(ILLUSTRATED BOOKS, WOODCUTS, 18TH CENTURY). BIBLE IN LATIN
225 x 157 mm. (9 7/8 x 6"). 11 p.l., 998 (i.e. 996) pp., [26] leaves. With mispagination, but complete. Contemporary vellum, raised bands, ink lettering on spine, a handful of leaves unopened. With engraved frontispiece, woodcut title vignette, initials, and tailpieces, and WITH COPIOUS WOODCUT ILLUSTRATIONS. Title in red and black. See: Clair, "A History of European Printing," p. 301. ?Vellum vaguely soiled and with several small stains and marks, but very sound and generally pleasing. Contents with an inkblot in one margin, a handful of folds to corners, other isolated imperfections, but IN FINE CONDITION INTERNALLY, EXCEPTIONALLY CLEAN AND FRESH THROUGHOUT. This is an especially clean copy of a profusely illustrated Vulgate Bible, with woodcut blocks that date from at least the 17th century. The Pezzanas were an important printing family who succeeded the Giunti after that firm's decline. According to Clair, during the 17th and 18th centuries the Pezzana family of printers "surpassed all others in Italy . . . for the production of Bibles and liturgical books." The woodcuts in the present work also appear in other Bibles printed by the Pezzanas, with the earliest being an edition from 1669. The frontispiece here deserves special attention. It is the work of Elisabetta Piccini (1644-1734), a Venetian artist who learned drawing and engraving from her father, Giacomo Piccini. She changed her name to Sister Isabella after entering the Franciscan convent of Santa Croce, but continued to produce engravings--particularly for prayer books and religious manuals--over the course of many years. The woodcuts in the present copy are a good deal richer than what one would expect in a book of this sort from the 1720s.
363 x 223 mm. (14 1/2 x 8 3/4"). 2 p.l., 29, [1] pp.; 19, [1] pp. Modern retrospective quarter polished calf over blue marbled boards, smooth spine with red morocco label. With wood-engraved ornaments on title pages and headpieces at start of texts those used by Henry Woodfall. Foxon P-881; Griffith 458, 467; ESTC T5663; Foxon P-955; Griffith 447; ESTC T5738. ?First work with repair at inner margin and extending slightly under the titling (but with no text affected), perhaps (or perhaps not) lightly washed and pressed, a couple minor stains or smudges, but an excellent copy, clean and fresh internally, with extremely ample margins, in an unworn sympathetic binding. Pope's imitations of Horace are marked by satirical commentary and brilliant re-creation of Horace's style. "No other verses in English," Day tells us, "have so captured the conversational ease and polished sophistication of the Roman poet." The "First Epistle," sometimes called "Epistle to Augustus," is what Day calls "Pope's definitive evaluation of his own Augustan age and its standards of life and art." He discusses the works of his contemporaries and the writers of the previous century, "balancing the claims of correctness with poetic fire." As a consequence of this approach, the present item is not only a remarkable satire, but also an important piece of criticism. Pope does not confine his commentary to literature: in casting George II as Augustus, he provides a subtle political message, referencing the king's well-known indifference to the arts. In the "Second Epistle," cleverly adapting Horace's "Refutation of Lyric Poetry," Pope describes his own problematic relationship with his muse. He claims to be losing his ability to write more poetry, but, as literary scholar William Hutchings points out, Pope uses the poem itself to refute this: "this is certainly not 'plain prose.' It brings something Pope is not usually recognized for: sheer lyrical beauty.". FIRST EDITIONS ("Second Epistle" with footnote on p. 12 misnumbered 16 [for 15]; line 16, p. 4 reading "Godfry").
DICKENSON, JONATHAN
172 x 100 mm. (6 3/4 x 4"). 136 pp. Tasteful deep blue morocco by Bayntun (stamp-signed on front turn-in), the covers double ruled in gilt, the spine with raised bands, gilt in double-ruled compartments with annular cornerpieces and gilt lettering, wide leather turn-ins with fleuron cornerpieces, all edges gilt. Verso of title page with early ink owner's inscription of Mary Langstaff; ink marginalia to the final page. Sabin, 200015; Ayer, 70. ?Very probably washed, but still quite fresh. A lovely copy inside and out. This is a finely bound copy of one of Colonial America's most important captivity narratives. Jonathan Dickenson (also Dickinson, 1663-1722), was an Anglo-American Quaker merchant who eventually became mayor of Philadelphia. On his first voyage to Philadelphia from his prior home of Jamaica, he and his party were shipwrecked off the coast of Florida, on what is now Jupiter Island. The group, which included his family, the Quaker missionary Robert Barrow, and a group of enslaved Africans, was taken captive by the local Jobé (or Jaega) people following the wreck. Also known as "Jonathan Dickinson's Journal," this is his firsthand account of this captivity and the party's subsequent harrowing journey north to St. Augustine. Originally published in 1699, "God's Protecting Providence" was a bestseller in its own time, used by its Quaker publishers as a conversion tool, and eagerly received by British audiences as a sensational account of the apparent savagery of the native Floridians. Historian Jason Daniels notes that this sensationalism was clearly an intentional choice on the part of the publishers, as demonstrated by the differences in language between the printed version of the treatment received by the party and the (kinder) portrayal in the original manuscript. Despite its biases, this text is incredibly valuable to historians, particularly because it is a rare record of direct interactions between Europeans and the indigenous population of this area. It provides exceptional insights into the motivations and practical actions of these native groups, as they adjusted to a swiftly changing world and managed contact with multiple European groups entering their territory. This copy is housed in a very pleasant Bayntun binding, and compares quite favorably with other copies of this important work to come to market in recent years.
