An attractive Quaritch facsimile portfolio with examples of medieval letter and number forms in manuscript and print, beginning with the eighth-century St. Cuthbert Gospel and including several other British Museum/Library manuscripts, together with early wood- and metalcut initials..see full details
A striking manuscript sample book, made by Joseph de Rosny (1771-1814), who had been a prolific playwright, novelist, journalist and poet of the Revolutionary period.more...
The manuscript opens with designs for inscriptions to the Imperial family (Napoleon, Empress Marie Louise, Joseph Bonaparte and his wife Marie Julie Clary). De Rosny also demonstrates his proficiency in a variety of historic and ethnographic scripts: including gothic, old English, runic, Egyptian, Georgian, Russian, Babylonian and Celtic and gives designs for several engraved inscriptions and cartouches.
De Rosny’s many published works included the novel Le Peruvien a Paris (1801) and a melodrama Adonis, ou le bon Nègre (1798). He settled at Valenciennes, where he edited a progressive journal and was part of a liberal circle..see full details
A CAPACIOUS AND OUTLANDISH FRENCH LIVRE DE RAISON (COMMONPLACE BOOK), DENSELY WRITTEN IN IDIOSYNCRATIC FRENCH WITH A SERIES OF NAÏVE AND HIGHLY-COLOURED ILLUSTRATIONS OF HISTORICAL AND ANTHROPOLOGICAL FIGURES.more...
Anonymous in its surviving form (it has lost 44 preliminary pages through accident or deliberate removal) it still represents a rich and surprising store of contemporary popular culture. It combines practical wisdom (medical and household recipes, a calendar and a formulary of letters) and history (accounts and memorials of the events of the Revolution and Revolutionary Wars), to which are added an abundance of oracles, popular songs, verses, maxims, puzzles, jokes and a wonderful dictionary for the interpretation of dreams. A brief sampling of the many texts suggests that this will become a rewarding resource for the reconstruction of a particular vein of popular culture. Detection of political bias or intention is no easy matter: though the writer clearly regrets the bloodthirsty acts of the Revolution, celebrates the successes of Napoleon in the subsequent wars, and reproduces a republican hymn to George III of England, a dialogue between Napoleon and King George and poem on Waterloo. Quite who compiled this remarkable manuscript and where is a matter for research. The relatively neat and regular script is countered by chaotic grammar and spelling — words and phrases are frequently phonetic, perhaps bringing the reader close to contemporary speech patterns. The maker’s literacy is certainly pragmatic, suggesting he was perhaps an official or clerk, capable of making effective records but remaining refreshingly untouched by high literary culture. The bold and naïve illustration is in keeping with this. Colour, ornamentation and visual impact are to the fore, while proportion and perspective are in short supply and if we need to seek parallels or comparisons for the style, then they are best found in contemporary popular woodcuts and broadsides produced by printers such as Pellerin of the Imagerie d’Épinal. It is quite possible that a regional location will be revealed through study, but for now, all that can be said is that the manuscript s very unlikely to be Parisian or metropolitan. Subjects for the images include numerous memorial portraits of victims of the Revolution (including the princesse de Lamballe, those drowned in the Nantes massacre of 1793/4, the duc de Berry and Louis XVII) plus a series of character sketches of selected inhabitants of the world. Among the latter are found English peasants and burgers, natives of African Guinea, Egypt, Castille, Rome, Gascony, Brittany and Paris; stilt-walking shepherds of the Landes, a Dover housewife, a pair of hairy savages and a depiction of house in America (‘habitation de la merique’). Other images are emblematic and include two misogynistic portraits of ill-tempered women, tempered by some rather touching heart-shaped emblems of love, wisdom and marriage..see full details
A pocket handlist of trees and shrubs, alphabetically arranged, giving the names of some 175 varieties in Latin and corresponding German.more...
The species range from large trees to low-growing shrubs. In addition to familiar European natives, American varieties are well represented: Ceanothus americanus, Euonymus americanus, Fraxinus caroliniana, Juniperus virginiana, Mespilus Canadensis, Prunus americana, Prunus padus virginiana, Prunus padus canadensis and Tilia americana, among others. The manuscript probably belonged to the Heineken family of Bremen (of brewing fame), with an invitation card to them loosely inserted..see full details
First edition, very rare (the Bn copy the only library copy located) of the statutes of a Parisian dining club and satirical literary society.more...
