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  • ALLOTT, Robert.]

    Edité par London Printed by I.R. for N.L. & are to be sold at the VVest doore of Paules, 1599

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Small 8vo (130 x 78mm), ff. [viii], 269, [6] index, [1] errata; traces of the correction slip (mostly now worn away) remain on f. 185r; lower outside corner of f. 100 missing (probably an original paper flaw), slightly affecting catchword; else an exceptionally fine copy in contemporary limp vellum, spine lettered in ink by a contemporary hand. First and only edition: a very fine copy. This engaging little anthology of prose was compiled by Robert Allott, whose precise identity is a matter for dispute. He may have been a Lincolnshire man of that name, who was at Oxford and then at the Inner Temple in the 1580s; he was living in London in the late 1590s, but died of the plague in late 1603. Another Robert Allott was at St John's Cambridge in the early 1590s, became a physician and practised in the same city for the rest of his life, dying as late as 1642. This man was addressed by John Weever in one of his epigrams in the year Wits Theater was published: number 4 in the 'Fourth weeke' of Weever's verses brackets Allott with one Christopher Middleton (also at St John's): he praises their quick wits and sharp conceits, and refers to their 'layes', which implies that they were both known as poets. Honigmann prefers to identify this Robert Allott as the editor of Wits Theater, and draws attention to the fact that the following year Nicholas Ling also published a book of poetry by Middleton (The Legend of Humfrey Duke of Glocester: STC 17868). This book is one of a group of anthologies which were commissioned by a wealthy London grocer, John Bodenham (fl. 1599-1610). There are two issues of Wits Theater - in the other, the dedicatee is addressed as 'Maister Iohn Bodenham', but here the dedicator is somewhat more coy: 'To my most esteemed and approued louing friend, Maister I.B. I vvish all happines'. (Note the similarity to the famous dedication of Shakespeare's Sonnets, published only ten years later.) Allott's name is appended to the dedication in the other version, but here he is completely anonymous, although the text otherwise remains entirely the same. The series of compilations which Bodenham inspired are among the most famous little volumes of contemporary English literature: they began with Nicholas Ling's Politeuphuia, wits commonwealth (1597) and Francis Meres's Palladis Tamia, wits treasury (1598). This is the third volume, and it was followed by two volumes of poetry, Belvedere, or the garden of the muses (11600), edited by Anthony Munday, and Nicholas Ling's England's Helicon (also 1600). Together, these five books define much of our idea of the literary culture of England in the last years of Elizabeth. STC 382; Pforzheimer 1094. The printer was James Roberts, and the publisher was Nicholas Ling. For the identification of Roibert Allott, see E.A.J. Honigmann, John Weever (Manchester, 1987), pp. 22ff.

    N° de réf. du vendeur 23759

  • BRONTE, Branwell.

    Edité par Manchester Anno Domini ', 1840

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Pencil drawing, on paper (approx. 213 x 125mm; the drawing itself approx. 105 x 95mm), laid down onto board; marked discolouration on portrait area, and on the caption (possibly through exposure, or perhaps from some sort of wash); folded at some point and then flattened out again, leaving very small holes at corners of folds. A portrait drawing by Patrick Branwell Brontë, the unfortunate brother in the most celebrated literary family in all of English literature. His first name came from his father, the Rev. Patrick Brontë, and his middle name, by which he was generally known, from his mother's family: she had been Maria Branwell. He was born in 1817, a year after Charlotte and a year before Emily (there were six children in seven years), but his mother died in 1821 and his two eldest sisters (Maria and Elizabeth) in 1825 so before he was ten, only he and Charlotte, Emily and Anne were left with their father in the rectory at Haworth. Branwell and his three sisters all had active imaginations and created manuscript magazines, stories and pictures between themselves. Besides his literary work, he was clearly also a talented artist, and in his teens was almost certainly receiving lessons from Thomas Plummer of Keighley, and then from a local successful portraitist, William Robinson, who had studied at the Royal Academy in London. In the late summer of 1835, Branwell drafted an application to become a student there himself: it is not clear if he then went to London to apply, but if he did, he was soon back at Haworth, no doubt with a sense of failure. Portraits, however, continued to be the genre in which he placed greatest hopes: in May 1838 he set up in business as a portrait painter in Bradford, but that venture soon failed, too, and the following May he was back at Haworth. After a spell as a private tutor, his career took an unlikely turn: he found work as a clerk on the new Leeds-Manchester railway. Although little is known about Branwell's life in the rapidly-expanding railway business, it must have involved some travel to and from Manchester and, as Alexander and Sellars write, a 'public-house-based social life' which would have brought him into contact with many other young men of his own age. It seems fair to assume that 'T. Purser', about whom nothing else is recorded (at any rate in connexion with the Brontës) was an acquaintance from this period of his life. This portrait drawing is skilled and precise, and well conveys a sense of weight and space. These are qualities which are arguably lacking in the famous oil painting of his sisters, but that was probably done in 1834, when he was just 17, and had only begun to take lessons. This more accomplished portrait was achieved after six more years of study and work: no wonder it has more maturity. Other similar head-and-shoulders portraits, of about this period, are recorded by Alexander and Sellars, nos. 269-274. The caption beneath the picture (transcribed above) is, as Alexander and Sellars say, in a 'non-Brontë hand', which almost goes without saying: obviously, no-one in the family would write the surname as 'Brontä' and, even in a hurry, few would have written 'Bramwell'. (Alexander and Sellars mistranscribe the surname as 'Brontë'.) There is, however, no reason to doubt the attribution, which is clearly old well before Branwell himself would have been considered notable and one can also assume that anyone wanting to increase a drawing's value by fathering a sketch on him, would have taken at least the trouble to spell the surname correctly. See Christine Alexander and Jane Sellars, The Art of the Brontës (Cambridge, 1995), item 268 (pp. 337-8). Provenance. This drawing surfaced in a rather unlikely place: in an auction of the contents of a house in Bulawayo, Zimbabwe (then Rhodesia), perhaps in the 1970s. From 1981 to 1986 it was loaned to the Brontë Parsonage Museum, where it was given the loan number B43 (written in pencil on the back of the mounting board). Since then it has been in a private collection.

    N° de réf. du vendeur 25013

  • COLERIDGE, Samuel Taylor.

    Edité par Bristol: and sold by the booksellers and newscarriers in town and country, 1796

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    A complete set of the ten numbers, each of 32pp but continuously paginated: 8vo, pp. 192, [197]-324; the first number in the second issue (see below); some light dust-soiling; small flaw on p. 143 affecting a few words of text; else an excellent copy, in modern dark red straight-grained morocco, top edge gilt, spine lettered in gilt. First edition. Coleridge began his plans for this important series of papers by touring the industrial cities of Birmingham, Sheffield and Manchester in January 1796, raising subscriptions for a journal that would be issued every eight days (thus evading the duty on weekly newspapers). The motto at the head of each number may have seemed dangerously radical, but its biblical origin from John's Gospel made it unimpeachable: 'That all may know the truth; and that the truth may make us free!'. The contents were a mixture of news, essays, reviews, parliamentary reports and poetry: much of it was written by Coleridge himself, but the lack of enthusiasm from his readers resulted in the series coming to an abrupt end with the tenth number. This set has the first number in its second issue, with a short s in 'Published' on the first page, and the second line on p. 2 ending 'prevention; and the triple-giant'. Tinker 677; Crane & Kaye 916; Ashley I p. 196.

    N° de réf. du vendeur 22088

  • SOUTHEY, Robert.

    Edité par London -29, 1815

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    EUR 7 893,65

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    Together 16 volumes, 12mo, as listed below; uniformly bound in contemporary pink half calf over marbled boards, spines gilt, black morocco labels. A superb collection of volumes, all from the library of the talented Sara Coleridge (1802-52), only daughter of Samuel Taylor Coleridge and Sara Fricker. Many of the books were presented to her by her uncle, Robert Southey, and inscribed as such either by Sara herself, Southey or her husband Henry Nelson Coleridge, whom she married in 1829. Because of her parents' fractured marriage, Sara grew up living at Greta Hall in the Lake District, with Southey and his wife, Edith. 'The ongoing literary labours of Wordsworth and Southey thus ensured an almost constant stream of visitors at Greta Hall, and by the age of twenty Sara had met many of the most famous writers of her day. This stimulating environment, the excellent tutelage of her mother and uncle, her own intellectual prowess, and the impecunious state of the Coleridge family all contributed to Sara's first literary efforts' (ODNB). The collection consists of the following titles: 1. THE MINOR POEMS OF ROBERT SOUTHEY London: printed for Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1815. Three volumes, 12mo, pp. [iii]-viii, 248; [iii]-vii, [i], 238; [iii]-vii, [i], 3-242; bound without the half titles; small stain at beginning of vol. II. Inscribed on first title: 'Sara Coleridge / Greta-hall / Keswick'. The inscription is in Sara Coleridge's own hand. 2. THE POET'S PILGRIMAGE TO WATERLOO Second edition. London: printed for Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1816. 12mo, pp. [viii], 232; with eight plates bound at the end (somewhat discoloured in places). Inscribed on title: 'Sara Coleridge / from / Robert Southey. 1830'. This is in the hand of her husband, Henry Nelson Coleridge 3. THE CURSE OF KEHAMA The fourth edition. London: printed for Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1818. Two volumes, 12mo, pp. xi, [v], 261; [iv], 216. Inscribed on half title to volume I: 'Sara Coleridge / from / Robert Southey. 1830'. This is also in Henry Nelson Coleridge's hand. 4. THALABA THE DESTROYER The fourth edition London: printed for Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1821. Two volumes. 12mo, pp. [iii]-ix, [i], 271, [1] colophon; [iv], 294; apparently without the half title in volume I. Inscribed on both titles: 'Sara Coleridge / from Robert Southey. / 1829'. Again, the inscription is by Henry Nelson Coleridge. Also inscribed on endpaper of both volumes: 'Ellen Coleridge / May 1886'. This is presumably Ellen (née Phillips), widow of Herbert Coleridge, philologist, Sara's only son, who had died of consumption in 1861. 5. CARMEN TRIUMPHALE, for the commencement of the year 1814. Carmina Aulica. Written in 1814, on the arrival of the allied sovereigns in England Second edition. London: printed for Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1821. 12mo, pp. 93, [1] colophon. Not inscribed. 6. THE EXPEDITION OF ORSUA; and the crimes of Aguirre London: printed for Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1821 12mo, pp. [iii]-x, 215; apparently bound without the half title. Not inscribed. 7. MADOC Fifth edition London: printed for Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1825. Two volumes, 12mo, pp. ix, [iii], 303, [1] colophon; [iv], 284; a few leaves in sig. C in volume I beginning to spring from the binding. Inscribed on first half title: 'Sara Coleridge / from / Robert Southey. / 1830'. This is in the hand of Henry Nelson Coleridge. 8. A TALE OF PARAGUAY London: printed for Longman, Hurst, Rees, Orme, and Brown, Paternoster-Row. 1825. 12mo, pp. xviii, [ii], 199, [1]; with engraved frontispiece and one other plate, both by Heath after Westall. First edition. Inscribed by Southey at head of title: 'Sara Coleridge, from the Author' 9. RODERICK, THE LAST OF THE GOTHS Sixth edition. London: printed for Longman, Hurst, Rees, Orme, Brown, and Green, Paternoster-Row. 1826. Two volumes, 12mo, pp. ix, [iii], 297, [1] colophon; [iv], 293, [1] colophon. Not inscribed. 10. ALL FOR LOVE; AND THE PILGRIM TO COMPOSTELLA London: John Murray, Albemarle Street. 1829. 12mo, pp. [vi], 221, [1]; with engraved frontispiece by Finden after Westall. Inscribed at head of title: 'Sara Coleridge / from / the Author. 1831. Hampstea[d]' (last letter cropped). This is in the hand of Henry Nelson Coleridge.

