works
217
Recent Acquisitions
LISTS
XLIV
Sales & Collections
XLV Gardens & Gardening
47 DULWICH GALLERY
MMXII