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Simon Beattie

Histoire des passions

Histoire des passions, ou avantures du Chevalier Shroop. Ouvrage traduit de l’anglois A La Haye, chez Jacques Neaulme. 1751.

TOUSSAINT, François-Vincent]. 8vo (158 × 96 mm), pp. [8], 356, [4], title-page printed in red and black, small copperplate engraved vignette signed ‘Eben’; some light browning and soiling, particularly to first few gatherings, waterstain to lower right-hand corner of gathering M, front endpapers soiled and rather ragged; contemporary vellum, a little marked; bookplate of Erik Larsson Bremberg. First edition of a novel following the life of ‘Chevalier Shroop’, an ordinary Englishman (‘Je me contenterai de dire qu’il étoit Anglois, que ses Ancestres n’étoient pas ni de la première qualité, ni du rang le plus abject’, p. 1) who learns life lessons about love and jealousy, generosity and ambition, and, ultimately, the importance of family: ‘Il fit ses adieux à sa chère femme, & à ses enfans avec une grande tranquillité d’esprit, & après s’être retourné d'un autre côté il passa de ce monde à l’éternité, comme s’il fe fût laissé aller à un doux sommeil’ (p. 355). Toussaint (1715–1772) was a lawyer, translator, and man of letters who collaborated with Diderot on the Encyclopédie (1751–1772). He was best known in his time for Les Mœurs (1748), a scandalous novel reprinted over a dozen times in its first year alone, and referred to by Robert Darnton as a part of ‘the first great barrage of Enlightenment works’ (The Forbidden Best-Sellers of Pre-Revolutionary France, p. 90). Cioranescu 62080; Grieder, p. 152.
Nancy ou les malheurs de l’imprudence et de la jalousie

Nancy ou les malheurs de l’imprudence et de la jalousie, histoire imitée de l’anglais A Paris [colophon: De l’Imprimeire de la Veuve Ballard], Chez l’Esclapart, Libraire [et] la Veuve Duchesne, Libraire 1767. [Bound with:] —————. Lucie et Mélanie, ou les deux sœurs généreuses, anecdote historique A Paris [colophon: De l’Imprimeire de la Veuve Ballard], Chez l’Esclapart, Libraire [et] la Veuve Duchesne, Libraire 1767.

ARNAUD, François-Thomas-Marie de Baculard d’. 2 works bound in one vol., 8vo (201 × 139 mm), pp. [4], 46, with an engraved plate, head-, and tailpiece by De Ghent after Eisen, and an engraved title vignette; [4], 50, with an engraved plate, head-, and tailpiece by De Ghent after Eisen, and an engraved title vignette (repeated from Nancy); light waterstaining to some leaves, small stain to the fore-margin of C2 in the first work, slight insect damage to the lower corner of last few gatherings (not affecting text); old paper wrappers, ms. ink to spine, a couple of snags to spine, but sound. First editions. The first work here, ‘imitée de l’anglais’, recounts a young English woman’s fall to ill repute via a scurrilous young man, much in the style of Richardson: ‘Nancy, having (unjustly) lost her reputation, dies of shame; the father curses and disinherits the son before his death; and the hapless Bentley, returning too late to save either, goes raving mad and finally expires after two years in a mad house To say that Nancy is an exercise in social realism would be a considerable exaggeration. Nevertheless, the use of vocabulary and factual detail—footnoted when necessary—and the relevance of the social milieu to the action indicate a conscious authorial effort to achieve a more authentic national flavour. Other writers, above all the indefatigable Mme de Malarme, avail themselves equally of these techniques’ (Grieder, p. 80). I: Cioranescu 9058; Querard I, 93. II: Cioranescu 9057; Querard I, 93.
Lettres de Mistriss Fanni Butlerd

Lettres de Mistriss Fanni Butlerd, à Milord Charles Alfred de Caitombridge, Comte de Plisinte, Duc de Raflingth, écrites en 1735, traduites en l anglois en 1756, par Adélaïde de Varançai [pseud.]. A Paris, par la Société des Libraires. 1757.