    N° de réf. du vendeur 22222

  • COLERIDGE, Samuel Taylor.

    Edité par London: printed for John Murray. by William Bulmer and co, 1816

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    8vo, pp. vii, [i], 64; bound third in a volume with nine other poems (see below); a fine and attractive volume in early calf, the covers stamped in basket-weave pattern, spine richly gilt, morocco label, marbled endpapers and edges. (Upper joint beginning to crack, othewise in very good condition.) Early armorial bookplate of the Rev. W.W. Holland, Chichester, and manuscript list of contents (perhaps in his hand) on free endpaper. A splendid volume of poetry, nicely presented with the spine labelled 'Minor Poems'. This is true for all but one of the pamphlets here - nobody today would describe either Christabel or Kubla Khan as 'minor' - but the accompanying poems certainly put Coleridge's two masterpieces into context. All the publications in this volume were issued by the firm of John Murray, at the time when it stood highest among London publishers: Byron was Murray's greatest success, of course, but Scott and Jane Austen were being published by him at exactly this time, as well as many other authors of lesser importance. This collection must have been assembled by going into 50 Albemarle St and picking out a number of current pamphlets that would have interested the buyer. On the other hand, they could well be a present from the publisher: the first owner was the Rev. William Woollams Holland (1785-1855), educated at Oxford and at this time vicar-choral at Chichester Cathedral. More importantly, he was married to Jane Murray (b. 1780), known as Jenny, elder sister of the publisher: they had at least one son, John Murray Holland (1818-77), who was a fellow of New College Oxford, and who followed his father into the church. When the elder John Murray had died in 1793, Jenny and her mother and sisters had gone to live in Shropshire, where she met and married Willam Holland in 1809, but she retained an interest in the family business: Zachs notes that she and her elder brother John were actively pursuing the firm's assets in 1800, at about the time that John gained effective control. The other works bound in here are: 1. [CROLY, George.] PARIS IN 1815. A poem . London: John Murray . 1817. 8vo, pp. [iii]-xii, [iii], 75, [1]. Jackson, Annals, p. 423. First edition 2. SCOTT, Walter. THE FIELD OF WATERLOO; a poem . Edinburgh: printed by James Ballantyne & co, for Archibald Constable and co. Edinburgh; and . John Murray, London. 1815. 8vo, pp. 56. Todd & Bowden 84Aa; Jackson p. 392. First edition. 3. [MALCOLM, Sir John.] PERSIA: A POEM. With notes. Second edition. London . John Murray . 1814. 8vo, pp. [iv], 38. Rare: neither the first nor this edition mentioned in Jackson, Annals. Malcolm (1769-1833) published his standard History of Persia the following year. 4. [KNIGHT, Henry Gally.] ILDERIM: A SYRIAN TALE . London: printed for John Murray . 1816. 8vo, pp. [vi], 74. Jackson p. 406. First edition. 5. HEMANS, Felicia Dorothea. THE RESTORATION OF THE WORKS OF ART TO ITALY: a poem . Second edition. Oxford . for J. Murray . 1816. 8vo, pp. [viii], 37. Jackson p. 412. 6. SMEDLEY, Edward. THE DEATH OF SAUL AND JONATHAN. A poem . London . for John Murray . 1814. 8vo, pp. [viii], 33. Jackson p. 378. First edition. 7. SMEDLEY, Edward. JONAH. A poem . London . for John Murray . 1815. 8vo, pp. [iv], 24, [4]. Jackson p. 394. First edition. 8. SMEDLEY, Edward. JEPHTHAH. A poem . London . .for John Murray . 1814. 8vo, pp. [iv], 27, [1]. Jackson p. 380. First edition. 9. [CROKER, John Wilson.] THE BATTLES OF TALAVERA. A poem . Eighth edition, with some additions. London . for John Murray . 1810. 8vo, frontispiece portrait of Wellington, engraved map and pp. 43; slightly foxed. Jackson p. 335.

    N° de réf. du vendeur 20173

  • COLLINS, William.]

    Edité par London: printed for J. Payne at Pope's Head in Pater-noster-Row, 1757

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    4to, pp. viii, 23, [1] advertisements; final page a little dusty, else a very fine, fresh copy, uncut and disbound. Preserved in a black morocco-backed slipcase, titled in gilt. First edition thus, a retitled edition of Collins's Persian Eclogues, first published in 1742. Collins had originally written the poems when at school at Winchester: they were certainly largely finished by the time he went up to Oxford in 1740. Despite the fact that the first edition sold badly, by the 1750s his poems were gaining a critical reputation, and the youthful eclogues were - to his displeasure - more appreciated than the later and more mature Odes, which he felt better represented his talent. Although it is often presumed that this second edition is a mere reprint with the title altered by one word, in fact Collins made numerous small changes to the text, and the spelling and capitalisation is regularised. This is perhaps indicative not only of the poet's change of mind, but also of a shift in authorial and typographical practice in the intervening fifteen years - and, perhaps, of the effect that Johnson's Dictionary had had upon the language. A very fine copy, uncut. Rothschild 654; Williams, Seven XVIIIth century bibliographies, p. 112. See Lonsdale's edition of the poems (Longman, 1969) for an account of Collins's changes to the text.

    N° de réf. du vendeur 18777

  • BARRIFFE, William.]

    Edité par London printed by I.L. for Ralph Mab, 1639

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Small 4to (190 x 145mm), pp. [viii], 48; some unsightly dampstains in the inner margin, occasionally bleeding into the text, otherwise a fine, clean copy in 19th or early 20th century limp vellum. First edition. This extraordinary work is about a military exercise at the Merchant Taylors' Hall, which featured a mock battle between the Christians and the Saracens. Barriffe describes each side in some detail, and it rapidly becomes plain that he sees the event as a piece of theatre, staged like a court masque - but for the benefit of a lower class of people, including the participants, of whom there were eighty in all. The day begins with Cornets and Targettiers marching into the hall, followed by 22 Saracens led by 'Captain Mulli-Aben-Achmat' (apparently played by Capt. Thomas Whitley): these Saracens carried 'large Pole-axes in their hands, Cymeters on their thighs, Battle Axes hanging on their armes, and broad daggers at their girdles, after the maner of the Countrey', as well as a banner showing their armorial (which is illustrated). A diagram on p. 5 shows the disposition of the 'Sarracens figures'. On the Saracens' leaving the hall at the 'garden doore', a troop of 'the Moderne Armes' were led in by Capt. John Ven, and after a parade their leader makes a speech in verse (pp. 7-8), beginning 'Grave Fathers of the Citie, that are come Like the fam'd Senators of ancient Rome' - this address is some 44 lines long. On pp. 10-15 the musketeers make a demonstration of their discipline in performing the preparing and loading of their muskets, to a rhythm apparently dictated by a tune whose music opens and closes this passage. The regicide John Venn (1586-1650) was famous as a radical in the Honourable Artillery Company in London: soon after this, he took a leading role in the prosecution and execution of Strafford - and then, a decade later, of the King himself. After the parades by the Christians are over, the Saracens return again (p. 40), and their leader 'with much vaunting insolence marcheth round about the Hall, with his Souldiers in form of a Herse' (there is another diagram on p. 41); but 'when the insolence was at the highest, he heard the Christians drums beating a March' and Capt. Ven's troop return to the hall. A demonstration of controlled and disciplined warfare ensues, with the Christians playing the noble and gallant defenders, the Saracens the wicked and treacherous opponents: 'Inraged ACHMAT even foming with anger that he could not work his designe, resolved for his last refuge with the remains of his over-wearied Turks, to break through the Battell of the Christians', but the Christians held firm. 'Whereupon being quite out of heart, with joynt consent they cryed for quarter, after the Turkey maner casting their weapons on the ground, and laying their left hands on their heads, with a loud voice crying, Saybe-Sallam' (p. 45). The show ends with a speech in rhyming couplets by Mr Richard Lacy, beginning 'Unbrace your Drums, and let the warlike Phife No more distinguish 'twixt pale death and life', and ending 'This from your bounties if we shall obtain, Vollies of shot, shall thank it back again' (p. 47). This text was reprinted as part of the fifth edition of William Barriffe's Military Discipline in 1647, where it is explicitly attributed to him, and indeed his presence at the event is testified by his being named as a participant. Barriffe (d. 1643) was a cordwainer by trade, and he joined the city Artillery Company as early as 1627; by 1635 he was publishing the first edition of Military Discipline (STC 1506). On the outbreak of civil war in 1642 he rose rapidly in the parliamentarian army, and served with Hampden at the siege of Reading. However, he died of an unknown cause in London in 1643. He was clearly a keen soldier, but the evidence of this book seems to show that he aspired to poetry, and had a dramatist's instinct as well. STC 1505. This piece is very rare: ESTC and STC between them locate six copies in the UK (BL, Bodleian, Guildhall, Colchester, Hon. Artillery Company and Sheffield University) and just three in the US (Folger, Huntington and Yale).