153 x 110 mm. (6 x 4 3/8"). Single column, verso with 16 lines in a gothic book hand. Rubrics in red, one four-line initial in blue with white tracery, flanked with colorful foliage on a burnished gold ground, WITH A HALF-PAGE ARCH-TOPPED MINIATURE OF ST. JOHN ON PATMOS BY MAÎTRE FRANÇOIS OR HIS WORKSHOP, the text and miniature with bar border on three sides decorated with colorful foliage on burnished gold, and surrounded by a full border of acanthus leaves, dense rinceaux, colorful fruit and flowers, gold ivy leaves, and bezants. Remnants of paper mounting on inner margin. ?Fore edge trimmed very close (just touching border), border a bit faded in lower corner, miniature with noticeable paint loss in several places revealing underdrawings, and a number of smaller chips (including St. John's face) elsewhere. The section of the Book of Hours known as the Gospel Lessons open here with an image of St. John on Patmos, the Greek island where the saint was exiled and is believed to have written the Book of Revelation. John is depicted on a small patch of land, surrounded by water and far from the turrets rising in the distance. With the exception of his attribute, the eagle, to keep him company, the saint is completely isolated and intently focused on writing upon a long scroll draped across his knees. Our miniature was likely executed in the workshop of the so-called Maître François, who ran a highly successful Parisian atelier during the years between 1460 and 1480, producing illuminated manuscripts small and large, sacred and secular. Characteristic of the Master's style are richly colored scenes, interiors depicted with considerable detail, women and children with pale, porcelain complexions, and male figures with darker, weathered flesh tones. Although the paint loss prevents us from seeing the artist's finished vision, it does reveal some of the ink underdrawings, allowing a rare glimpse of the preparatory design underneath. Though not in perfect condition, this once fine leaf is still attractive--and is meant to be attractively priced.
SPENSER, EDMUND
166 x 95 mm. (6 1/2 x 3 3/4"). x, 594 pp.; x, 541 pp. Two volumes bound in one. Very nice crimson straight-grain morocco, gilt, by Riviere & Son (stamp-signed on verso of front free endpaper), covers with double gilt fillet border, raised bands, spine handsomely gilt in compartments with floral frame, gilt lettering, densely gilt turn-ins, marbled endpapers, all edges gilt. Both parts with frontispiece portrait (Spenser in vol. I, Elizabeth I in vol. II) and illustrated title page by Garth Jones printed on Japon. ?Ends of joints a little rubbed, spine leather slightly darkened (but gilt still bright), with minor fading on front, and small dark spot at bottom of front and rear covers, but the binding sound and pleasing on the shelf; occasional wrinkling to head margin of leaves, other trivial imperfections internally, but the text clean, fresh, and bright. Printed on fine, thin paper that allows two volumes to fit comfortably in one, this is a pretty copy of a pocket-sized edition of Spenser's famous allegorical verse paean to Elizabeth and the Elizabethan age, in a binding by an historic British firm. Loosely based on Ariosto's "Orlando Furioso," and the English literary work most comparable in scope to the "Divine Comedy," Spenser's "Faerie Queen" was an immense undertaking (in nine-line stanzas invented for this poem). In Day's words, Spenser (ca. 1552-99) was the first modern English poet to achieve major stature, and to demonstrate "with his fluency in many meters and stanzaic forms . . . that English was at least the equal to any other language as a vehicle of great poetry." While "The Faerie Queene" looks backward as the culmination of the allegorical verse tradition of the Pearl Poet, Langland, and Chaucer, Spenser has influenced with "his fertile imagination and especially his sensuous imagery and melodic language" nearly every important English poet who followed him. The binding here is the work of one of the foremost names in English binding. Robert Riviere began as a bookseller and binder in Bath in 1829, then set up shop as a binder in London in 1840; in 1881, he took his grandson Percival Calkin into partnership, at which time the firm became known as Riviere & Son (as here), and the bindery continued to do business until 1939.
310 x 215 mm. (12 1/4 x 8 1/2"). LXXXX, 91-114, CXV-CXX, 121-159 leaves (of 160, lacking final blank). Commentary by Domitius Calderinus and Georgius Merula. Handsome 18th century red morocco, gilt, covers bordered with wave roll, raised bands, spine compartments with pomegranate centerpiece, leaf cornerpieces, two olive brown morocco labels, marbled endpapers. Recto of front free endpaper with engraved bookplate of D. Johannis Caroli de Auria ex comitibus Montis Aldei; verso with bookplate of Georgij et Ambrosii de Auria, marchionum Montis Aldei. Title page with 8 x 4/14" paper pasted on at head, to obscure early ink inscription. Some epigrams numbered by hand, occasional early ink marginalia. Goff M-313; BMC V, 597; ISTC im00313000. ?Small abrasion to lower board, extremities lightly rubbed, a couple of leaves a little browned, occasional minor marginal foxing, but A FINE COPY, quite clean and fresh internally, in a well-preserved, extremely attractive binding. This is a particularly desirable copy of the scarce final incunabular edition of Martial's epigrams, offered here in a handsome binding, with desirable provenance, and in fine condition. Born in Roman Spain, Martial (ca. 40 - ca. 103) is said to have invented the genre of the epigram with his brief, witty, and satirical pieces that contrast the scandal of city life with a romanticized notion of his youth in the provinces. Of Martial's corpus of more than 1,500 epigrams, Smith says that "it is impossible not to be amazed by the singular fertility of imagination, the prodigious flow of wit, and the delicate felicity of language everywhere developed in this extraordinary collection, and from no source do we derive more copious information on the national customs and social habits of the Romans during the first century of the empire." This edition includes the commentary of the Italian philologist and scholar Domizio Calderini (ca. 1444-78), one of the most prominent Renaissance editors of classical authors. Venetian printer Christophorus de Pensis came from Mandello, on Lake Como. His first dated work appeared in 1488, and his press was active until the end of the century. ISTC lists 80 works printed by de Pensis, some on behalf of other publishers. The present work was previously owned by the Doria (originally de Auria) family, an old and wealthy Genoese house whose members included princes, counts, and the occasional bankerone of whom helped finance Columbus' expeditions. The bookplates of "D. Johannes Caroli" and "Georgii et Ambrosii" can be found in a number of other important early printed works, many of which are similarly bound in 18th century calf or morocco. This edition of the "Epigrams" is a very rare book in the marketplace: we could trace only one other (incomplete) copy at auction.