RICCOBONI, Marie-Jeanne]. Small 8vo (159 × 97 mm), pp. 164, title-page printed in red and black; a nice bright copy in near-contemporary German sprinkled boards, ms. paper spine label; extremities worn, headcap bumped. Although presented as a translation from the English (to aid sales), this is in fact an original French novel, one of two editions published the same year, the other in Amsterdam (no priority apparently established). It tells a torrid love affair, in which the heroine, Fanni, gives in to passion and becomes the mistress of a gentleman only to discover that he has decided to marry another woman. In revenge, she publishes the letters between them: ‘Vous avez détruit ma tranquillité; est-il en vous de la faire renaître? Le bien que vous m’avez ôté ne subsiste plus; le Ciel même ne peut réparer mes pertes’ (p. 164). Riccoboni (1713–1792) was a French actress who became one of France’s great sentimental novel writers. Even Diderot, who held her acting abilities in low regard, famously praised her as a novelist: ‘Cette femme écrit comme un ange, c’est un naturel, une pureté, une sensibilité, une élégance, qu’on ne saurait trop admirer.’ And, while the rumour that Marie Antoinette had a Riccoboni novel bound to resemble a book of hours so she could read it while appearing chaste ultimately holds no water, it certainly bears witness to how fashionable she was at the time. She also held a long-standing interest in all things English; not only did she translate several English plays into French, but she also fostered an enduring friendship with David Garrick, who championed her novels in England (Oxford DNB). This edition not in Cioranescu or Grieder (see 53039 and p. 153 respectively for the Amsterdam edition).
HOCHZEITS-ZEITUNG Humoristisch-Satyrischer Hochzeits-Kladderadatsch zur Vermählungsfeier. Dresden

HOCHZEITS-ZEITUNG Humoristisch-Satyrischer Hochzeits-Kladderadatsch zur Vermählungsfeier. Dresden, Heineck Nachf[olger]., late 19th/early 20th century.

13 numbers, 4to (c.295 × 230 mm), each pp. [4]; plus 10 Tafel-Lieder (slim folio, printed on recto only), a leaf of Tafel-Satzungen, and 2 Rundgesänge, each printed in a spiral; some light browning due to paper stock, creased or chipped in places; offered with a printed score of Carl Michael Ziehrer’s song A Love Letter (Liebesbrief), New York, G. Schirmer, copyright 1888 [not found in WorldCat], inkstamps of Hans Veroni and the Deutsches Volks-Theater San Francisco, and ms. poem, ‘Liebesbrief’ (copying out the text of the song, perhaps for performance?), on headed notepaper (Hans Veroni, 221 Sansome St, San Francisco, ‘Pacific Coast Representative, Transatlantic Fire Insurance Company of Hamburg’). The Hochzeitszeitung (‘wedding newspaper’) is a genre of occasional printing found in German-speaking countries. Normally they are bespoke, something to which friends and family might contribute anecdotes about the happy couple which are then turned into a ‘newspaper’ to be distributed among the wedding guests. The internet is full of tips for making them. Curiously, the publication offered here is generic, and appears to have been something one could buy for handing out at weddings, rather than as a template for what one might include in one’s own Nuptial News. (A potential bibliographical headache is that, when they have a number, they are all ‘Vol. I, No. 1’, although the publishers do appear to have marked them, maybe for their own identification, by means of a hand-stamped number in the upper corner and letterpress signature at the foot of the first page.) We have been unable to locate it in any of the usual databases. Where there is an imprint, it is Heineck in Dresden. Offered with the Zeitung are a variety of occasional pieces, presumably for handing out at a wedding: slipsongs, two rounds for singing, a leaf of ‘table rules’, an illustrated marriage certificate written in Saxon dialect, and another official-looking lithographed marriage document.
CRIMEAN WAR.] Rules of the Balaclava Commemoration Society. London: Printed by George Latham (Late 17th. Lancers

CRIMEAN WAR.] Rules of the Balaclava Commemoration Society. London: Printed by George Latham (Late 17th. Lancers,) 1877.