Formed in 1813, the Société Lyrique des Soupers de Momus reflected the Parisian vogue for convivial drinking, singing and reading clubs, revived after the Revolution by the likes of Béranger. Members were required to bring an original song or poem to perform and to submit its text to the committee. The statutes are amusingly serious, providing a formal committee structure and schedule, but also promising an annual publication of the collected songs of the society, which duly appeared. This interleaved copy contains various early revisions to the statutes in manuscript, in one case signed by the committee. Soupers de Momus members included several prolific authors, notably chansonnier Casimir Ménestrier (d. 1818) and playwright, engraver and chansonnier, Étienne Jourdan (d. c. 1847), both of whom have signed the revision sheet..see full details
A design portfolio, mostly dating from the last years of the Great War, made by one W.more...
How, who otherwise unknown, but presumably a young woman studying commercial design at a British college of art and design. The formal and informal elements of the collection, which includes many superb pencil and wash designs together with fabric and wallpaper samples, bridge the Arts and Crafts movement of the early century and a striking emergent modernism.
These spectacular designs are mostly formal exercises in pattern design, with an emphasis on the construction of repeating patterns, interchange, and counterchange (designs in which a certain colour of a motif and its ground are reversed in another part of the design). Also included are a number of more experimental designs, strikingly modernist, usually single panels, some elements of which are incorporated into the formal exercises. In several cases the time taken to make each sheet is noted (usually several hours), reflecting the commercial background of this formal training. The manuscript captions provide a key to each assignment, and some of the designs are marked with tutor’s comments (’good’, ‘beautiful’, excellent’, ‘all units too separate’, ‘good set but panel decoration has a sense of dropping at the centre’, ‘you want to try and get your units to unite’ etc).
Indian, geometric, floral, animals,
One rough pencil sketch in on the verso of a letterpress flyer for a benefit exhibition at Welwyn Garden City for the Women’s Committee for the Relief of Miner’s Wives & Children, at which pictures by Brangwyn, Nash, Rothenstein, Spencer and Fry were on sale, inadvertently providing a neat context for our designer’s work..see full details
A DELIGHTFUL BOOK, CERTAINLY ONE OF THE MOST CHARMING FRENCH MANUSCRIPTS WE HAVE ENCOUNTERED, A COLLECTION OF FAMILY SONGS AND ENTERTAINMENTS COMPOSED OVER A PERIOD OF 20 YEARS to 1808, memorialising a deep and sentimental friendship between two families with young daughters.more...
The compiler, Césaire Delaplanche and his wife Marie Adelaïde (Adèle), produced three daughters: Virginie, Heloïse and Pauline and father Césaire encouraged them to mark family occasions in song, a tradition which lasted at least the 20 years charted by the manuscript. The hundreds of original songs here were composed by the girls (presumably with their father’s help) for birthdays, New Year celebrations, feast days, weddings, visits, reunions and suppers and for recording gifts (an embroidered purse and tobacco case are mentioned), in honour of tutors, or in memory of deceased relations and friends. Each verse is transcribed in full, headed with the name of the popular tune to which they were sung: Femmes, voulez-vous éprouver?, Femme Sensible Entendre-tu le ramage, Pauvre Jaques, Sous les auspices de l’Hymen, to name but a few.
The story told by the manuscript is not without sadness. The death of the Delaplanche girls’ mother in 1805 drew the remaining family closer to their friends M. and Mme Loiseau and their daughter Julie. Indeed the book seems to be largely a homage to the kindness of the Loiseaus to the bereaved Delaplanches around that time, beautifully expressed in the allegorical frontispiece. Three young girls, Amitié, Estime and Reconnaissance (corresponding to Virginie, Heloïse and Pauline Delaplanche) offer a red book, La Clef des coeurs, to a bird (Loiseau) perched in a tree, who accepts it and takes the girls to a marble pavilion, the Temple du Bonheur & de la Vertu.
The verses are simple, sentimental and affecting, extolling the virtues of familial love and respect and reflecting the proverbial strength of filial respect in French society. One particular entertaiment, Hommage à la Reconnaisance. Ou Combat entre l’amitié & l’amour filiale, is emblematic of the manuscript as a whole, in expressing the gentle tension between friendship and family love. The songs are in no way pious, and the relative absence of religious imagery is striking. In fact, the impingement of the outside world on this subtle family drama is only lightly felt, and then only in ghosts of the French Imperial presence. The orderliness of the manuscript is disturbed in two places, tellingly. Seven leaves are cut out after p. 232, with the Index indicating that these contained a Chanson en l’honneur de l’Empereur (the Index entry itself is erased at an early date), while two further leaves (pp. 433-436) are on different paper, clearly substitutions, which bear another version of a chanson dedicated to Napoleon.