(GARDENING). JUSTICE, SIR JAMES
250 x 125 mm. (8 x 5"). 8 p.l., xxvi, 443, [1] pp., 6 leaves (index). Plain contemporary calf, spine with raised bands, head and tail of spine (and some edges and corners) skillfully restored. Four copperplate diagrams inserted into the text, three folding; additionally with two attractive woodcut headpieces and one tailpiece, all with scrolling foliate motifs. Front pastedown with handwritten bookplate of L. A. Skinner, 4 The Ridge, Coulsdon, Surrey. ESTC T129360. ?Spine and edges of the boards dried and darkened, lower corner of front cover with large discoloration from damp, text with very thin dampstain (all suggesting the book survived a fire?), but the binding sturdy and the text surprisingly clean and fresh nevertheless. This is a nicely illustrated work that had a huge impact on British horticulture as the first work to focus in depth on the practicalities of growing plants in a cold climate like that of Scotland. Scottish lawyer and horticulturist Sir James Justice (1698-1763) was well known among his contemporaries for the collection of rare and exotic plants he curated on his Midlothian estate. He is credited with having cultivated the first pineapple in Scotland and was elected to the Royal Society for his botanical efforts. Fellow Royal Society member William Houston named in his honor the genus Justicia, which contains more than 900 species of (mostly tropical) flowering plants. This work, his best known, was originally published in Edinburgh in 1754 under the title "The Scots Gardiners Director." Because of its obvious relevance for gardeners in Scotland, it was an immediate success there, as well as in northern England and Ireland. This led to the re-titling of the book to "The British Gardener's Director," and the publication of two further editions in Edinburgh, followed by our 1765 Dublin edition, which seems to be quite rare on the market.
240 x 185 mm. (9 1/2 x 7 1/4"). Single column, verso with 15 lines, in an attractive gothic hand. Rubrics in red, line-enders in pink and blue with white tracery and small gilt shapes, one two-line initial in blue with white tracery and filled with pink and blue leaves, on a burnished gold ground with hairline extenders bearing gilt leaves, one three-line initial similarly painted but with spiky gilt extenders, these connecting thick vertical and horizontal bar borders painted pink and/or blue with gilt caps and a centerpiece, a thinner vertical gilt and painted bar on the opposite side, A LARGE ARCH-TOPPED MINIATURE DEPICTING THE ANNUNCIATION TO THE SHEPHERDS, one of the shepherds sitting and the other standing, a small dog in the foreground, a herd of sheep in the background, and an angel emerging from a gilt half-circle in the sky, bearing a banderole with the words "puer natus est et filius nobis," all this surrounded by A FULL BORDER of hairline vines with many gilt leaves, colorful flowers, and acanthus, the verso with a single thin bar on one side and partial border, the leaf extended on two sides with cuttings from the border of another leaf clearly from the same manuscript, giving the illusion of a much wider decorative border. With remnants of small paper mounting tabs on all sides. See: Avril and Reynaud, pp. 23-24. ?Minor paint loss to faces of two shepherds, a bit of smudging to the borders (mostly noticeable on the extensions on the verso), but a very attractive leaf, the miniature fresh and very well preserved. This skillfully executed miniature features a lovely composition, sophisticated palette, and details that associate it with the workshop of the Bedford Master. The Annunciation to the Shepherds is often one of the most charming scenes to be found in any Book of Hours, and this example is no exception. Our two shepherds seem to have been enjoying a moment of rest from their labors when the angel Gabriel bursts with great radiance onto the scene, bearing a banner announcing the birth of Christ. The shepherd sitting on the left still holds his bagpipes, as if caught mid-song, while the standing shepherd on the right shades his eyes from the dazzling golden rays that accompany the angel's arrival. Although their canine companion takes no notice, several sheep pause their grazing to look up at the miraculous event (amusingly, their dumbfounded looks are not unlike those on the faces of the shepherds). The scene is largely painted in pale greens, pinks, and white, coupled with beautiful dark blue and charcoal gray garments. Named after three spectacular manuscripts made for John of Lancaster, Duke of Bedford, the so-called Bedford Master ran an important and highly influential atelier in Paris, inspiring followers and imitators. The Bedford Master was especially active around 1420-30, but his hand can be found in miniatures as early as 1409 (including the "Grandes Heures" of Jean de Berry), and his workshop continued to flourish into the 1430s and beyond. The present composition shares some notable similarities to the Annunciation to the Shepherds found in the Bedford Hours (BL Add. 18850), including the small silver stream and distinctive tree in the foreground. Also, the standing shepherd with his hat pushed to his back and the sitting shepherd with a small sack around his waist make an appearance in the Bedford Hours, as does the sleeping hound. Even the angels share near-identical hairstyles and show similar calligraphic flourishes on their banderoles. We also note certain stylistic preferences of the Chief Associate and successor of the Bedford Master, later known as the Dunois Master, who favored soft colors similar to those seen in the present miniature. A former owner took the unusual step of "enhancing" the leaf on two sides with matching borders cut from another leaf from the same parent manuscript, giving the illusion of even wider borders on an already generously-sized leaf. This, in a way, is an unfortunate addition, but it allows for the superbly painted miniature to be offered at a price that is dramatically less than if its borders had not been enlarged.