8vo (211 ×137 mm), pp. [2], 24; title printed in red and black, the text printed within red ruled borders; marginal browning and dust-soiling; original blue pebbled cloth, a little rubbed and worn, hinges sometime reinforced with cloth tape, now cracked, but bookblock firm, upper board gilt-stamped with the Society’s name surrounded by a laurel wreath; early ms. ink correction to p. 11; annotated throughout in later black ink offering supporting historical information and statistics, ink ownership inscription to title-page of Peter Young (see below), typescript letter dated 1968 taped to rear pastedown, tape now discoloured, two other letters loosely inserted, blind-stamp of Peter Curwen to front free endpaper. First and only edition. The Balaclava Commemoration Society was formed ‘for the purpose of Assembling Annually, the Survivors of the Charge of the Light Brigade at Balaclava, 1854, including the I. Troop Royal Horse Artillery’ (p. 3). Members, eligible only if they were physically present during the action, met at a private dinner on the anniversary of the date itself. Following the rules is a full listing of the survivors of the Light Brigade along with their ranks, including those from the 4th Queen’s own Light Dragoons; the 8th King’s Royal Irish Hussars; the 11th Prince Albert’s own Hussars; the 13th Light Dragoons; and the 17th Lancers. Several poems, including Tennyson’s famous ‘The Charge of the Light Brigade’, are reprinted after the listing. The present copy’s annotations record statistics from The Times in 1854 of the total losses (409 lost out of a total of 637 present, including officers). Loosely inserted are a four-page Reminiscences of Balaclava (Sheffield, 1893; the two leaves now separate), containing three poems by Grayson, ‘presented by the Crimean and Indian Veterans of Sheffield and Rotherham to the Rt. Hon. The Earl of Scarbrough ’, along with a printed facsimile of a pen-and-ink sketch by Grayson ‘of the incidents which took place during the battle of Balaclava’ and a printed leaf of ‘Opinions of the Press’. This copy was owned by the military historian Brigadier Peter Young (1915–1988) who, having served with distinction as an officer during the Second World War and, became Head of Military History at the Royal Military Academy Sandhurst. Loosely inserted into the present copy is correspondence between Young and one Frank Browne, whose grandfather was present during the Charge of the Light Brigade. WorldCat lists 3 copies only, at the British Library (2 copies) and Queen’s University, Belfast; there is also a copy at the National Army Museum.
Histoire physique

Histoire physique, morale, civile et politique de la Russie ancienne et moderne A Paris, chez Froullé A Versailles, chez Blaizot 1783/4.

LE CLERC, Nicolas-Gabriel. Atlas volume only (494 × 328 mm), without the six 4to volumes of text; 37 engraved plates, most folding, after Mikhail Makhaev, and 16 letterpress tables; lacking plate no. 19 (‘La ville de Cazan’); some light unobtrusive spotting, paper repair to pl. 11, a few small marginal dampstains to plates; early nineteenth-century English half calf, spine lettered ‘Russia’ in gilt, marbled paper sides, rubbed with some wear to extremities; bookplate of A. G. Cross to front pastedown. The atlas volume for Le Clerc’s sweeping, encyclopaedic view of eighteenth-century Russia, including over a dozen stunning views of St Petersburg and its surroundings based on earlier views by Mikhail Makhaev (1718–1770; see Gollerbakh, Istoriia graviury v Rossii, p. 54), some of the earliest accurate representations of the Russian capital. ‘Unlike some of the early maps of the city, which are idealistic projections into the future, Makhaev’s views—some of which come in two parts—are considered the earliest faithful documentation of eighteenth-century St. Petersburg and have proved useful in architectural restoration campaigns’ (Vincent Giroud, St. Petersburg: A Portrait of a Great City, Beinecke Library exhibition catalogue, 2003, p. 18). Nicolas-Gabriel Le Clerc (1726–1798) was a diplomat, historian, and doctor with close ties to both the French and Russian aristocracy, and whose Histoire physique was born out of over twenty years living and practising medicine in Russia. The work was beautifully produced and well-received, but ruffled feathers in high places: ‘Dans son ouvrage Le Clerc stigmatisa le despotisme et le servage russes. Il provoqua la colère de Catherine II qui commanda à Ivan Nikititch Boltine, haut fonctionnaire russe passioné d’histoire, une refutation de l’ouvrage de Le Clerc’ (Mézin & Rjéoutski, Les Français en Russie au siècle des Lumières, II, 495). Brunet III, 916; Cat. Russica L-431. A full listing of contents is available on request.
The Merchant of Venice