    N° de réf. du vendeur 23019

  • QUINTILIANUS, Marcus Fabius.

    Edité par Parma Angelo Ugoletus 3 July, 1494

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Folio (300 x 202mm), ff. [ii], LXXXXVI; upper outer corner a little stained at beginning and end, first and last leaves slightly frayed at foot; else a very good, clean copy in later green reverse calf, early MS title label (perhaps from an earlier binding) fixed to upper cover. Editio princeps of the Declamationes Minores. This text is attributed to Quintilian, born in Spain in the first century AD, and author of the Institutio Oratoria, one of the most widely influential texts on oratory of the renaissance. If not his own composition, these declamations are possibly by a pupil or follower of his, and are certainly closely related to the Institutio and seem to be contemporary or slightly later than that work. They have in fact a greater and closer relationship to Quintilian than the Declamationes Maiores, which are generally agreed to be by a different author. The original text of the Declamationes Minores dealt with 388 themes, but the earliest and fullest manuscript (at Montpellier) has only nos. 244 to 388. That MS was unknown in the 15th century, but another transcript was recovered, with only 136 declamations, and from that now-lost manuscript three copies survive. Scholars now know that the present text was taken from one of those manuscripts, Munich MS Clm 309. This edition was not superseded until the one by Pierre Ayrault, published by Fédéric Morel at Paris in 1563; it was only with the discovery of what is now the Montpellier manuscript by Pierre Pithou, who published the text in 1580 (Paris, M. Patisson), that the text as we now have it became available. The editor of this edition was Taddeo Ugoleto of Parma, presumably brother of the printer Angelo and a man of considerable learning and influence: since the early 1470s he had been librarian to Matthias Corvinus, King of Hungary, whose magnificent and extensive library, consisting of superb manuscripts copied for and collected by him, was one of the most remarkable outside Italy at this period. Taddeo claimed that it was he who had reorganised the library, and in 1485-6 he travelled to Florence to commission new copies of manuscripts, from scribes working at the heart of the European renaissance. He was also the tutor to Matthias's illegitimate son, Johannes Corvinus. It may be that Taddeo returned to Italy on Matthias's death in April 1490, because in the early part of the decade he was clearly busy with Angelo's press: in addition to this important edition of Quintilian, he was also editor of Augustine, De Academicis (March 1491), and of the works of Claudian (April 1493), and Ausonius (July 1499). Many of the facts about his life are preserved by Ireneo Affò, Memorie di Taddeo Ugoleto (Parma, 1791). Taddeo dedicates this work to the poet Giorgio Anselmo Nepos (1459-1528), an eminent man of letters from an old Parma family: in the next century, his epigrams were to be published at Parma by another of the Ugoleto family, Francesco (Epigrammaton, 1526). Provenance. Sold at Sotheby's London, 23 June 1970, lot 175: £105, to Charles W. Traylen of Guildford. In Traylen catalogue 75, item 97, priced at £165; sold in February 1972 to R.G. Austin (1901-74), editor of Cicero and professor of Latin at the University of Liverpool, 1954-68. Goff Q22; BMC VII 946; Bod-Inc Q-021; Hain-Copinger 13659*. For Quintilian's authorship and the importance of this edition, see M. Winterbottom, Minor Declamations ascribed to Quintilian (Berlin, 1984), pp. xxi-xxv.

    N° de réf. du vendeur 22819

  • ZOPPINO, Niccolò, publisher.

    Edité par Venice Niccolò Zoppino ca. -20?, 1515

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Small 8vo (leaf size 137 x 87mm), title printed in gothic and text in roman letter, with large woodcut (100 x 90mm) on title, and several small woodcut initials; title page slightly shaved at foredge (affecting one letter), and with a little damage at inner margin caused by it sticking to the free endpaper; bound probably in about 1800 in green boards, rebacked in modern times. Unrecorded second edition, from the Heber Library. What is presumably the first edition, also undated, is found in just two copies, at the Fondazione Giorgio Cini, Venice, and the Biblioteca Provinciale, Avellino. That edition has a title beginning exactly the same as this edition, but after 'dignissimi', continues: 'non piu stampate impressa per mi Nicholo dicto zopino'. EDIT16 (66505) suggests a date between 1505 and 1525 for that printing. I have found no other copy of any other edition. Niccolò Zoppino is not named as the publisher of this edition, but there seems no reason to doubt that it too comes from his press, and very possibly that he was responsible for the text as well. Originally from Ferrara, Zoppino was active as a printer and publisher in Venice for many years (at least 1507-43, according to BMC Italian), generally printing small books, often of a secular nature. He was also, surprisingly, active as a street singer, a practice for which he was arrested in March 1510 - not for the activity itself, but for the content of his performance, which was held to be against the Venetian State. This little book is clearly characteristic of his prolific output. The text begins with a 'Prohemio' in which the writer says that he is responding to requests for 'alchuni experimenti de larte de Agricultura'. He then goes on: 'Impero che seco[n]do se insegna nel libro dela Agricultura. Per agricultura & p[er] artificio la natura cooperarete in spacio de vna hora se diduce dal seme del cucumero: lherba el fiore & il cucumere'. He gives about thirty tips and hints for growing and preserving food - such as how to keep nuts green and then to dry them, how to keep lemons fresh, and how to ripen figs quickly. References: This edition is not recorded, but cf EDIT16 66505 for the edition referred to above; and also Essling 2505, and Sander 132. For the copy at the Fondazione Cini, see Dennis E. Rhodes, Catalogo (Florence, Olschki, 2011), item O14 (p. 189); and for Zoppino's activities as a performer, see Massimo Rospocher, ''In vituperum Status Veneti': the case of Niccolò Zoppino' in The Italianist 34 (2014), pp. 349-361. Provenance 1. Abate Luigi Celotti (1759-1843), a monk from Venice who became an art dealer in the aftermath of the French invasion in 1796. Celotti bought many manuscripts in the aftermath of the looting of the Vatican in 1798, and cut them up the better to display their miniatures; this collection was sold at auction in London (by Christie's) in 1825. However, Celotti had brought many other treasures from Italy, and held sales of books from his 'library' at Sotheby's on 26 April 1819, 14 February 1825, 14 March 1825, and 8 February 1826. This book was sold in the first of these, where it was bought by its next owner, 2. Richard Heber (1774-1833), the greatest book collector who ever lived. We know that Heber owned it because although the upper free endpaper, where his 'Bibliotheca Heberiana' stamp would have been, is missing, Heber himself has written on the pastedown: '(Cellotti's) Sale by Sotheby Apr. 1819'. What may be a price of '4' (shillings? pence?) is below that, probably written by him, and then '(C & P)', more certainly in Heber's hand again. This was not the only book which Heber bought at that sale: a very similiar form of inscription is found in a book at the University of Pennsylvania (a Florentine edition of 1478 of Acciaiuoli on Aristotle's Ethics), which makes his ownership quite clear. This book was sold after Heber's death in the third of his sales, at Sotheby's again, November 1834, as part of lot 973. 3. The book subsequently belonged to J. Charles Barnel, whose bookplate (probably late 19th c) is on the pastedown. The bookplate looks French, but I have not been able to trace him further 4. The Lawes Agricultural Library at the Rothampsted research institute, perhaps bought in 1921 (there is a number 4423/1921 in modern ink on the pastedown): sold in their sale (Forum Auctions, London), on 10 July 2018, lot 27.

    N° de réf. du vendeur 24895

  • COLERIDGE, Samuel Taylor.

    Edité par Bristol for the author, 1795

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    Small 8vo (160 x 95mm), pp. 6, [3], 8-69; a very good copy in a mid-19th century binding of half calf over marbled boards. Bookplate of Robert, Marquess of Crewe. First and only edition of this rare early work by Coleridge, printing two lectures which he had delivered earlier the same year, in January and February, in the Corn Market, Bristol. The first one, on contemporary English Jacobins such as Paine, Godwin and Gerrald, had been printed as A Moral and Political Lecture, but the second one, 'On the Present War', against Pitt and his repressive policies, is first printed here. The series of lectures was suspended after the third lecture, when crowds outside the rooms threatened to disrupt the event. Coleridge's preface nonetheless asserts that 'Truth should be spoken at all times, but more especially at those times, when to speak Truth is dangerous'. This is followed by an ironical letter 'from Liberty to her dear friend Famine'. In between the lectures' delivery and their publication, he had married Sara Fricker on 4 October, and disappeared to their cottage at Clevedon, where they spent the next six weeks: the preface is dated from there, on 16 November. However, as Richard Holmes reveals, the following day he was at a meeting in Bristol, speaking in favour of a petition to the King 'for a speedy Termination of the Present War'. Provenance. Robert Milnes (1858-1945), marquess of Crewe, with his bookplate. He might have inherited this book from his father, Richard Monckton Milnes (Lord Houghton), who left an enormous library that was considerable extended by his son. Wise, Coleridge, 3; Tinker 674. See Holmes, Coleridge: Early Visions, pp. 95-106.

    N° de réf. du vendeur 21791

  • LACY, John?]