GROTIUS, HUGO
160 x 95 mm. (6 1/2 x 3 3/4"). 7 p.l., 384 pp. Contemporary panelled calf, raised bands, later red morocco label with gilt lettering. Title in red and black with a triangular vignette of fruit and scrolling foliage; each section with foliated capitals and ending with a woodcut tailpiece depicting a basket of fruit. Front flyleaf with early ink owner's inscription of "G. Ibotson." Ter Meulen & Diermanse 981. ?Joints with thin cracks, covered stained and scarred, other minor signs of use, but the binding entirely solid and inoffensive. Dampstains throughout, almost always quite faint, but occasionally more apparent. A decent unsophisticated copy. Dutchman Hugo Grotius (1583-1645) was one of the most learned men of his time, and after his landmark publication "De Jure Bellis et Pacis," he was recognized as founder of the modern science of the law of nature and nations. In his early life, Grotius was recognized as a precocious genius (at 15 he edited the encyclopedic work of Martianus Capella), but he later was sentenced to life imprisonment on theological grounds. He continued to study and write in prison, smuggling his books in and out in a laundry chest, and he eventually made his escape in the same container. By far the most popular of Grotius' works, the present book is a treatise maintaining the truth of the Christian religion, as opposed to other religions--rather than a polemic in support of a particular variety of Christianity at the expense of another Christian sect. The piece reflects the author's attitude toward the great schism: he dedicated himself to reconciling Catholic and Protestant by emphasizing a common piety, an approach for which he was made to suffer greatly. "De Veritate Religionis Christianae" was first published in 1627, and was initially written for an audience of sailors, whom Grotius deemed in danger of being lured away from the true faith during their travels. (This copy's salt water stains suggest that it may have achieved this intended purpose.) Our edition is a reprint of the 1729 Hague edition, with a title page (with its triangular vignette) matching the copy in the British Museum, as noted by Ter Meulen and Diermanse.
215 x 133 mm. (8 1/2 x 5 1/4"). viii, xl, 376 pp. Sympathetic light speckled half calf over marbled paper boards, raised bands, red and black morocco labels. With 54 hand-colored plates, including frontispiece, illustrating plants discussed in the text. A couple of ink corrections in a contemporary hand. Johnston 760. ?Variable foxing, with perhaps a fourth of the text noticeably foxed, but the plates almost entirely unaffected, a few stains to the gutter from pressed flowers (now absent), other trivial defects, but a perfectly readable copy, with quite attractive plates, in a pleasing, virtually unworn retrospective binding. First published as "The Useful Family Herbal," in 1764, this popular work provides a description of British plants helpful for at-home remedies. The highlight of the volume is the well-drawn and richly colored plates, which Nissen tells us were drawn by the important natural history illustrator Sydenham Edwards (1769-1819), whose work DNB describes as "among the best scientific illustrations of the day." Hill (1716?-75) was a perplexingly self-destructive personality who nevertheless managed to produce useful books. He was a surgeon, an unsuccessful actor, and an apothecary who made considerable money selling quack medicines; he published several books (including some botanical works of substantial value like the present one) and a steady series of (usually abusive) periodicals; he was constantly scheming to make money and to raise his reputation above its rightful altitude; and he was always embroiled in controversies because of his ungovernable proclivity toward impertinence and derision as well as his overweening vanity. This last quality, together with Hill's direct attacks on Garrick and his friends, prompted the latter's memorable epigram reflecting the doctor/actor's reputation among his detractors: "For physic and farces, his equal there scarce is:/ His farces are physic, his physic a farce is." After publishing some not insignificant scientific writings, including a supplement to Chambers' "Dictionary," Hill tried to obtain admission to the Royal Society, but his unprincipled character blocked any hope of membership. Despite his reputation, "The Family Herbal," offered here in its sixth edition, was obviously viewed as serious and significant enough to be reprinted a half century (and later) after its first appearance.
AN EARLY MEDIEVAL MANUSCRIPT BIFOLIUM FROM ISIDORE OF SEVILLE'S "SENTENTIAE."
225 x 320 mm. (8 3/4 x 12 1/2"). First leaf in a single column, second leaf in one and two columns, 25 lines in Caroline minuscule. Bound into a blue cloth folder, upper cover with black morocco label with gilt lettering. Capitals struck in red, chapter numbers and headlines in red and some accented with green, two two-line initials in red and partially filled with green. With several marginal notations, probably in a later hand. From the collection of Ernst Boehlen, his MS 0905 ES (see below). ?Lower margin of the left folio trimmed close, losses to all or parts of two dozen(?) words on facing folio, a couple of creases and other minor defects, but a very legible and generally quite pleasing early bifolium. This early bifolium comes from an important dogmatic work written by a scholar of late antiquity who exerted a monumental influence on Medieval thought. As bishop of Seville, the Church Father, encyclopedist, and historian Isidore (ca. 560-636) made significant contributions to the administration of the Church, but he is best remembered for his very substantial output of theological, historical, and scientific work that, taken together, served to preserve an important legacy of classical culture and to exert a profound influence on Medieval learning. Composed as a guide for the clergy, the "Sententiae" is a collection of theological writings drawn from the work of St. Augustine, Gregory the Great, and other Church Fathers. Divided into three books, it covers a wide range of topics, including ethics, virtues, vices, and the nature of God, emphasizing the importance of wisdom and righteous living. The present bifolium comes from the middle of a quire, and thus contains continuous text from the end of book II, chapter 44, on abstinence, to the beginning of book III, which lists the book's contents and contains the first few sentences of the first chapter on flagellation. The text is written in a pretty and extremely legible Caroline miniscule that shows the beginnings of some proto-gothic traits, such as simple abbreviations and less space between letter forms. Isidore's "Sentences" are not as widely known as his other major work, a compendium of universal knowledge known as the "Etymologiae," and manuscript examples--from any century, let alone one as early as this--are infrequently encountered on the market. RBH seems to list just two leaves (one from a 14th century English manuscript, the other a 12th century fragment offered as part of a collection) and one 16th century manuscript. The present piece was once part of the distinguished collection formed by the late Ernst Boehlen, focusing on the history of Western script and Medieval art.