The implied narrative of the collection is brought to a close in 1808 with the engagement of Julie, the Loiseau daughter to a M. Dupézard. The two are married in October, accompanied by family songs and verses, in which the young groom is expected to participate (several of the last songs are his), and the manuscript closes with a valedictory poem by Césaire Delaplanche: ‘Il est fini mes bons amis...’.see full details
A SPECTACULAR AND ECCENTRIC BRITISH ANTIQUARIAN COLLECTION WITH NOTICES OF OVER 100 HISTORIC INDIVIDUALS OR MONUMENTS, EACH WITH A WATERCOLOUR AND ILLUMINATED TEXT, the latter in quasi-historical style evoking original manuscripts.more...
With a very few exceptions (Ignatius Loyola and Marie de Medici included) the subjects are British historical figures, beginning with William de la Way who came to England at the Conquest. Leveland provides watercolour portraits of each in an engagingly naive style, together with short biographies and armorial devices. Other figures include Robert Despenser, John de Pelham, William de la More, Henry Courtenay, Thomas Howard, Henry Howard, Anthony Woodville, Francis Villiers, William ‘Alderman’ Beckford (father of the novelist and collector), Nicholas Carew and Robert De Vere, among many others. The work is dedicated to Queen Charlotte, though probably without permission: ‘This Volume of Miscellaneous Antiquities is Humbly presented for her Gracious Patronage’ with her arms; the second volume contains an incomplete dedication to Charles Howard, Duke of Norfolk (1746-1815) following his full-page arms.
At the end of the first volume several pages are devoted to contemporary hero, Admiral Lord Nelson, with examples of his arms granted after the Battle of the Nile (1798) and the commemorative medal struck in the same year by Alexander Davison. The second volume is more diverse. While continuing the biographies of the first, it also contains entries on specific monuments, notably the churches at Fairford (Gloucs) with its celebrated early stained glass, St Michael (Crooked Lane, London) and Stoke Poges (Bucks.); a calligraphic facsimile (with seals) of the death warrant of Charles I and copy of the Institution of the Baronets of Nova Scotia (1629).
The style is certainly idiosyncratic, the highly-coloured figures rendered with limited attention to proportion or perspective accompanied by naturalistic illuminated borders of leaves, fruit and flowers sometimes inhabited by insects and a range of historical scripts and other apparatus (armorial devices, seals and frames). The coloured portraits of the artist in wig and cravat bound at the front of each volume are etchings with aquatint and were presumably privately commissioned; an uncoloured version with full margins is in the print collection of the British Museum.
Little is known of Clifford (1736-1815) but he was baptised at St Paul’s Church, Covent Garden on 19 October 1736, second son and fourth child of Gervase Leveland, a London woollen-draper, and his wife Mary [Nutting]. He was a longtime Suffolk resident and created several antiquarian manuscripts; one (‘Auncient seles affixede to Charteres’) is now in the National Art Library (Victoria & Albert Museum), three more are in the William Salt Library (Stafford) and another is in a private collection. A book bearing his inscription, Barclay his Argenis, or, The Loves of Poliarchus and Argenis (1625) is at UCL and his will is preserved in the National Archives (it makes specific provision for the inheritance of Leveland’s painting materials). He managed at least one foray into print with The virtuous Wife: a sentimental Tale (Sudbury, privately printed, 1812)..see full details
William Griggs was a pioneer of photolithography and was instrumental in the late-Victorian flourishing of high quality colour reproduction of manuscripts.more...
The Quaritch facsimile collection, comprising mainly European manuscripts included a fine series of facsimiles of a sixteenth-century Mexican picture chronicle.
Blake’s Comus illustrations are now in the Museum of Fine Arts, Boston. Thomas Butts (1757-1845), England; sold Foster's, June 29, 1853, no. 98; C.J. Strange; B. Quaritch, Boston; acquired 28 April, 1890.Gift of Mrs. John L. Gardner and George N. Black..see full details
Folio (335 × 210 mm), pp. , plus several blank leaves at end. Text in manuscript, full-page illustrations in crayon or pastel. Lightly browned throughout, fragile at edges with minor fraying, all the result of poor quality paper. In original cloth backed notebook. Binding rather worn. A handsome chanson manuscript, anonymous but for the decorative initials 'J.B'. The songs include: 'Le Pigeon blessé', 'Sous les Platanes', 'Carmen', 'Chagrins d'Amour', 'Juanita', 'La Femme est un jouette' and 'Mort pour la France'.