    Edité par London c, 1733

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Folio (height 383mm; greatest width 240mm); pp. 2, a single sheet, printed on both sides; blank side-margins cut away for folding into a volume; some dust-soiling on first page, but no loss of obscuring of text; in a cloth folding case. First edition, and of the greatest rarity. A poem in praise of tobacco, issued by Joseph Lacy, a London merchant, as part of his campaign to oppose the unpopular imposition by Robert Walpole's government of a new excise tax on wine and tobacco. At the top of the first page, flanking the title, are two woodcut coats-of-arms, the one on the left for John Lacy 'of the city of London merchant', dated 1641, and the one on the right for Thomas Lacy, 'tobacco merchant in Martins Lane by Cannon-Street', dated 1669. At the bottom, in small print (effectively as a footnote), is an adulatory account of the life of Sir Walter Raleigh, credited with first having brought tobacco to London from Virginia. At the foot of the second page is an advertisement for Joseph Lacy's commercial establishment, and an announcement for the forthcoming distribution, gratis, of another publication in Lacy's campaign to prevent the enactment of the highly unpopular excise tax: The History of Tobacco, from its first Introduction into Europe; with Remarks on the Nature, Virtue, Use, and Trade of Tobacco, by J. LACY, Merchant, will be given away next Week, at the corner of Spring-Gardens, going into St. James's Park, over the Door, PATRIÆ PROBEST This is recommended to the Perusal of those who use Tobacco or any others that are desirous to have a true Idea of the Tobacco Trade. At the same Place, is sold all sorts of Pigtail Tobacco, also the best smoaking mild Virginia Tobacco, both large and small Cut, being 10 Years old and well garbled of the vitiated and impure Leaves; many hundred Tonns of which (often in a Year) the Proprietor and his Predecessors for 80 Years past have exported for the Nobility and Gentry in Germany, Russia, Sweden, Poland, Denmark, Prussia, Holland, Riga, Norway, Hamburgh, Dantzick, Bremen, Revel, &c. All sorts of Leaf Cut, large and small Roll Tobacco, are sold for Home Consumption or Exportation, the Drawback discounted, by J. LACY, at the Virginia Warehouse, in Virginia-street, who is to be spoke with on the East Country and Virginia Walks, at the Royal-Exchange. The announced history did in fact appear as a four-page folio, under the title Observations on the nature, use, and trade of tobacco: of that account, ESTC lists four copies (British Library, NYPL, Columbia and Cleveland Public Library). It seems fairly clear that both that work and this poem are by Joseph Lacy, although ESTC attributes the poem to John Lacy (who must have been long dead by the 1730s). The present poem has hitherto been known only from a single copy at the British Library, where it was for a long time wrongly catalogued as a 17th-century imprint (and included in Wing as L148A, and dated to 1669 from the right hand armorial); also at the British Library is a unique copy of a different impression, without the two armorials, and with only the first paragraph of the notice at the foot of the second page. Foxon T404.5.

    N° de réf. du vendeur 23865

  • YOUNG, Edward.]

    Edité par London: printed for R. Dodsley at Tully's Head in Pall-Mall, 1742

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    Folio, pp. 20; full marbled calf, gilt, spine and inner dentelles gilt, by Riviere (spine a bit worn, upper joint weak); in a cloth slipcase. First edition. The first of nine installments of Night-Thoughts, arguably the greatest, or at least the most influential, long poem of the 18th century; in time Young's masterpiece, a quasi-autobiographical narrative in blank verse, would be illustrated by Blake and read with close attention by Wordsworth and Coleridge, and it remained popular throughout the 19th century. This first 'night' was published shortly after Young had turned 59, when many assumed his literary career was near its end; in fact he continued to publish for another two decades. This was the only part to be printed as a folio, as all subsequent parts were issued in a quarto format. As a result, the original printing is comparatively rare, and has long been difficult to acquire, in much the same way as Thomson's Winter, which was also the only folio poem in a series. Foxon Y24; Hayward 165; Rothschild 2619. ESTC now lists fourteen copies in eleven libraries; there are also copies in the Forster collection at the Victoria and Albert and the Robert H. Taylor collection at Princeton. This copy has a distinguished lineage of owners: it bears the bookplates of John Gribbel, Clarence S. Bement, David and Lulu Borowitz, and H. Bradley Martin; no other copy has appeared on the market since the Martin sale in 1990. An unidentified early reader has made a few manuscript 'improvements', most notably the alteration of the last word in line 42 from 'Woe' to 'Grief', presumably because 'Woe' is also the last word in line 45; Young himself soon observed this infelicity (or misprint?), but chose instead to change the first use of 'Woe to 'Soul'.

    N° de réf. du vendeur 23904

  • MASON, James.

    Edité par Printed at London by Iohn Legatte printer to the Uniuersitie of Cambridge And are to be sold in Pauls Church-yard at the signe of the Crowne by Simon Waterson. 1612, 1612

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    4to, pp. [iv], 103; title page restored in outer margins; worming in blank inner margin almost throughout, but not affecting text; and lighter worming in outer margin from about p. 39 onwards; heavy stains in top left corner from p. 61 onwards, but only becoming offensive towards the end; final leaf heavily repaired with tissue, with sections of blank margin missing, but only touching the text; in modern half calf over marbled boards, spine with morocco label. First and only edition of a treatise against sorcery. Not much seems to be known about James Mason, who describes himself on the title page as 'Master of Artes': this seems to be his only published work. Because of the printer, we can assume that he was a Cambridge graduate, and he is very likely to be the man of this name who was at St John's in the late 1570s, and who took his MA from Trinity in 1586. He had been 'licensed to teach grammar' by the Bishop of Ely in 1583, so perhaps was originally a schoolmaster, and he may be the same man who was Vicar of Tevershall, Notts., from 1609 until his death in 1638. Mason describes the origin of this book as having come from conversations with 'a notable supporter of those wicked vanities, which are spoken against in this booke', who not only practised sorcerie but also 'went about to perswade others thereunto'. The treatise is based on a text in Acts (ch. 19, vv. 11-16), and might have started life as a sermon, or a series of sermons. STC 17615. Most copies read 'Anatomie' on the title page: those reading 'Anotomie' like this one are very probably a first issue, and are rarer than the corrected version. Examples are the Douce copy at the Bodleian and the copy at the NYPL. Of either variant, ESTC locates 13 copies in the UK (more than half of them in Oxford and Cambridge libraries) and eight in the USA. The only two copies sold at auction in the last thirty years have been at Bloomsbury (2008, £3600 hammer) and Sotheby's New York (2016, $5000 hammer). Provenance. Early (but maybe a little later) inscription at head of title: 'George Prichard'. There was a George Prichard at Oxford in the 1630s, son of another George: he was from co. Glamorgan, and returned there to become Rector of Llansannor in 1636.

    N° de réf. du vendeur 24481

  • PHILIPPS, Janetta.

    Edité par Oxford printed by Collingwood and co, 1811

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    8vo, pp. [xii], 68; a little spotted but generally a very good copy, in contemporary tree calf, spine gilt, joints cracked. Sole edition of a rare volume of poems by Janetta Philipps, issued by subscription: the list of those who patronised the publication is quite substantial, amounting to pre-publication orders for over 500 copies. Although almost nothing is known about Janetta Philipps herself, the subscription list is on its own quite informative: she presumably lived in Oxford, as there is a good preponderance of university and town names taking copies, but there is also a fair number from Somerset, notably from Bridgewater but also including Taunton, Stowey, Pawlet and Queen Camel. She must have been well-connected in high society, because there are several titled subscribers, led by the Duke and Duchess of Marlborough but also including the Earl of Dysart, Lord and Lady Bagot, the Earl of Stamford and so on. The most notable name on the list, however, is that of 'Mr. P.B. Shelley', who took six copies; other members of his family were also subscribers, such as his sisters Elizabeth and Hellen, and friends such as Thomas Medwin, Edward Graham and his future wife Harriet Westbrook (they were to elope in August the same year). Shelley took six copies, but this is not the end of his interest in the book: we know from a letter to Miss Philipps, written on 16 May of this year from the family home at Field Place, that he saw the manuscript of her poems before publication, and that he 'offered to print the Mss. at my own expence' (Letters I p. 88). When he wrote that letter, Shelley was in disgrace: he had been sent down from Oxford in late March, but had presumably been able to see the MS in Oxford through the good graces of his friend Strong, who is mentioned in the letter too. A subsequent letter, perhaps written later the same month (I p. 89), reacts forcefully to a letter she had written to him, which seems to have protested against the publication of his Necessity of Atheism (which he had mentioned in his previous letter). He did not forget her after this: next month he wrote to Hogg saying that Miss Philipps had 'twice the genius' of his sister Elizabeth (after whom Hogg was currently hankering). There is, however, no evidence that they were in touch after this and his interest in her was as transient as was that he took in the young Felicia Dorothea Browne (later Mrs Hemans). One feature of the book intriguingly suggests that this may not be Philipps's only publication: pp. 31-2 carry a poem headed 'Stanzas inserted in the novel of Delaval', which begins: 'Then teach me, ah! teach me that pang to subdue'. This set of five four-line stanzas does indeed appear on p. 117 of the anonymous gothic novel Delaval, published by the Minerva Press in 1802. No attribution has hitherto been made for the authorship of this piece of fiction, but it seems reasonable to suggest that Janetta Philipps could well have been responsible for it. See Garside, Raven & Schöwerling II p. 146 and Blakey, Minerva Press, p. 202. Jackson, Romantic Poetry by Women, p. 256. No copy of this book seems to have been sold at auction in the past forty years. Copac locates copies at the BL, Bodleian and NLS; there are also copies at Harvard, NYPL and Yale. Provenance. This copy belonged to an Oxford woman reader some twenty years after publication: it has the ownership inscription on the upper pastedown of Mary Barnett, Holywell St, Oxford, dated 1831. She must be the wife or daughter of Thomas Barnett, who kept a livery stables in Holywell (see Pigot's 1830 trade directory for Oxford): presumably he was prosperous, because when he died in 1841 he was designated 'gentleman'.