The Merchant of Venice, a Comedy in five Acts, by William Shakespeare, as presented at the Lyceum Theatre, under the Management of Mr. Henry Irving, on Saturday, November 1st, 1879. One hundredth Performance, Saturday, February 14, 1880. London: Printed at the Chiswick Press. 1880.

SHAKESPEARE.] 8vo (205 × 134 mm), pp. [8], 74, [2], with original programme, printed in sepia, bound in; half-title printed in red and black; some light dust-soiling to first few leaves; original parchment-covered boards lettered gilt, all edges gilt; soiled and marked, spine discoloured, headcap bumped. Souvenir script and programme to celebrate the one hundredth performance of Henry Irving’s staging of The Merchant of Venice at the Lyceum, featuring Irving and Ellen Terry in the lead roles. The performance was accompanied by a banquet in the performance space itself, and was attended by 350 guests including Oscar Wilde, whose poem ‘Portia’ was written after first seeing Ellen Terry in the role in 1879. It was then, after the toast, that ‘attendants brought round books of the Merchant of Venice, as arranged by Mr. Irving, specially prepared for the occasion. They were bound in white parchment and lettered in gold, the cover as well as the title-page’ (The Musical World; the title-page here is printed in black). The event, like its accompanying souvenir, was lavish: ‘All the paraphernalia of the stage and the piece had been removed [from the stage], and over the whole vacant space, of some 4000 square feet, rose an immense pavilion of white and scarlet bands, looped around the walls with tasteful draperies and lit by two gigantic chandeliers The transformation was so magically effected, and displayed such thoroughness of organization in all concerned’ (ibid.). Jaggard, p. 399.
La déclamation

La déclamation, théâtrale, poëme didactique en trois chants, précédé d’un discours. A Paris, De l’Imprimerie de Sébastien Jorry, rue & vis-à-vis la Comédie Françoise 1766.

DORAT, Claude-Joseph]. Tall 8vo (241 × 152 mm) in half-sheets, pp. 128, with engraved frontispiece and 3 additional plates (of 4?, but see below) by Emmanuel-Jean-Népomucène de Ghendt after Charles Eisen; some light plate toning; uncut with generous margins; some light browning, nineteenth-century dark blue morocco, fully gilt with spine in compartments, lavishly gilt inner dentelles, marbled endpapers and flyleaves, two short tears to head and foot of first marbled flyleaf near gutter, upper joint sometime repaired, extremities lightly rubbed. First edition of one of Dorat’s most popular works. Divided into three songs (‘La Tragédie’, ‘La Comédie’, and ‘L’Opéra’; another, ‘La Danse’, appeared the following year), La déclamation discusses theatre, spectacle, and taste—issues so hotly debated over in the Enlightenment—in the form of a didactic poem. Claude-Joseph Dorat (1734–1780) himself attributed the decline of the French theatre ‘to the pernicious influence of Drury Lane, which he described piquantly as London coal-dust which had contaminated the Paris fogs and soiled the Muse of French imitators’ (Hallowell, Claude-Joseph Dorat, Opponent of the “Drame Bourgeois” and Critic of the English Theatre, p. 358). Cioranescu 25131; Cohen–de Ricci, col. 312; Quérard II, 577; Inventaire du fonds français XVIIIe siècle, vol. X, nos. 21–5. COPAC lists 2 copies of the first edition only: BL (lacking the plates), Rylands (3 plates plus frontispiece). Cohen–de Ricci and the Inventaire call for a frontispiece and 4 plates, but it is not clear whether they are including the extra plate from ‘La Danse’ (1767), as found in some copies.