II. Émile LEBLOND. Dijon, c. 1904.
Manuscript, 4to (214 × 170 mm), pp. 1-12, 17-98, 101-102, 105-270, 280-320, several blanks at rear. Evidence of 3 leaves removed, perhaps by the maker. Numerous drawings in ink and crayon, decorative headings. Original cloth notebook. Rather rubbed. An illustrated chansonnier made by a soldier of the First Artillery, stationed at Dijon. This is an especially full example which gives some unusual details as to its making: Leblond occasionally records the number of weeks he has been in service and there is evidence of carbon tracing, demonstrating the use of illustrations from popular journals in making these chansonniers. The songs include: 'Berceuse militaire', 'L'Africaine', 'Chapeai bas devant la Marseillais', 'Vous êtes si jolie', 'Four frou' and 'Ma Ninette'.
III. Yvan LOREAU. Chemillé-sur-Seine, c. 1909.
Manuscript, small 4to (216 × 175 mm), pp. , 88, ruled paper. Drawings in ink and crayon. Original limp wrappers. Yvan Loreau writes on his title-page that this manuscript was made 'Sur le tour de France' and begun on 11th December 1909. Songs include: 'Voila la Parisienne', 'Le petit coeur de Ninon', 'Ah! Ma p'tit Lili', 'Le ruban bleu de l'hirondelle' and 'Pas sur la bouche'.
IV. Alexandre MOULLET, 'le gros bâtarde'. Valence, 1913-14.
Manuscript (on squared paper), 4to (222 × 170 mm), pp. . Drawings in ink and crayon, partially unfinished. Some thumbing and fraying, one leaf loose. Original half cloth notebook. An illustrated chansonnier made on the eve of the Great War for one Alexandre Moullet, picturesquely nicknamed 'le gros bâtarde', of the 5eme Régiment d'Artillerie lourde, 8ème batterie, at Valence (Drôme). Songs include: 'Les petites Toulonnaises'; 'Soldat vierge', 'Marins de Marseille', 'Coeur Crise', 'Sur la Riviera' and 'Le dernier Tango'.
V. REDON. Valbonne (Ain), 1921.
Manuscript on paper, small 4to (216 × 170 mm), pp. , plus numerous blanks at rear, numerous drawings in pencil, ink and crayon (a couple cut from newspapers or journals, decorative headings. Original half cloth notebook. Songs include: 'Tu voudrais me voir pleurer', 'La vals du pastis', 'Vous rendez tous les hommes fou' and 'Le train fatale'. One verse is subscribed 'Fait a la Valbonne le 12-12-21 une soiré de grand froid'. .see full details
A delightful fin-de-siècle devotional manuscript illuminated with great skill by a Miss Maury of Nice, reputedly when in her nineties.more...
Each day of the week is provided with prayers and devotions written in her neat calligraphic hand and almost every page bears at least one example of her minutely-rendered illumination. About the maker we know nothing else. She signs and dates the manuscript at the end..see full details
A remarkable manuscript account of a French campaign in Bavaria and Bohemia during the first Silesian War, in the form of extracts from (unpublished) letters from an artillery major.more...
It is subtitled: ‘Extrait des lettres ecrittes par Mr. Du Gravier surtout ce qui s’est passé depuis le depart des Trouppes de France pour la Bavière, jusqu’au retour de celles que Mr. Le M[arécha]l de Belisle a ramenée de Prague.’ The campaign was led by the Maréchals de Broglie and de Belle Isle and the detailed extracts cover the march to Prague, its storming by French troops in 26 November 1741, the subsequent siege at the hands of the Austrian army and the escape of some 14,000 French troops from the city in December 1742..see full details
An idiosyncratic personal index of useful and curious facts, mainly geographical, in part forming an index to the Encyclopédie Méthodique (which had been issued in print without an index), a gazetteer to its Atlas, and an index to various other books, such as Valmont de Bomare’s Histoire Naturelle and Lacroix’s Géographie.more...
A homespun affair, the volume is rather haphazardly arranged and presented in homemade boards covered in rather fine contemporary wallpaper. It includes references to regions, cities and landmarks in Europe, Asia, Africa and America (the latter including mentions of Cabot, Columbus and Penn) and several ingenious diagrams of the rivers of France..see full details
A splendid display of early nineteenth-century Chinese trades including craftspeople, a bookseller, purveyors of foods, medicines, fans, kites, toys and even a lion dancer, each drawing on one side of fine double-folded paper, captioned in ink in Chinese.more...
Albums such as these were produced in Chinese studios for the export market and were especially popular with Europeans for their exact portrayal of various aspects of Chinese life of the period: customs, costumes, occupations, flora and fauna. They ‘depicted those phases of Chinese life which fascinated the Westerner but defied descriptions to friends and family at home. Before the advent of the camera, this medium played an extremely vital role in revealing Oriental culture to the West.’ (Crossman, The China Trade, 1972). Though marketed to curious Europeans these albums represent important interpretations of Chinese life by indigenous Chinese artists. The present example is notable for being dated 1843, at the very end of the First Opium War just as five ports in China were being opened to the British.