    N° de réf. du vendeur 19350

  • KETT, Henry, owner.]

    Edité par London Oxford and Cambridge -95, 1758

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Nine works in one volume, 4to, listed separately below. Nicely bound in late 18th century half calf over marbled boards, a bit rubbed but very sound. A fine volume of mostly academic poetry, much of it published in the 1780s and put together by the aspiring poet Henry Kett (1761-1825), fellow of Trinity College Oxford. Kett himself published some poetry, and attempted to become Professor of Poetry at Oxford in 1793 and again in 1802. He was a well-respected tutor and the author of several books, as well as being a notable wit. In this volume of nine works, although only one of them is noted as a presentation copy (item 4, from George Richards), it is very likely that several others were too, as almost all of the authors were academic contemporaries at the two universities. There is a list of contents on the flyleaf, quite probably by Kett himself. The volume was later bought by John Johnson (d. 1831), Fellow of Magdalen Oxford, who has noted on the flyleaf 'Purchased at a Sale probably at Mr Ketts'. In the twentieth century the book belonged to H.W. Luttman-Johnson (perhaps a descendant), a proto-fascist and associate of Oswald Mosley who was interned during World War II. The separate pieces are: 1. LIPSCOMB, William. POEMS . Oxford: printed for J. Walter . London. Sold also by D. Prince and J. Cooke in Oxford; and J. Todd in York. 1784. 4to, pp. [iv], iii, [i], 111. Lipscomb (1754-1842) was at Corpus, Oxford, and graduated in 1774, having won a prize for English verse in 1772. 2. CROWE, William. LEWESDON HILL. A poem . The second edition. Oxford: at the Clarendon Press, 1788. Sold by D. Prince and J. Cooke, Oxford; J.F. and C. Rivington, T. Cadell, and R. Faulder, London. 4to, pp. [vi], 28, [1]. Crowe (1745-1829) was a Fellow of New College and Public Orator from 1784. 3. RICHARDS, George. MODERN FRANCE: A POEM . Oxford: sold by J. Cooke; by G.G.J. and J. Robinson [etc] . London; and W. Lunn, Cambridge. 1793. 4to, pp. 18, [1]. Inscribed 'Mr Kett' at head of title in a contemporary hand. George Richards (1767-1837) had been at Christ's Hospital with Charles Lamb and then went on to Trinity College under Kett - he was very probably tutored by him. This poem expressing horror at the excesses of the French Revolution could well be a presentation copy from the author, who was by this time a fellow of Oriel. 4. RICHARDS, George. MATILDA; OR THE DYING PENITENT: a poetical epistle . Oxford: printed for J. Cooke, and sold by G.G. and J. Robinson [etc] . London. 1795. 4to, pp. 20. Inscribed 'The Gift of the Author Feb 7 1795' at head of title page. 5. TWEDDELL, John. JUVENUM CURAS. [colophon:] In comitiis maximis. Jul. 7, 1789. Joannes Tweddell, Trinitatis Collegii Scholaris apud Cantab. [Cambridge, 1789] 4to, pp. 4; in Greek throughout except for title and colophon; early MS note on first page. Very rare: ESTC locates just two copies, at the BL and Bodleian only (although there is now a third copy known, at Trinity Cambridge). John Tweddell (1769-99) was an outstanding student at Trinity College Cambridge, where he became a fellow in 1793 - these Greek verses were published while he was still an undergraduate were presumably circulated privately. He was a passionate revolutionary and moved in Godwin's circle, meeting George Dyer, Thomas Holcroft and even William Wordsworth. He travelled widely in the 1790s spent much of his energy recording Greek antiquities; on his death in Athens in 1799 he apparently left a large collection of drawings and notes that later disappeared. As ODNB states, 'In death Tweddell became almost a mythical figure, with many laments at the genius cut off before it could show itself. Lord Byron was among those who in 1810 marked his grave with a block of marble from the Parthenon.' 6. LOWTH, Thomas Henry. REI NAUTICAE INCREMENTA. [Oxford, 1773] 4to, pp. [ii], 10. Lowth was born in 1753 and was the eldest son of the churchman Robert Lowth, who by the time his son went up was Bishop of Oxford. The young man promised well, but he died young in 1778. This piece - very likely a prize poem from his undergraduate career - celebrates nautical achievements, including those of Columbus, Vasco da Gama, Drake, Anson and Byron. 7. CHAPPELOW, Leonard, translator. THE TRAVELLER: AN ARABIC POEM, INTITLED TOGRAI, written by Abu-Ismael; translted into Latin and publish'd with notes in 1661 . now render'd into English in the same iambic measure as the original; with some additional noes to illustrate the poem . Cambridge, printed by J. Bentham printer to the University . 1758. 4to, pp. [ii], 38. One of the few ventures into poetry of the orientalist Leonard Chappelow (d. 1768): according to ODNB it 'inaugurates the Cambridge tradition of turning Arabic poetry into English verse'. 8. KNIGHT, Samuel. ELEGIES AND SONNETS . London: printed for T. Cadell, in the Strand. 1785. 4to, pp. [ii], v-70; last leaf with short internal tear (no loss). Probably not wanting the half title, as the title page is a cancel and both half title and title were probably cancelled at the same time. A rare volume by Samuel Knight (1754-1829), who had been at Trinity Cambridge but was later at the Middle Temple. This is a reissue of the original work, with a cancel title page identifying the author. No copy of either issue in the British Library. 9. [MONRO, Thomas?] MELE EPHEMERIA [graece] . Oxford: printed for the author: and sold by Mess. Fletcher, bookseller, in the Turle; and by W. Jackson, in Oxford. 1783. 4to, pp. [viii], 36. The manuscript list of contents on the flyleaf identifies this as 'Monro's Mele Ephemeria', and it is almost certainly by Thomas Monro (1764-1815), then still only 19 and an undergraduate at Magdalen College: Monro founded and edited the Oxford periodical Olla Podrida (1784-87), to which Henry Kett contributed. The work has a list of subscribers - almost all Oxford men - and consists of English, Latin and Greek verses.

    N° de réf. du vendeur 17059

  • Two volumes, 4to (leaves 242 x 190mm), pp. [xvi], 716; 536, [44] index homericus; pagination including the engraved title page in volume I; also with two engraved frontispieces, both by Schiavonetti, added at a later date; a very fine copy in full green morocco (probably English, around 1800), with spines gilt, gilt plain borders on covers, gilt turn-ins surrounding tan morocco pastedowns; marbled paper for free endleaves. First edition of this edition of the Iliad and Odyssey, in the original Greek and with Latin notes by Cornelius Schrevelius (1608-64). This has long been regarded as a fine edition, but this is a large paper copy, and comes from a distinguished line of collectors. Provenance 1. Janus Broukhusius (1649-1707), the latinised name of Joan van Broekhuizen, Dutch scholar and editor of classical texts, with his ownership inscription at the head of the title page in volume I: 'Jani Broukhusii'. A few notes in the margin of the title page and the preceding endpaper may be in his hand. Broukhusius was a very considerable collector, and his library was sold at auction in Amsterdam in May 1708. 2. 'W:S: 1803', written in an English hand on an endpaper in volume I, with 'C.P.' opposite. 3. George Spencer-Churchill (1766-1840), who in 1817 became the 5th Duke of Marlborough but is known to bibliophily as the Marquis of Blandford. His famous library at White Knights near Reading had to be dispersed in 1819 because of his debts, by the auctioneer Thomas Evans. Notoriously spendthrift, Blandford had fought off competition at the Roxburghe sale (1812) to secure the 'Valdarfer Boccaccio' for £2260, a price record that stood for more than seventy years. The inscription of the next owner, Henry Drury (see below) clearly implies that this is the same copy - and indeed lot 1956 in the White Knights sale was a large paper copy of this book, and also had the two Schiavonetti plates inserted. As the catalogue states that that it was bound in red morocco, one might doubt this to be the same book - however, the auctioneer's file copy of the sale at the British Library does indeed show the buyer to have been 'Drury'. 4. Henry Drury (1778-1841), who like Lord Blandford was a founding member of the Roxburghe Club, and was a book collector of more modest means (and of better-controlled ambition). A clergyman scholar, Drury taught at Harrow, where Byron was one of his pupils, and although a renowned classicist he never produced the books he might have written or edited, instead putting his energies into book collecting. Drury has written two notes, one in English and French and the other in Latin, suggesting that this copy comes from White Knights, and quoting Brunet's opinion about the rarity of the large paper issue. 5. Acccording to Brunet (in, obviously, the later edition), Drury's copy fetched £13.5s when sold in 1827, but was 'revend 561 fr. à Paris, en 1829'. If so, the book returned to London again, some decades later and at a lower price, because this copy was bought at Sotheby's on 21 July 1857 for £7.10s: it was lot 451 in the second day of the sale of the library of 'a well-known collector' (who was apparently le Baron de St Victor), bought by 'C. Butler'. The large paper copies of this edition are, according to Brunet, particularly sought-after: 'Il y a des exempl. en Gr. Pap. regardés avec raison comme très-rares; celui de M. Caillard a été vend. 451 fr; il avait 243 millim. de hauteur sur 191 de largeur; nous en donnons la mesure, parce que sans cela les personnes qui n'ont pas été à même de voir les deux papiers, reconnaitraient difficilement le plus grand'. Binding Finely bound in early 19th century green morocco: when sold in 1857, the binding was attributed to Charles Smith, but there is no ticket or stamp anywhere in the volumes that I can find. Brunet III 272-3.

    N° de réf. du vendeur 22114

  • LANDOR, Walter Savage.]