210 x 130 mm. (8 1/4 x 5"). x, [11]-583, [1] pp. 19th century black half calf over light purple buckram, raised bands, spine gilt in compartments with floral centerpieces, red morocco label, all edges sprinkled. With 12 engraved plates illustrating scenes from the novel. Contemporary ink inscription to the title page verso reading "Osmond Castle." ESTC P2979. ?The leaves trimmed a bit close, affecting the occasional running title or page number at the head or a few catch-words (but on three leaves slightly affecting the text), one tear resulting in the loss of a few words at the end of seven lines of text, one larger repaired tear resulting in a significant loss of text on another leaf, scattered light soiling and stains, intermittent dampstains. Spine a little rubbed at the ends, boards a bit faded, corners with some wear, but the binding entirely sound and generally very pleasing. This illustrated volume is a testament to the longevity of Samuel Richardson's novels. The story of a virtuous servant girl who resists the unwanted attention of her employer's son until marriage is offered, "Pamela" was first issued in November 1740 as a complete novel in two volumes. The tale was a runaway success, going to five editions in 1741 and spawning so many imitations, parodies, and unauthorized continuations that Richardson (1689-1761) was compelled to wrest the narrative back under his own control by writing two additional volumes. The second part of the work features Pamela as the exemplary wife of a country gentleman, charming even snobs and winning back her straying spouse. Day describes the plucky maid-turned-lady as "the first great character creation of English prose fiction," wryly observing, "as much as we may dislike her prudential morality, we must recognize here a complete human being." And even the book's moralizing is far more than just palatable: as Day notes, Alexander Pope, after staying up all night to read the novel, declared, "it will do more good than a great many of the new sermons." This copy is the first of a series of novels released by the printer Alexander Hogg under the title "Mr. Hogg's New novelists magazine; or Lady's & gentleman's entertaining library consisting of a complete selection of the most esteemed British novels, written by eminent authors." With this series, Hogg set out to "counteract the poisonous effects of the Trash which is generally circulated under the title of NOVELS. [by printing] a New, Cheap, and Elegant Edition of all those NOVELS in the English Language which deserve reading." The series also included Richardson's other famous works, "Clarissa" and "Sir Charles Grandison," as well as "Don Quixote," "Gil Blas," and others. "Pamela," which Hogg describes in the introduction as a work that "exhibits the Beauty and Superiority of Virtue," was clearly still found entertaining and instructive some 50 years after its initial publication.
RICHARDSON, SAMUEL
170 x 100 mm. (6 3/4 x 4"). x, 410 pp. 19th century smooth calf by J. Leighton (stamp-signed on the front free endpaper), covers blind-stamped with armorial designs, raised bands, carefully rebacked, retaining much of the original backstrip, all edges dyed red. Each section with attractive woodcut headpieces and tailpieces, and with decorative initials beginning each. Bookplate of William Stirling on the front pastedown; a blue bookplate reading "A N A &c. KEIR" (Keir House being near Stirling in central Scotland) on the rear pastedown. Sale 47; Rothschild 1753; ESTC T58996. See Day, "History of English Literature 1660-1837," pp. 223-28. ?The spine a little scuffed and marked, some wear at corners and along edges, isolated light stains internally, but the text almost entirely clean. This is a compilation of wisdom from Samuel Richardson's three famous novels, "Clarissa," "Pamela," and "History of Sir Charles Grandison." Richardson (1679-1761) was a largely self-educated printer who loved to write letters and who, at the age of 50, began composing novels using the epistolary form. While undeniably moralizing, Richardson's novels are far more exciting than a modern reader might expect, featuring kidnapping, betrayals, ardent love, and even an instance of justified murder. All this is enacted by characters Day calls "the first in English prose fiction that must be acknowledged as complete and complex human beings." Among the many fans of Richardson were Samuel Johnson, Honoré de Balzac, Thackeray, Fielding, and Jane Austen. The present work was composed as a companion to the author's popular novels in response to requests from friends and admirers to have a handy "collection of maxims, aphorisms, &c. which they think would be of service to the world . . . as they relate to life and manners." While this book itself was not as popular as the novels--no further editions were printed following our 1755 first edition--it did have a notable impact on popular culture. It inspired the production of decks of cards with the sentiments printed on them, advertised as "Entertaining Cards. . . the whole designed, while they amuse and entertain, to establish the Principles of Virtue and Morality in the Minds of both Sexes." These cards were hugely successful, still being issued in 1771, when a ninth edition of them was put out. Our copy is distinguished because it belonged to Sir William Stirling-Maxwell (1818-1878), an art historian and bibliophile known for his impressive library. A Scottish M.P., Knight of the Thistle, and Chancellor of Glasgow University, he also collected paintings, engravings, ceramics, and silver, and he wrote several books relating to his interests, including "Annals of the Artists of Spain" (1848) and "An Essay towards a Collection of Books Relating to Proverbs, Emblems, Apothegms, Epitaphs and Ana." (1860).