PETER I, the Great.] A true, authentick, and impartial History of the Life and glorious Actions of the Czar of Muscovy: from his Birth to his Death The whole compiled from the Russian, High Dutch and French Languages, State Papers, and other publick Authorities. London: Printed for A. Bettesworth G. Strahan J. Stagg J. Graves S. Chapman R. Frankling J. Harding T. Edlin and J. Jackson [1725].

8vo (195 × 122 mm), pp. [8], 207, 202–429, [1]; complete despite pagination; some light spotting, more so in the margins; contemporary sprinkled calf, rubbed, joints cracked but firm, spine gilt in compartments, extremities chipped, leather spine label lettered gilt. Unacknowledged second edition, ‘a reissue of “An impartial history of the life and actions of Peter Alexowitz”, London, 1723 [1722], with the table of contents added at front, and text (covering the death of the Czar) at end’ (ESTC), thereby making it one of the earliest ‘complete’ English biographies of Peter the Great (1682–1725). In the past, the book has been attributed to Defoe (see Moore 451, for the first edition), but Furbank & Owens argue otherwise: ‘[This is] a lengthy and eulogistic account of the life and career of Peter the Great Defoe, in the Review, frequently criticised Peter the Great as a brutal despot, and a protest from the Czar once nearly got him into serious trouble. It thus seems unlikely that he would later have produced such a uniformly flattering biography’ (Defoe De-attributions 451). Cat. Russica H-928; Minzloff, Pierre le Grand dans la littérature étrangère 38, 3, 2.

NOVELLO’S STANDARD GLEE BOOK, being a Collection of the most favorite Glees by English Composers; with an Accompaniment (ad lib.) for the Pianoforte. Revised by J. Barnby. Vol. I [all published]. London: Novello and Co. [1865].

4to (287 × 217 mm), pp. [4], 197; some light spotting to title-page and first few leaves; original publisher’s mauve cloth stamped in blind and gilt, all edges gilt, spine sunned (as often happens with this colour), rubbed with a little dust-soiling, corners slightly bumped; signed ‘F. A. G. O. 1867’ (see below) on the front free endpaper. First edition of a collection of fifty-nine glees compiled by Sir Joseph Barnby for Novello. Barnby (1838–1896), ‘a composer of fine taste’ (Baptie, Sketches of Glee Composers), became the official music adviser to Novello and Co. in 1861, prompting a mutually beneficial relationship between the two wherein Novello sponsored his choir and projects. In 1875, he was appointed precentor of Eton College, where he ‘embarked on a programme of choral performances and concerts for the benefit of the boys, becoming Eton’s first real director of music. He raised the school’s Musical Society to a high standard of precision by means of a quasi-military drill. He also directed a Sunday Evening Musical Society in which masters, boys and chapel choristers sang through the major choral repertory’ (New Grove). Provenance: from St Michael’s College, Tenbury, with the usual ms. pencil shelfmarks to the front pastedown. The College had been founded in 1856 as a model for the performance of Anglican music by the great collector and composer Sir Frederick Ouseley (1825–1889), whose own ‘magnificent assemblage of music and musical literature’ (Hyatt King, Some British Collectors of Music, Sandars Lectures for 1961, p. 67) passed to the College on his death, where it remained until its dispersal at Sotheby’s in 1990.
New Picture of Dublin: comprehending a History of the City

New Picture of Dublin: comprehending a History of the City, and accurate Account of its various Establishments and Institutions, and a correct Description of all the public Edifices connected with them; with an Appendix, containing several useful Tables; forming a complete Guide to every thing curious and interesting in the Irish Metropolis; Illustrated by a large Map of the City, and fifty-six Views of public Buildings, &c. and collected from authentic Documents, and personal Inspection Dublin: Printed for Johnston and Deas Sold by M. Keene, R. Milliken, C. P. Archer, C. La Grange, N. Clarke, Allen and Son, A. M. Graham, W. Pickering and Son, and C. Bentham, also by J. Bolster, Cork; B. O’Brien, Limerick; Ogle, Duncan and Co. and C. a