    Edité par London: printed for Henry Colburn. and sold by George Goldie Edinburgh and John Cumming Dublin, 1814

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    8vo, pp. [ii], 100, [2] advertisements; entirely uncut (short tears in pp. 27-8 and 33-34 due to careless opening, but with no loss); slightly browned, else a fine copy, rebound by Philip Dusel in drab boards, dark red morocco spine, lettered in gilt. First and only edition: 'one of the rarest Landor first editions' (Weissman). This series of fourteen open letters to Lord Liverpool, the Prime Minister, urges the government to be resolute with France and ruthless with Napoleon, to prevent a recurrence of imperial ambitions. The letters were begun in late 1813, in the wake of the news of the allies' victory at Leipzig (the last one is dated 20 December); they were supposedly for publication in The Courier, but in fact they never appeared in a periodical and this is their first appearance in print. The book was advertised as 'in the press' on 24 December, and it was therefore probably available very early in January 1814. Landor was very discontented with the result (no surprise there) and complained to Southey that 'The evil genius to whom I committed the manuscript has printed what he chose and omitted all the best' (Super p. 25). Shortly afterwards, in May, Landor moved his household to Jersey and then to France, where he had the satisfaction of seeing the defeated Emperor at Tours, on his way into exile. This pamphlet became notoriously rare, and in 1923 Wise thought that his own complete copy - he also possessed one mutilated by Landor - was 'the only perfect copy of the book known to have survived'. In fact we can now trace eleven copies apart from this one: two in the British Library (Wise's Ashley copies), Aberdeen University, and two in National Trust houses (Nostell Priory and Calke Abbey); one each in the National Library of Ireland and Bibliothèque Nationale, Paris; two at the Library of Congress and one each at the Huntington and Chicago (Wachs collection). In addition, the pamphlet was reissued by Colburn in 1814 - perhaps without Landor's knowledge or permission - as part of a collection of essays against Napoleon, titled Offerings to Buonaparte. The lead pamphlet was one by Chateaubriand, Of Buonaparte and the Bourbons, and there were two others besides Landor's also included. Of that reissue, I can trace just five copies: British Library, Bibliothèque Nationale, Harvard, Chapel Hill and DePaul University (Chicago). Wise actually admits in the bibliography that his complete copy was extracted from a copy of Offerings to Buonaparte, but otherwise nobody seems to have noticed this alternative form of publication. Super, Publication of Landor's Works, pp. 24-5; Wise and Wheeler, Bibliography of Landor, 15; Wise, Ashley Library, III p. 68; Weissman, Poetic Associations, p. 168.

    N° de réf. du vendeur 22607

  • VERGIL, Polydore.

    Edité par Basel Johannes Bebelius, 1534

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    Folio, pp. [ii], 610, [47] index, [1]; woodcut printer's device on title and final page; ruled in red throughout; a fine large copy in early calf over thick pasteboard, the covers with central lozenge-shaped ornament in gilt, gilt roll-tool border and cornerpieces. Possibly a French binding. (Rebacked by James Brockman, replacing an earlier, ineffective, reback.) Editio princeps. This is a very fine copy, in a very early binding, of the first modern history of England. This is an important book, the work of an Italian humanist writing to the order of Henry VIII. McKisack praises Polydore for his scepticism and descretionary use of his sources, unlike Fabian and others of his predecessors. Bede, William of Malmesbury and Matthew Paris were the only three Polydore considered of much value; in particular he was influential in dismissing the fabulous tales of Geoffrey of Monmouth. Polydore came to England in 1501-2, although he had been resident at Rome as Henry VII's representative since 1492. At heart he seems to have remained a Catholic and was unhappy with the drift towards protestantism under Henry VIII; as a good friend and frequent correspondent of Erasmus, however, he was probably unable to commit himself to either side with conviction. He returned to Urbino as an old man and died there in about 1555. Adams V446; see McKisack, Medieval History in the Tudor Age (1971), pp. 98-103. Provenance. Eighteenth-century armorial bookplate of 'John Earl of Delawarr' - i.e. John West (1693-1766), Lord De La Warr, politician and diplomat, who was created Earl De La Warr in 1761. In the 19th century this book belonged to James Elwin Millard (1823-94), vicar of Basingstoke (and collector of books relating to the town). He was the father of Christopher Sclater Millard (1872-1927), better known as 'Stuart Mason', bibliographer of Oscar Wilde. The younger Millard must have disappointed his father by first converting to Roman Catholicism and then being convicted several times of gross indecency - but, as the first great collector of Oscar Wilde, he clearly inherited the father's book-collecting gene.

    N° de réf. du vendeur 22871

  • HALLAM, Isaac.

    Edité par Stamford: printed by Francis Howgrave, 1742

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    4to, pp. [viii], 61; with an engraved frontispiece; bound in full brown morocco, gilt, spine and edges gilt, by Riviere. First edition of a remarkable poem on cock-fighting, described by the author in his dedication as a 'diversion . . . daily growing into esteem'. The author was himself an enthusiast of this violent sport. Much of the verse is devoted to the breeding of birds and the hatching of eggs, but the poem concludes with a vivid, if crudely-written, description of an actual match, with the spectators engaged in excited wagering: Thus circling round the glitt'ring Guineas fly, As various Odds become the gen'ral Cry, And Five to Two the nice Advent'rers ply Now hostile Rage each daring Foe maintains, And Death as Fate inclines alternate Reigns, In various Shapes the missive Blow appears, And dire Destruction 'midst the Conflict bears; Now purple Life unloads the turgid Veins, And gushing down the crouded Circus stains, Or stagnates, swells the Throat, and vital Air restrains. (pp. 53-55) The odds are explained by one of the author's many informative footnotes: 'Five to two is a common Bett with the Groom Porters, when the Cocks on both Sides are judg'd of an Equality, against naming the Side which wins the following Battles, but if either Party be judg'd superior to the other, their Bett is then Five and a Half to Two against the weakest winning two together.' Particular attention is paid to the sharp metal spurs attached to the birds' feet, to make the contest lethal. A reference to an 'ingenious artist' named Smith is glossed: 'Mr. Thomas Smith, near Katherine-Street, being allow'd the most curious and noted Maker of Silver Cock-Weapons.' As printed here, the lines of the poem are very widely spaced, and this with some uneven inking gives the book a striking and distinctly provincial appearance. Francis Howgrave established his press in Stamford in 1732, where he published the Stamford Mercury, a newspaper which lasted for much of the 18th century. The Hallams were an old Lincolnshire family, and this Isaac Hallam is quite likely an ancestor of the historian Henry Hallam, and thus of his son Arthur Henry Hallam, Tennyson's friend. The book has a two-page list of subscribers, including the printer himself, as well as Mr. Thomas Howgrave, Sir Thomas Trollope (1691-1784, great-grandfather of the novelist), Thomas Trollope, and T. M. Trollope: the Trollopes were also from Lincolnshire. The frontispiece by Emanuel Bowen shows three gentleman, one holding a bird, one a sack and key, and the other a numbered scroll. Foxon H6. This is a fine copy of a very rare Lincolnshire imprint: Foxon locates just three copies (BL, Clark and Yale), and ESTC adds only one more, at the Huntington.

    N° de réf. du vendeur 23448

  • MORGAN, Hawten Maria.]

    Edité par London: printed for William Chetwood at the Cato's Head in Russell-Court near the Theatre Royal in Drury-Lane, 1718

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    12mo in sixes, pp. 46, including engraved frontispiece (repeated at p. 30); without the final blank leaf but a fine, fresh copy in later half vellum over marbled boards, spine gilt, black morocco label (label a little worn). First edition of a mock-heroic poem on hare-hunting: of very great rarity. The preface is largely an argument against the current prejudice that haring as opposed to fox- or stag-hunting - was not a proper form of hunting: 'But if it should be ask'd, why my choice was rather a Hare, than a Fox, Deer, &c. my Reason is, that I don't know of any wild Creature in these Kingdoms, usually hunted, that will afford such Variety of Diversion as an old Hare'. The poem begins with the usual epic conventions, but these are soon largely discarded for a tale set in an idyllic countryside, where the local squire is Sir Roger possibly a conscious imitation of Addison's Sir Roger de Coverly. 'The story is composed of two episodes: the killing of poultry by Rogue, the dog kept by Bess, one of Sir Roger's tenants, and the hunting of the hare, in which many people join and out of which much excitement and exercise grow. The chase is described at some length and Sir Roger's enthusiasm played up throughout' (Bond). There was a 'second edition' published (also by Chetwood) in 1720, which may well be a reissue of the same sheets: in that edition the author is given as 'H. Morgan, of the Inner-Temple, gent'. The only H. Morgan who was at the Inner Temple in this period was one Hawten (also spelt Hawtaine or Houghton) Maria Morgan, son of a Welshman, William Morgan, from Neath. Born in 1654-5, he entered the Inner Temple in May 1674, but he also matriculated at Magdalen College, Oxford, in May 1675, and took his BCL there in 1676. At this point his family owned Calthorpe House, near Banbury, Oxfordshire. Morgan had come into the estate and his unusual first name through his mother, Mary Hawten, whose family had owned Calthorpe House since the beginning of the century; he and his grandmother, Katharine Hawten, sold the estate in 1680. We do not know of his later movements or occupation, but he was presumably still alive, and perhaps still practising law, in 1720. The attractive frontispiece of a hunting scene was engraved by Elisha Kirkall, a mainstay of Tonson's stable of illustrators who was also widely known for his mezzotints; Pope refers to him in his Dunciad as 'bounteous Kirkall'. Oddly enough, since the poem not only defends but also concerns the hunting of hares, the plate actually shows a stag-hunt. Foxon M443; Bond, English Burlesque Poetry: 1700-1750, 61. Only the two editions or issues were published, and both are exceptionally rare. Only three copies of this first issue are recorded: at St. John's Cambridge, Yale and College of William and Mary. The second issue is rarer still, with just one copy located, at the Bodleian (possibly the same copy which Bond saw, then owned by J.B. Keogh); that copy apparently lacks one of the two plates.

    N° de réf. du vendeur 23589

  • WYCHERLEY, William.