170 x 110 mm. (6 3/4 x 4 1/4"). 28 p.l., 494 pp., [1] leaf (blank); 3 p.l., 463 pp. FINE CONTEMPORARY BLIND-STAMPED PIGSKIN over bevelled wooden boards, covers framed by decorative lattice roll, upper cover with central panel depicting Judith, a sword in her right hand, the head of Holofernes in her left, signed "M R" above the caption; lower cover with a panel showing Jael in the act of killing Sisera, her left hand holding a chisel to his temple, her right hand, holding a hammer, raised to strike a blow, the plate signed "M R" at the end of the caption, raised bands, ink titling at head of spine and on fore edge, edges stained red, two original brass clasps. Title page with 17th century(?) ownership inscription of Georg Laurence Seydenbecher; verso of title with round blue ink armorial stamp; occasional neat ink marginalia in an early hand. VD16 N 413; USTC 684027. For the binding: Haebler I, 381-82. ?Text slightly and uniformly toned because of paper quality (half a dozen quires a bit more browned), isolated small ink stains or foxing, pigskin with minor soiling to edges, just a hint of wear to lower corners, but A FINE COPY, the contents thoroughly fresh, and the unsophisticated binding with beautifully distinct stamps. This is a very rarely seen copy of an outline of the essentials elements for a humanist education, written by a noted German pedagogue, and offered here in a wonderful blind-stamped binding featuring two fierce biblical heroines. Symbols of courage embraced by the Reformation, Jael and Judith appeared on front and back covers of a number of 16th century bindings, and both are shown here in elegant Renaissance garb, clutching the weapons they used against enemies of Israel. Jael offered the Canaanite general Sisera refuge in her tent following a battle and, having lulled him to sleep with warm milk, is shown on the rear cover here in the act of striking a stake through his temple. Beneath the image is the text "Sic pereant omnes inimici tui, Domine" ("So perish all of your enemies, Lord" [Judges 5:31]). Judith pretended to seduce the Assyrian Holofernes, then got him drunk and cut his head off; here on our front cover, she triumphantly displays his head, brandishing his sword. Below her is a verse from Psalms: "Voluntatem timentium es faciet dominus" ("He will do the will of them that fear him" [Psalm 144]). We did not find these plates in EBDB or any of the usual reference works, but they are likely the work of bookbinder Matthias Radmann, who became a master binder in Leipzig in 1546 and who signed his work "M R," often at the end of a caption, as on the Jael plate. A student of Melanchthon, Michael Neander (1525-95) became director of the college of Ilefeld, where he developed an influential curriculum with a heavy emphasis on Latin and Greek classics, rhetoric, philosophy, history, theology, physical science, and geography; the school attracted students from all over Europe. In our volume, he collects excerpts of important authors on these and associated subjects, beginning with the Greek Fathers on theology and continuing through philosophy, mathematics, medicine, chemistry, history, natural sciences, geography, rhetoric, poetry, and grammar. Our 1585 edition seems to be the sole printing and is very rare. Bindings of this sort are almost never found now so clean and with their elaborate blind decoration so extraordinarily sharp.
(CROMWELL, OLIVER). MORLEY, JOHN
220 x 140 mm. (8 3/4 x 5 1/2"). viii, 510 pp. Very pleasing deep brown pebble-grained morocco by Bumpus (signed on the front turn-in), covers ruled in gilt and black with scrolling fleuron cornerpieces, raised bands, spine with compartments outlined in black and gilt, gilt-ruled turn-ins, all edges gilt. Frontispiece portrait of Cromwell after the painting by Samuel Cooper. ?Spine very slightly sunned, the frontispiece and half title with minor foxing, but an extremely pleasing copy, the text very clean and fresh, and the attractive binding lustrous and showing virtually no signs of use. First published in 1900, this is an important biography of one of the most controversial of English leaders, written by the universally respected British Liberal statesman, writer, and newspaper editor John Morley (1838-1923). Composed after very considerable research and with great care, Morley's work expands upon the biographies of C. H. Firth and Samuel Rawson Gardiner, but with a somewhat more disparaging lens. It is generally sympathetic, but critics of the account suggest that Morley's own political concerns at a vexing time in British politics seem to color his portrait of Cromwell in a negative way that is unwarranted. The book was first published in October of 1900, and this, the fourth edition, was released in January of the following year. Our copy is a particularly attractive one, in an elegant yet restrained binding by the distinguished Bumpus bindery.