McGREGOR, John James. 12mo (175 × 105mm), pp. x, [2], 336; with an engraved frontispiece and 16 plates, including a large folding map of the city; prelims misbound; a little spotting and offsetting from the plates, the folding plate a little browned, torn along the stub but holding; contemporary full sheep, boards panelled blind with central chequered pattern and outer roll, gilt roll at outer corners, flat spine gilt in compartments, red label, marbled edges; the binding rubbed and dry, the boards rather bowed, crack to upper joint. First edition of a finely illustrated guide to Dublin. Journalist and topographer John James McGregor (1775–1834) is eager to demonstrate Dublin’s ‘architectural beauties’ which, he argues, ‘can vie with the proudest cities of Europe’. Indeed, the numerous fine line engravings here depict many of the neo-classical buildings erected in Dublin throughout the eighteenth and early nineteenth centuries. These are rendered with a great degree of architectural accuracy, and include a fine cross-section of James Gandon’s domed Custom House, ‘the most sumptuous edifice of its kind in Europe’. The frontispiece shows a view of the city from Phoenix Park, and another striking landscape view shows the Feinaglian Institution (now Aldborough House), established by a German professor to teach based on an elaborate system of mnemonics. Schools, asylums, and hospitals loom large here. Far from the breed of guidebook which lists a city’s enticements and entertainments, the New Picture of Dublin aims to demonstrate the social development and essential goodness of McGregor’s adopted home. He points to the religious and moral rectitude of Dubliners, arguing ‘that their advancement in these particulars during the last twenty years has been considerable, [as] is best evinced by the numerous religious, useful, and charitable institutions which have sprung up within that period’. Here we have the unique aspect of McGregor’s guide: it offers a tour of commercial, educational, philanthropic, and religious institutions, and in doing so demonstrates McGregor’s hope for a better society. Underpinning this is his Methodist faith, to which he dedicated most of his working life; he had moved to Dublin from his home town of Limerick to take up a position as editor of the quarterly Church Methodist Magazine. The New Picture of Dublin was followed up with a similar work about Limerick, in the wake of which literary achievements he was appointed to the post of literary assistant to the Kildare Place Education Society, the Church of Ireland’s teacher training body. Subsequently he published his final work, True Stories from the History of Ireland (1833), after Scott’s Tales of a Grandfather. The work was issued in the same year under three different imprints. Of the present imprint, COPAC records copies at Cambridge and TCD only.
Abbildung und Beschreibung von alten Waffen und Rüstungen

Abbildung und Beschreibung von alten Waffen und Rüstungen, welche in der Sammlung von Llewelyn Meyrick [sic] zu Goodrich-Court in Herefordshire aufgestellt sind. Aus dem Englischen übersetzt und herausgegeben von Gustav Fincke. Berlin, in der G. Fincke’schen Buchhandlung. 1836.

MEYRICK, Samuel Rush. Large 4to (342 × 255 mm), pp. [4], 42 (letterpress text in double columns), followed by 150 lithographed plates (one signed H. Delius); some light spotting and marginal browning; burgundy quarter roan and marbled paper sides, green vellum tips, spine gilt in compartments; a little rubbed, headcap snagged. First and only edition in German of Joseph Skelton’s Engraved Illustrations of antient Arms and Armour, from the Collection at Goodrich Court, Herefordshire; after the Drawings, and with the Descriptions of Sir Samuel Rush Meyrick, originally published in two volumes in London in 1830. Llewelyn Meyrick was Sir Samuel’s son. Meyrick (1783–1848) was an antiquary and historian of arms and armour who began to acquire his famous collection in the 1820s. His obituary in the Gentleman's Magazine describes the collection as ‘filling not only “the garrets, the staircase and the back drawing room” but as even encroaching “upon the bedrooms”. From the beginning it was conceived of as a scientific collection and it was regularly made available to students. In 1825 it was visited by the artists Eugène Delacroix and Richard Bonnington, who both drew items from the collection and made use of them in later works. Meyrick was also involved in the antiquarian world of the day and, among others, helped Sir Walter Scott to collect arms and armour to decorate his new house at Abbotsford’ (Oxford DNB). WorldCat lists 3 copies outside Europe (Chicago, Philadelphia Museum of Art Library, and The Met).