    Edité par London: printed for Benj. Bragg in Ave-Mary-Lane, 1705

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Folio, pp. [ii], 5-15; in modern red half morocco, spine lettered in gilt. First edition, second issue. This poem was first published anonymously the previous year as The Folly of Industry, or the Busy Man expos'd, by Ann Baldwin of Warwick Lane. In this reissue, there is a new title page with a different title, the author is named, and the (rather uninformative) preface is cancelled: presumably the poem had attracted little attention as an anonymous work and Benjamin Bragg bought up the sheets on the understanding that he could publish it as Wycherley's work. The theme of the poem is that in the course of making money, the life of a man of business is consumed with anxiety, whilst supposedly pursuing greater leisure: So Bus'ness is the Bane of active Life, Which shou'd procure our Ease, maintains our Strife; Which wears out Life, whilst Life it shou'd sustain, Till our Death, by our Livelihood, we gain. (p. 6) It was at about this time that the young Alexander Pope, then a mere seventeen years old, came to know Wycherley, now sixty-four, but there is no suggestion that Pope had anything to do with this publication, even though it was understood to be one of Pope's tasks to sort through his literary work and make it publishable. This 'second edition' appears to be an attempt to dispose of unsold sheets perhaps it had attracted little attention without Wycherley's name on the title page; but meanwhile it had been included (under this new title) in his collected poems of 1704, a volume which was something of an embarrassing failure. Nevertheless, this is the authorised reissue of the first edition of a late work by one of the age's greatest dramatists. Foxon W575. Both issues of this poem are rare. Of the first, ESTC lists six copies (British Library; Huntington, Harvard (2 copies), Clark and Newbery), to which Foxon adds a copy at Yale. This reissue is rarer still: just three copies have been located, at Longleat, Dr Williams's Library, and Harvard. Provenance: John Brett-Smith.

    N° de réf. du vendeur 23902

  • SWIFT, Jonathan.]

    Edité par London: printed. And Dublin reprinted in the year, 1730

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Small 8vo, pp. 16, a little browned, and text cut very close in foremargin on p. 6; otherwise good; disbound. First edition: the suggestion in the imprint of a London printing is a fiction. A charming poem, in which Swift declares a kind of truce. The Dean had begun the squabble himself with the delivery of a 'Christmas Box' against Delany, but in the end he was moved to defend his friend against the various 'libels' to which he had been subjected. Swift's feeling that enough was enough had been conveyed to Pope in a letter of May 2, 1730: 'There is a knot of little fellows here, either in the University or among the younger clergy, who deal in verse, and sometimes shrewdly enough. These have been pestering Dr. Delany for several months past.' Foxon S913; Teerink 693; Rothschild 2122. Very rare indeed: no copy has appeared at auction in at least fifty years. ESTC lists eleven copies in nine locations: the copies outside Britain and Ireland are at Cornell, Yale, Harvard, Syracuse and Texas.

    N° de réf. du vendeur 24291

  • WARD, Ned.]

    Edité par London: printed in the year, 1708

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    8vo, pp. 16; bound in old marbled boards, maroon morocco label (label a bit worn). The second of two early printings of what Foxon calls 'a genital riddle'; the first edition was in 1706. The opening lines make it obvious that the 'hairy monster' of the title is in fact the male member: When full, 'tis round, when empty, long, Sometimes a hole, sometimes a slit; Hairy when old, and bald when young; Too wide for some, for others fit. The poem continues in this vein for five pages. There follows another bawdy poem entitled Musick Commended, and Scraping Ridiculed, in which various musical instruments, such as the violin, the flute, the trumpet, and of course the organ, are described in sexually suggestive detail. The pamphlet contains four other shorter poems: two love songs, a song called The Sea-Fight, and a poem about borrowing a horse. Foxon was unable to find a copy of either of the two earliest printings of this pamphlet, but cites advertisements for the 1706 edition, called simply The Riddle, in several parts of Ned Ward's Hudibras Redivivus (1706-7); for this 1708 edition, he notes only a listing in Morgan. ESTC now records two copies of the 1706 edition (at Leeds and the Newberry), and two of this 1708 printing, at Lincoln College, Oxford, and the Clark. There were also a couple of folio editions, of the title-poem only, in the 1720s; these are of equal rarity. This pamphlet is not described by Troyer, though Ward's authorship is pretty clear, and is confirmed by various notices in his lifetime. A very good copy of a rare and amusing piece of curiosa from the reign of Queen Anne. Foxon W164 (note).

    N° de réf. du vendeur 24333

  • GESNER, Conrad.

    Edité par Tiguri Zürich excudebat Christoph. Frosch, 1577

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Two parts in one volume, small 4to, ff. [viii], 140; 28; with printer's device on titles and three full-page woodcut illustrations in the second part; both title-pages strengthened (with paper patches, where stamps possibly removed, on versos); early binding with vellum spine (lettered in ink) and sides made from old musical MS. First edition. The first part of this work consists of a large number of letters from Gesner (and, on a few occasions, to him) to various eminent botanists, physicians, scientists and scholars of his time throughout Europe. Amongst those with whom Gesner corresponded were Johann Crato von Krafftheim, Achilles Pirminus Gasser (editor of Peregrinus's De Magnete, with whom he discussed the magnet), Adolf Occo (to whom he wrote in both Greek and Latin), Felix Platter, Theodor Zwinger and Leonhard Fuchs. 'These 226 letters on a wide variety of medical topics, edited by Caspar Wolf, Gesner's literary executor, and published posthumously, indicate the wide interests and scientific insights of this great Renaissance scholar. The book contains two botanical tracts and three fine woodcuts of plants from Gesner's huge collection of drawings and woodcuts of plants which were to form the illustrative portion of his projected history of plants' (Heirs of Hippocrates). These illustrations, of which Gesner had drawn and collected some 1500, were prepared for a proposed monumental treatise, an Opera Botanica, which he never finished. He entrusted Caspar Wolf with the project, but Wolf was not able to fulfil his commission. He sold the material, including some blocks already cut, to Johann Camerarius the younger and these later came into the hands of C.J. Trew.Some of them were published by Schmiedel in the 18th century, but the printing here of the three blocks is remarkable in being near-contemporary. These cuts appear in the second part of the work, which has a separate title page. It is a monograph (taken from the proposed Opera Botanica) on aconites and hellebore - indeed, it is the first monograph on these plants. Provenance. Nicholas Franchimont a Frankenfeld, with his ownership inscription and monogram on first title, and his underlinings and marginal MS annotations. Franchimont a Frankenfeld (1611-84) was professor of medicine at Prague. Amongst other medical topics, he wrote on lithotomy. Adams G526; Bird 1062; Durling 2067; Heirs of Hippocrates 186; Hunt 129; Parkinson & Lumb 1004; Waller 3521; Wellcome I 2805; Wellisch 3.1.

    N° de réf. du vendeur 9233

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    Three works in one volume, 4to, pp. vii, [i], 23; [iv], 28; 18; the second poem signed in ink (on p. [iv]) by the author with his initials A.K. ('the better to prevent surreptitious copies'); finely bound in full red morocco gilt by Riviere (neatly rebacked, preserving original spine), gilt edges and turn-ins, plain dark blue endpapers. First edition of Goldsmith's Deserted Village, one of the most famous poems of the century - a brilliantly evocative and socially reflective poem with lines that many who have never read it will nonetheless find familiar: 'Ill fares the land, to hastening ills a prey, Where wealth accumulates, and men decay' (p. 4). The last four lines, supplied by Goldsmith's close friend Samuel Johnson, are also plangent. This is the true first edition, and in fine complete condition, with the half title. Bound with this are two early imitations, much less common than the original. Anthony King (1742-97) was the son of a future Lord Mayor of Dublin, Sir Anthony King, and had been educated at Trinity College; he must have read for the English bar, but later in life practised in Dublin. This is his earliest known work, dedicated to Goldsmith '(in whose acquaintance he is personally honoured)'. He took precautions against piracy by signing copies on the back of the title page - his fears seem to have been well-founded, as an unauthorised edition 'printed by Obadiah Pirate, in Black-Boy-Alley' is also known, and perhaps had preceded this printing. Of this authorised edition, ESTC locates no copy at the BL and just four copies in England; and five copies in North America (Harvard, McMaster, Yale, Illinois and Minnesota). Later still, there were two more piracies produced in Dublin (1784 and 1797). The third book in this volume is by the American writer Thomas Coombe (1747-1822). Born in Philadelphia, Coombe was ordained into the Church of England and felt that this barred him from disloyalty to the Crown by supporting American independence: he sailed to England in 1779 and spent the rest of his life in Britain and Ireland - just before this poem was written, he had been chaplain to Lord Carlisle as Lord Lieutenant of Ireland, and the poem combines his experiences of Ireland and America. The poem pictures Edwin, who has been exiled from his native land, coming to America, the promised country of hope and plenty; but there he only finds war and danger: 'Brothers 'gainst brothers rise in vengeful strife, The parent's weapon drinks the children's life . Here, as I trace my melancholy way, The prowling Indian snuffs his wonted prey. Ha - should I meet him in his dusky round - Late in these woods I heard his murderous sound - Still the deep war-whoop vibrates on mine ear, And still I hear his tread, or seem to hear .' (pp. 16-17). Goldsmith: Rothschild 1032; Temple Scott p. 248; Williams, p. 147. Coombe: Adams, American Controversy, 83-27.

