recent acquisitions - Marlborough Rare Books
Transcription
recent acquisitions - Marlborough Rare Books
CATALOGUE TWO HUNDRED AND EIGHTEEN RECENT ACQUISITIONS MARLBOROUGH RARE BOOKS LTD. 144-146 NEW BOND STREET, LONDON, W1S 2TR Telephone: 020 7493 6993 Fax: 020 7499 2479 www.marlboroughbooks.com e-mail: [email protected] MARLBOROUGH RARE BOOKS LTD. 144-146 NEW BOND STREET, LONDON, W1S 2TR Telephone: 020 7493 6993 Fax: 020 7499 2479 www.marlboroughbooks.com e-mail: [email protected] For any inquiries please contact Jonathan Gestetner or Jolyon Hudson PRICES ARE IN POUNDS STERLING . Autograph letters & documents are exclusive of VAT Bankers: Butterfield Bank (UK) Ltd, 99 Gresham Street, London EC2V 7NG Account No: 64110001 Sort Code: 40-52-26 Terms: 30 Days SWIFT: LJSOGB2L IBAN: GB52LJSO40522664110001 EURO ACCOUNT SWIFT: LJSOGB2L IBAN: GB53LJSO40522669815620 We can also accept US Dollar and Euro cheques Customers may pay by Visa, Mastercard or Amex VAT NO. GB 896 1174 90 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