230 x 125 mm. (9 1/8 x 5 1/2"). Three volumes. EXTREMELY PRETTY DARK GREEN MOTTLED CALF BY MORRELL (signed on verso of front endpaper), covers bordered with French fillets with rosette cornerpieces, flat spines ornately gilt in compartments with diapered panel at head and foot flanked by wide bands of closely spaced oblique lines, two compartments with ring cornerpieces and Neoclassical urn centerpieces, crimson and tan morocco labels, turn-ins gilt with dense floral roll, marbled endpapers, all edges gilt. With six engraved plates, including the frontispiece portrait of Congreve by Chambers after the painting by Kneller, and illustrations for each of the five plays. All volumes with the red morocco book label of William Burden to the front pastedown. Gaskell 16; Straus & Dent 46; Lowndes I, 510; Brunet II, 224; Graesse II, 250; ESTC T26067. ?The slightest wear to lower corners, trivial imperfections only in the text: a very attractive set in just about perfect condition. In the preface to his 1758 edition of Milton, Baskerville spells out the aims that are to guide his--and after him, many another--special press: "It is not my desire to print many books," he says, "but such only, as are books of consequence, of intrinsic merit, or established reputation, and which the public may be pleased to see in an elegant dress, and to purchase at such a price, as will repay the extraordinary care and expense that must necessarily be bestowed upon them." One can easily see these remarks reflected in the present printing of the collected works of the Restoration dramatist and poet Congreve (1670-1729), the acknowledged master of the artificial comedy of manners. The highlight of the present collection is the group of such comedies, in which wit and fashion play a larger role in one's destiny than probity and moral fortitude. The most famous of his confections in this genre is "The Way of the World." Additional works included here are three other comedies ("The Old Batchelor," "The Double Dealer," and "Love for Love"), a masque ("The Judgment of Paris"), and an operatic libretto ("Semele"). And, for a major contrast, there is Congreve's most unusual and only somber play, "The Mourning Bride," a melodramatic tragicomedy that hands out happiness for the virtuous and punishment for the wicked, in just the manner called for by his contemporaneous critics Jeremy Collier and John Dennis. Included at the end of the third volume is a section of 273 pages containing the author's "Poems upon Several Occasions," and the set concludes with Congreve's even-handed and thoughtful work of criticism entitled "A Letter to Mr. Dennis, Concerning Humor in Comedy." The Baskerville Congreve is not a rare book, but a handsomely bound copy in particularly fine condition like the present one is uncommonly desirable. Our copy was from the library of William Armistead Moale Burden II (1906-84), a prominent banker, art collector, bibliophile, and philanthropist. He was Eisenhower's ambassador to Belgium from 1959 to 1961.
(MEDICINE - 16TH CENTURY SURGERY). GUILLEMEAU, JACQUES
308 x 210 mm. (12 1/4 x 8 1/2"). 6 p.l., 134, [8], 135-368 pp., [6] leaves. Two parts in one volume. Very fine retrospective antiqued calf, covers bordered by double gilt fillet, raised bands, spine gilt in compartments with central fleuron, gilt lettering. With three engraved title pages (one for the volume as a whole plus one for each part), and 32 FULL-PAGE ENGRAVINGS, 21 of anatomical subjects and 11 of surgical instruments. With the often-lacking folding table "Sommaire et description méthodique de la Chirurgie de Iacques Guillemeau, chirurgien du Roy." Occasional faded ink marginalia. Waller 3853; Wellcome 3001; Adams G-1563. ?Title page with vague general soiling and restored inner margin (two other leaves with small restorations at gutter), text lightly washed (with just slight overall yellowing as a result), final six leaves with light oil stain at upper inner margin, but an excellent copy nevertheless--almost entirely clean and still fresh, and in an unworn binding. An unusually attractive copy of a book seldom found in appealing condition. This is the uncommonly seen first collected edition of the works of Jacques Guillemeau (1550-1613), the pupil and son-in-law of the famous surgeon Ambroise Paré and surgeon to Charles IX, Henry III, and Henry IV. Covering a wide range of surgical knowledge and practices, it contains, most notably, "Le Traité des maladies de l'il," recognized as the first French ophthalmological work; and "Chirgurie françoise," containing an illustrated catalog of surgical instruments used in the day, with several chapters discussing the procedures in which these instruments were used. Other important works included here are the "Anatomie universelle," containing anatomical plates after Vesalius and a long list of maladies affecting different parts of the body; treatises on tumors and dysentery; and a short essay titled "Apologie pour les Chirurgiens," in which the author defends surgeons against accusations of causing the deaths of patients with severe illnesses. One of the most important aspects of Guillemeau's "Oeuvres" is that it is written entirely in French. At a time when the surgical world was divided into "short coats" (barber-surgeons with no formal credentials), and "long coats" (members of the Collège de St Côme, who were required to take formal exams in Latin), texts such as this, which provided clear, precise information and instructions in one's native tongue, went a long way toward educating lay practitioners and elevating the profession as a whole.
185 x 115 mm. (7 1/4 x 4 1/2"). 4 p.l., 416 pp. Pleasing contemporary speckled calf, raised bands, compartments densely gilt, two original brass clasps and catchplates. With woodcut initials, tailpieces, and musical notation. Printed in red and black. With the armorial bookplate of Sir Robert Shafto Adair on pastedown and verso of title; front free endpaper with ex-libris of Nathan Comfort Starr. See: Voet, "The Golden Compasses" I, 239. ?Joints lightly rubbed, minor crackling to the spine, boards with a couple of scratches and loss of patina in places, but the unrestored binding still lustrous, solid, and pleasing; in fine condition internally. This is a very clean, unsophisticated copy of the "Roman Ritual," containing the services performed by priests, including baptisms, the Eucharist, marriages, funerals, and exorcisms. It dates from the period when the Plantin Press was run by Anna Maria de Neuf (1654-1714), widow of Balthasar III, who "ruled it with a firm hand right up to her death." (Voet) Under Anna's administration, the press weathered the War of Spanish Succession, and in 1705 became completely devoted to printing liturgical publications, such as the present work. This copy was previously owned by Sir Robert Shafto Adair, 1st Baronet (1786-1869), of Flixton Hall, Suffolk. His library included an impressive number of antiquarian books and illuminated manuscripts, including the 15th century eponymous Adair Hours, which sold at Sotheby's in 1989 for £269,500. A later owner of our volume was Dr. Nathan Comfort Starr (1896-1981). The descendant of one of the founders of Harvard University and educated there and at Christ Church College, Oxford, Starr was a professor of English for many years, specializing in Arthurian literature. He was a Fellow of the Newberry Library and a member of the Grolier Club, which exhibited items from his collection of Arthuriana in 1972.