    N° de réf. du vendeur 18291

  • Two works in one volume, folio (310 x 200mm), both titles with letterpress text within fine woodcut compartments; ff. 224; 198, [4]; good large copies, in a rather dull but very sound modern institutional binding of tan half morocco, spine lettered in gilt. Original (or at least very early) foredge inscription 'Opera Dionysij et Damasc:' preserved. Two editions which, despite being dated four years apart, are sometimes found in the same volume. St John of Damascus's De Orthodoxa Fide is in a translation by Lefèvre d'Étaples, with a commentary by Josse Clichtove; it had been published by Henri Estienne in 1512, and this is, as the title page says, Estienne's 'secunda æmissio'. It is, however, oddly scarce and is not noticed by Renouard - the 1512 edition is far more frequently met with. Both works are fine copies, with an attractive early British provenance. Dionysius: Renouard p. 16, no. 3; Adams D523; Cathedral Libraries Catalogue D634. John: not in Renouard or in Adams; Cathedral Libraries Catalogue J291. Provenance. This book was in Britain at a very early date. A contemporary inscription, lightly deleted, at the head of the title page appears to read 'Augustinij Bernlye' (the surname being very hard to read: it could be Berry or another more obscure name). This is very likely to be an Englishman. Certainly the following inscription, in a late 16th c hand, reading 'xpors Bulwer', with price 6s.8d., cannot be other than English, and the writer (whose first name must be Christopher) must have been an educated man whom one would assume to have attended university. However, this surname, which is very clear, does not appear at either Oxford or Cambridge at this date - at least, certainly not with this Christian name. There are quite a few notes in the margins of the Dionysius, in at least two 16th century hands; and on the blank preliminary leaf facing the title page a note in English which is quoting 'Mor. against ye masse'. This is probably a reference to the attack on the Roman Catholic mass by Thomas Morton (1564-1659), Bishop of Durham, Of the institution of the sacrament of the blessed bodie and blood of Christ, first published in 1631.

    N° de réf. du vendeur 22146

  • Small 4to, pp. [88]; most of the preliminary matter set in roman and italic letter, and the text set in black letter; metalcut border on title page, repeated on second title to the Kalendar; fine full-page arms of Elizabeth I on title verso, and with woodcut diagrams in second part; first title page rather dust-soiled, final leaf neatly remargined (not affecting the text); else a good copy rebound in the early 20th century in full plain calf, spine lettered in gilt. First and only edition of this work by a remarkable Elizabethan writer. Much of the life of Barnaby Rich (1542-1617) is obscure, but he spent much of his military life in Ireland, and he wrote a good deal about it, from the early 1570s onwards. This work is one of six books devoted to the art of war, but he had ambitions and talents beyond this: he was a friend of Thomas Churchyard, George Gascoigne and Thomas Lodge, and wrote volumes of stories such as Barnaby Riche's farewell to militarie profession (1581), which includes the story ('Of Apolonius and Silla') that gave Shakespeare much of the plot and characters (and several distinctive words) for Twelfth Night. The present book boasts (like Riche's farewell) of his affiliation to Sir Christopher Hatton, although it is dedicated to the Queen, and is addressed to the 'Captaines and renowned Souldiours of England', claiming 24 years of experience in soldiering, having first served 'at Newhaven, under that most honorable Earl of Warwicke' - that is, the expedition to Le Havre in 1562-3 which (as so often with Elizabethan foreign adventures) ended in disaster. This is followed by a long preface to 'the freendly readers in generall'. The main text details the various duties and demands of individual officers, from the highest to the lowest; and there are sections on 'Disciplines' and 'Stratagemes'. The second part of the book has its own title page, and gives a 'Kalendar for Imbatteling', showing how most efficiently to make your troop formations in squares - with, related to that, an easy way to find the square root of any number from 100 to 10,000. This is a rare title in Elizabethan literature: not only is it the only edition, but very few copies are recorded. ESTC and STC locate only four copies in the UK (BL, Lambeth Palace, and two in Oxford), and three in the USA (Huntington, Yale and Library of Congress. The only copy apart from this one that seems to have been sold at auction in living memory is one offered at Doyle, New York, in 2012, which had the final leaf in facsimile. STC 20995; Sweeney, Ireland and the Printed Word, 4503.

    N° de réf. du vendeur 23045

  • PRIOR, Matthew.]

    Edité par London: printed for R. Burrough and J. Baker at the Sun and Moon in Cornhil and E. Curll at the Peacock without Temple-Bar, 1707

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    8vo, pp. [vi], 58, 43-128, [1]; with the leaf of advertisements (originally printed as A1) mistakenly bound at the end; page numbers 43-58 repeated in error, but text continuous and as intended; some staining on the title and (less obviously) in the text; contemporary calf, a little rubbed, later paper labels on spine; preserved in a pull-off full blue morocco case. First edition, unauthorised: an important publication not only for Prior but also in the career of the publisher, Edmund Curll. This book was in preparation at the very beginning of 1707, as Jacob Tonson, who held the copyrights in Prior's poetry, issued a warning in the Daily Courant for 24 January, against 'a Collection of Poems which the Publishers intend to call Mr. Prior's', and adding that 'all the Genuine Copys of what Mr. Prior has hitherto written do of right belong, and are now in the hands of Jacob Tonson, who intends very speedily to publish a correct edition of them'. The implication was that this edition would contain spurious poetry - a fiction that Prior was also eager to sustain because he did not want some of the poems reprinted. Indeed he wrote to Lord Halifax on 4 February: 'Some rogue of a bookseller has madea very Improper Collection of what He calls my writings, the whole is mutilated, Names printed at length and things written near Twenty years since, mingled with some written the other Day; in such a Manner as may do Me harm . I mention this, my Lord, desiring your Lordship to believe this book was printed without my knowledge or consent'. Publication went ahead, all the same: the book appeared on 31 January, with no mention of Prior on the title page, but with his name clearly spelt out in the first line of the preface. This was Curll's first venture into contemporary literature, and possibly his first true piracy of material copyrighted by others; it was, of course, far from his last. Despite threats from Tonson, no legal action was taken, and it took Tonson two years to issue his own authorised edition. Curll was to discover that the bark of the 'official' London trade was often much worse than its bite, and his courage in ignoring threats could pay off. An indication of how unofficial this book was is that it contains a number of obvious misprints, and some of these have been corrected by a contemporary reader: examples of these are on pp. 31, (1)45, 97 and 100. It is just possible that these errors were spotted and corrected in the printing house, rather than by an early purchaser. Foxon p. 641; Rothschild 1675; and Hayward 140. See also Baines and Rogers, Edmund Curll, pp. 27-8, and Straus p. 204 ('The first, though unauthorized, edition, now very valuable'). Provenance: Beverly Chew; Harold Greenhill; H. Bradley Martin (Sotheby's New York 30 April 1990, lot 3129). This and the Houghton copy (Christie's London, 1980) appear to be the only two copies recorded at auction in the last fifty years.

    N° de réf. du vendeur 23202

  • FOSTER, Myles Birket.

    Edité par London: Routledge Warne and Routledge. New York: 56 Walker Street, 1863

    Vendeur Christopher Edwards ABA ILAB, Henley-on-Thames, OXON, Royaume-Uni
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    Membre d'association : ILAB

    Evaluation du vendeur : Evaluation 5 étoiles

    Edition originale

    EUR 3 643,22

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    EUR 4,83 Frais de port

    De Royaume-Uni vers Etats-Unis

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    Large folio (binding 570 x 410mm; leaves 550 x 390mm), with the original text and plates printed on india paper (232 x 195mm) and mounted on much larger leaves; printed on the recto only; consisting of half title, title and two leaves of preface and two of contents, followed by 30 leaves of text by Tom Taylor interspersed with 30 plates by Birket Foster; superbly bound in contemporary full green morocco over very heavy boards, titled in gilt on upper cover and on spine; edges gilt, marbled endpapers. First edition, and clearly a luxurious and special copy, printed on india paper and with both the plates by Foster and the text by Taylor mounted on very large sheets. The whole book is superbly presented in a contemporary morocco binding by an anonymous binder. Birket Foster's Pictures of English Landscape was a best-selling book when first published in 1863, and large numbers were printed. This present issue must have been the most de luxe version of it, printed and bound at the time of first publication, and no doubt only produced in very small numbers. It should not be confused with the 'India Proof Edition' published in 1881 in a limited edition of 1000 copies: besides being clearly dated 1881, that edition is very much smaller than this, measuring only 375 x 260mm, and is an altogether more modest book. Forrest Reid relates that Foster was originally commissioned by the Dalziels to make fifty full-page drawings, and fifty accompanying vignettes - but that his success as a watercolour artist meant that he was too busy (and disinclined) to fulfil the task, and that after four years of delay, it was reduced to thirty drawings, and no vignettes. 'In this book he is absolutely at his best; the drawings are broader, looser, bolder than his work is apt to be . Pictures of English Landscape is one of the collector's indispensable books'. And this copy is surely the most majestic copy imaginable. An outstanding book in splendid condition. See Forrest Reid, Illustrators of the Sixties (1928), pp. 24-5.

    N° de réf. du vendeur 22927

  • Folio in sixes (327 x 212mm), ff. [xxiii], 179, 178-350, 353-376, [13] catalogue of translations, glossary etc, [1] errata; title page within woodcut compartment, large woodcut arms of Chaucer on e4; woodcut of the Knight on f. 1 (B1); in black letter throughout; wanting the plate with a portrait of Chaucer (by John Speed), normally bound in the preliminaries; wanting also the blank first leaf; title page stained at edges, and wtih some lesser stains on following two leaves; leaf Oo1 (f. 209) with internal tear, repaired some time ago, but no loss; bound in 20th century panelled calf, morocco label, lower joint a little split at foot. Second edition of Chaucer as edited by Thomas Speght, and the seventh edition overall. Speght's first edition had appeared in 1598, and was heavily dependent on the previous edition (1561) of John Stow, who lent his assistance. Nevertheless, Speght's first edition attracted severe criticism from Francis Thynne (son of another previous editor, William Thynne). Speght took notice of the castigations and improved the edition considerably, and added two texts: this is the first edition to include the ABC, possibly Chaucer's earliest surviving poem. Jack Upland, also added here, is not Chaucerian. Speght was the first editor to add a glossary of the language: by this time, Chaucer was becoming difficult even for educated readers to understand, but the addition of a glossary is an indication also that an English writer could be worthy of treatment as a 'classic'. This copy lacks the engraved leaf with a portrait of Chaucer: it is often missing. STC 5080; Pforzheimer 178. Provenance. Undatable monogram, possibly AEG, stamped at foot of f. [A]6v; 17th century signature of T Crewe (or just possibly J Crewe) on title page; signature of W.H. Sitwell, Ferney Hall (Shropshire), dated 1862.

    N° de réf. du vendeur 24117