These albums were luxury products, each one individually produced, and therefore priced beyond the means of any but the wealthy. Individual artists were never identified.
Lady Churchill, the original owner of the album, was born Lady Frances Fitzroy, the fifth daughter of Augustus Henry Fitzroy, third duke of Grafton. In 1801 she married Francis Almeric Spencer, youngest son of the fourth Duke of Marlborough and created first Baron Churchill of Wychwood in 1815. It is unlikely that the elderly Baron Churchill and his wife were in China at the time she received the album, and much more probable that it was presented to Lady Churchill in England as a gift, possibly by one of her military sons such as George Augustus Spencer, who was an officer in a regiment serving in China. .see full details
A complete autograph manuscript of one of De Kock’s acutely observed novels of gritty Parisian life.more...
In Le Tourlourou (1837) a young barmaid, Marie, is the object of a strange case of mistaken relationship when a letter arrives from a countess seeking ‘l’objet de mes plus chères affections’. Marie assumes the letter refers to her, but when she finds out the Countess is merely asking after an item of lost property, she becomes distraught and throws herself into the Canal Saint-Martin. She is saved by a young man who has previously tried and failed to gain her affections, and the two are married.
The Oxford Companion to French Literature describes De Kock (1794-1871) as ‘the prolific and immensely popular author of rollicking, risky, or more often frankly coarse, frequently sentimental and fundamentally good-natured novels.’ Certainly prolific, De Kock published over 100 novels, which attained worldwide celebrity in translation, especially in American and British collected editions (of which it is sometimes wryly noted that the prose was much improved by translation). This manuscript certainly gives the impression of rollicking speed; this is not a fair copy, and while there are many deletions and emendations, these do not seem to have detained the author for long. .see full details
A handsome Romantic reinterpretation of Vignola’s classic Renaissance manual of perspective, Due regole della prospettiva pratica (1582, with many later editions).more...
Elements of Vignola’s diagrams are adapted for the oblong format of the book an often updated with figures and buildings in contemporary style. Bossi, about who we have been able to discover almost nothing beyond this manuscript, also adds a fine sequence of 4 coloured illustrations depicting furniture designs in the French Empire style by Percier and 17 superb monochrome views and interiors, 13 of which are in a sequence with their own decorative title-page ‘Aggiunta di alcune prospettive ricavae da classici autori’.see full details
An autograph manuscript of Claire Duras’s Pensées de Louis XIV; her first book, composed in March 1821, but not published in print until Didot’s small edition of 1827 (very rare with OCLC recording the Bn copy only).more...
Claire Duras is best known as the author of the novel Ourika (1824) famously recounting the true story of black slave girl brought up in France. Ourika, like the Pensées de Louis XIV, was first aired in her celebrated literary salon, described as ‘among the most brilliant of the Restoration period’ (Oxford Companion to French Literature). Duras was an important member of the circle around Chateaubriand who she met while in exile in England and who became a frequenter of her salon. Duras’ dedication inscription in our manuscript is to their mutual friend, Louise Angélique de Vintimille (1763-1831) another well-known salon hostess.
Like Chateaubriand and many of their circle in Restoration Paris, Duras looked back at the reign of Louis XIV as a golden age and eagerly read his Mémoires in the two editions published respectively by Montagnac and Grouvelle in 1806. It was a fashionable preoccupation to select, collect and discuss the maxims of the Sun King, presumably as a barometer of contemporary government, but surely also as treasures of cultivated French pros. In the Pensées Duras selects 70 extracts, ranging from a couple of lines to over a page each, drawn from the 1806 edition together with a few from the seventeenth-century editions. She opens with: ‘Choisir de bons sujets et maintenir la règle, voila la science de tout bon gouvernement’, supposedly written by the King on the first leaf of a journal given him Madame de Maintenon, according to an anecdote recounted by Madame de Genlis in 1811. Others include ‘Il n’y a rien qui puisse faire en si peu de tems de si grands effets que la bonne ou la mauvaise réputation des princes’; ‘Il faut beaucoup de lumières pour savoir discerner au vrai ceux qui nous flattent d’avec ceux qui nous admirent’ [a line previously selected by Chateaubriand in his review of one of the 1806 editions of Louis XIV’s Oeuvres]; ‘Le plus sûr chemin de la gloire est toujours celui que montre la raison’; ‘L’art de connoître les hommes se peut apprendre, mais ne se peut enseigner’; ‘La décision a besoin d’un esprit de maître’..see full details