(BINDINGS - SANGORSKI & SUTCLIFFE). RACKHAM, ARTHUR, Illustrator. AESOP
290 x 227 mm. (11 1/2 x 9"). xxix, [1], 223, [1] pp. SUPERB HONEY-BROWN CRUSHED MOROCCO, GILT AND INLAID, BY SANGORSKI & SUTCLIFFE (stamp-signed on front turn-in), covers with Arts & Crafts-style frame of gilt rules punctuated with inlaid green morocco dots, inlaid green morocco Tudor roses at corners with four leafy branches, upper cover with gilt titling at head of central panel, central gilt-ruled medallion contain the letters "E B" in inlaid blue and green morocco with a collar lettered "XMAS 1912," this surrounded by a wreath of gilt vines and eight inlaid green morocco roses, raised bands, spine compartments with French fillet frames, two panels with gilt lettering, turn-ins with multiple gilt rules, top edge gilt, other edges untrimmed. Housed in a felt-lined buckram clamshell box. With 20 full-page black and white illustrations, numerous illustrations in the text, and 13 COLOR PLATES, as called for, each mounted on heavy brown stock and protected by lettered tissue guard. Printed on Large Paper. WITH HAND-ILLUMINATED PRESENTATION LEAF BOUND IN: "TO EDMUND" written in burnished gold, surrounded by curling leafy vines in blue, orange, and green, "WITH BEST WISHED FOR A MERRY CHRISTMAS AND A HAPPY NEW YEAR" written in black ink, an ornament below it in colors and gold, and "FROM THE BINDERY / XMAS. 1912." in black and red ink at foot. Front pastedown with engraved bookplate of EMB and EWB; front free endpaper with ex-libris of L. W. Jordan Jr. and with pencilled inscription " To Roxy from Edmund." Hudson, p. 169; Latimore and Haskell, pp. 38-39. ?The typical offsetting on free endpapers from binder's glue used for turn-ins, very small, very faint areas of transfer from acidic mounts used for color plates (wherever tissue guard doesn't fully cover a facing leaf), other trivial imperfections, but still QUITE A LOVELY COPY, clean and fresh internally, and in an unworn handsome binding. In a fine binding by an eminent English workshop, this is Rackham's take on the famous fables, populated with charming animals anthropomorphized to just the right degree, along with wistful maidens, ancient crones, and some seriously sinister trees. Arthur Rackham (1867-1939) studied art at Lambeth School, where the work of his fellow student Charles Ricketts influenced his development. As Houfe says, soon after Rackham joined the staff of "The Westminster Budget" in 1892, he began concentrating "on the illustration of books and particularly those of a mystical, magic, or legendary background. He very soon established himself as one of the foremost Edwardian illustrators and was triumphant in the early 1900s when color printing first enabled him to use subtle tints and muted tones to represent age and timelessness. Rackham's imaginative eye saw all forms with the eyes of childhood and created a world that was half reassuring and half frightening. His sources were primarily Victorian, and among them are evidently the works of Cruikshank, Doyle, Houghton, and Beardsley, but also the prints of Dürer and Altdorfer." After studying under, and then working for, Douglas Cockerell, Francis Sangorski and George Sutcliffe founded their own bindery in 1901 and continued in a successful partnership until 1912. During that year, the firm suffered three major blows: their famously splendid jewelled binding, dubbed the "Great Omar," was lost on the Titanic; a few weeks after this accident, Francis himself drowned; and Francis' brother, Alberto, who had been a central figure in producing the firm's vellum illuminated manuscripts, went over to Riviere. Despite these losses, the firm grew and prospered, employing a staff of 80 by the mid-1920s and becoming perhaps the most successful English bindery of the 20th century. This special binding was created as a Christmas present, and includes a hand-illuminated leaf from the bindery, possibly done by Alberto before he moved to Riviere. Despite there being a presentation leaf, monogram on the cover, and bookplate with initials, the identity of "Edmund" remains a mystery. Evidentially, he had been a very good boy that year, because this beautiful Christmas binding would have made an extraordinarily nice gift--as much then as it would be now.
193 x 115 mm. (7 3/4 x 4 1/2"). With half title present in each volume. Three volumes. Contemporary half calf over marbled paper boards, smooth spines with wide raised bands decorated in gilt between panels with central gilt fleuron. All three volumes with an ink ownership inscription to the front free endpaper "John Fullerton Jr."; Vol. III additionally inscribed "Fullerton 1824" to the title. Vol. I with an early ink inscription summarizing the plot on a front endpaper; the title with the author's name inscribed in ink in a contemporary or near-contemporary hand. Vol. III with an analysis of the characters in ink in a contemporary hand on the rear free endpaper. ?Front joint of first volume cracked (but nothing loose), some wear to other joints (though no cracks), spines a bit dried and sunned, boards rather rubbed; text with minor stains here and there, other trivial defects, but still a sound unsophisticated set with fresh leaves and excellent margins. This is an attractive contemporary copy of the second of three books by one of the most popular (albeit anonymous) early 19th century Scottish female novelists. Born into Edinburgh's literary high society, Susan Ferrier (1782-1854) gained attention with her first published book, "Marriage," in 1818; "The Inheritance," issued six years later, was highly anticipated and became a significant success. It tells the story of a young woman, Gertrude, as she navigates a changing social status, deception, mistaken identities, and betrayal eventually to find true love. Shattock tells us that "all three novels engaged in veiled didacticism on the theme of prudence in marriage, but with it Ferrier demonstrated a sure hand at comedy and a sharp eye for satire." She followed "The Inheritance" with one further novel, "Destiny" (1831), before failing eyesight slowed her writing. Although she steadfastly retained anonymity until the last years of her life, her work was much admired by important literary figures, especially her friend and champion Sir Walter Scott, and her books' popularity with the reading public continued long after she stopped writing.
