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A rare perspective peepshow view of Venice. Engelbrecht (1684-1756) produced many different designs of these sets in three sizes, of which ours is an example of the smallest (and rarest). They were designed to be viewed when slotted successively into a perspective viewing box but can equally be appreciated when standing in simple slots or stands. One of the parts is marked ‘N. 87’ in the plate. In this example the prints have been mounted in the early nineteenth-century. cf. Ralph Hyde, Paper Peepshows (2015), pp. 14–15 and David Robinson, ‘Augsburg Peepshows’, Print Quarterly, Vol. 5, No. 2 (June 1988), pp. 188–191.�

Each one of 250 copies only, including the first publication of Austen’s fragmentary epistolary novella Sanditon. The two chapters of Persuasion are accompanied by a facsimile of Austen’s diminutive manuscript.

A broadside catalogue of misogyny — with familiar and unfamiliar citations from Genesis, Augustine, Jonas, John Chrysostom, Gregory, Origen, Cato, Jerome, Tertullian, Plato and Pythagoras. Evidently intended as a satire it is known in more than one imprint, from France and from Ghent, but with only a small handful recorded in library collections. The Bibliothèque nationale holds two, one of which is digitised (having a woodcut, rather than typographical, headpiece).

The sheet apparently already had a central horizontal crease when placed under the press, resulting in a blank horizontal line across the centre, portions of the affected letters arranged (without loss) above and below.

First edition of a confessional novel by Lemonnier (1845–1913), the Belgian writer and art critic who ‘shared the aims of the French symbolists and stimulated a revival of Belgian letters’ (Oxford Companion to French Literature), in which the female narrator writes against a male-dominated society which leaves no room for the possibility of female emancipation such that she is driven to dress as a man. 
This copy belonged to the ‘high priest of fin-de-siècle bibliophilia’ (Silverman, The New Bibliopolis, p. 14), Octave Uzanne (1851–1931).  One of only ten numbered copies printed on vergé de Hollande, it includes a unique printed presentation leaf, ‘Cet exemplaire a été imprimé spécialement pour M. Octave Uzanne’, tipped in as pp. 1–2 and inscribed ‘En fidèle souvenir mon cher Uzanne, le double homage de l’éditeur et de l’auteur.  Camille Lemonnier’. 
‘There is no more original Belgian artist than Camille Lemonnier.  A powerful and fertile writer, he represents Belgian literary activity for more than forty years, until his death in 1913, and even if he reflect the various tendencies of the French mind, and adapt himself to his surroundings, he is Flemish to the backbone in his mystico-sensual leanings, in his pious materialism, … in his Rubens-like fertility and love of colour, dash and force.  It is true that he reminds the reader of Zola, and even of Dickens; but it is above all of Rubens and Jordaens that he makes us think, because, like them, he paints his imagination in the form of ever sensitive emotions’ (Gladys Turquet-Milnes, Some modern Belgian Writers, 1916, p. 87).

First edition, first issue, complete with all subsequently censored text, including the final scene in which the heroine makes love to a partially animated transgender mannequin. Rachilde, who was to style herself as a ‘man of letters’ on her calling cards was just 24 when Monsieur Vénus, her second novel was published in Brussels. The book caused an immediate scandal and was vigorously suppressed by the Belgian and French authorities. Subsequent editions were shorn of the novel’s more shocking passages, which were conveniently attributed to Rachilde’s (probably-fictitiou)s co-author ‘Francis Talman’, whose name appeared on the title page. Some critics refused to believe that a work which frankly recounted the pursuit of sexual pleasure by a noblewoman, Raoule de Vénérande, could possibly be the work of a young woman. It remains an unsettling work, describing Raoule’s treatment of her young male lover, Silvert, who she persistently feminizes and humiliates. Silvert ultimately dies at the hands of one of Raoule’s suitor’s in a duel, and is replaced by her with a mannequin (with real hair, teeth and fingernails) who can be alternately dressed in male and female clothes.

The Belgian authorities sought to destroy as many copies of the first edition as possible, and it is accordingly a noted rarity. We can locate the following copies: BnF, Bibliothèque Jaques Doucet, Institut de France in France and Library of Congress, University of Houston, Vanderbilt University in North America, British Library and Cambridge in the UK and Kb in the Netherlands.

A rare French edition of Surr’s Splendid Misery (1801), perhaps the first in French. It is one of two French translations of 1807, the other entitled Splendeur et souffrance published by Maradan. It is not clear which was the first. Though little remembered, Surr’s several novels of fashionable British society were bestsellers in England and were much read in both France and Germany. He was born in London in c. 1770 and was educated at Christ’s Hospital before becoming a clerk at the Bank of England. Garside, Raven and Schöwerling, The English Novel 1770-1829, 1801, 64 (noting the Splendeur et souffrance edition only. Worldcat lists copies of Latimore at Bn and University of Illinois only; COPAC adds no British copies. For Splendeur et souffrance OCLC lists copies at Bn and Universities of Erfurt and Göttingen only; COPAC adds no British copies.

A scandalous epistolary novel purporting to be the genuine correspondence of fashionable Parisian prostitutes, courtesans and actresses in 1782 and 1783. It is full of detail on life in the theatres, on the racecourse and in the salons of the fashionable rich. There are elegant orgies, unexpected lesbian encounters, cross-dressing, petty theft and continual financial worries. This is the expanded edition (with 16 additional letters) of Lettres de Julie à Eulalie (Londres, 1784). It includes erotic and comic verses and songs.

It was widely read and extremely popular. James Boswell owned a copy (Bibliotheca Boswelliana, 1825), p. 24, 739. The imprint is certainly false, and the BnF catalogue suggests a German origin on the basis of typography. The occasional attribution to Mirabeau is incorrect, arising from confusion of the earlier title of his novel Ma Conversion (see Kearney, History of Erotic Literature, p. 77). Gay I, 819: ‘Lettres d’une courtisanne, qui après de longs déréglements, épousa un lord anglais, et devint une femme vertueuse’. Worldcat locates three copies only (BL, BnF and Anna Amalia Library, Weimar).

First collected edition of the first series of Tales of Fashionable Life, Edgeworth’s most ambitious literary project. containing Ennui, Almeria, Madame de Fleury, The Dun, Manoeuvring. In his preface, Richard Lovell Edgeworth notes his daughter's aim ‘to promote, by all her writings, the progress of education, from the cradle to the grave’, and that the present and envisaged volumes of the series were ‘intended to point out some of those errors, to which the higher classes of society are disposed’. A second series appeared in 1812, for which she received £1050 making her the most commercially successful novelist of her age.

First edition of this rare explanatory pamphlet issued to accompany the 1837 issue of Samuel Cousins’ popular engraving after Wilkie. The engraved key gives a numbered explanation of the picture while the text gives the historical account, complete with excerpts from Byron.

David Wilkie’s celebrated painting of 1828, immediately purchased for the Royal Collection commemorates the two-month siege of Saragossa in 1808, when the local guerrilla leader Don José de Palafox y Melci led heroic, ill-equipped citizens to victory. This episode in the Spanish struggle for independence from Napoleon had also been commemorated in poetry and prose, most notably by Byron in ‘Childe Harold's Pilgrimage’. In the picture Agostina Zaragoza (the ‘Maid of Saragossa’) lights the fuse in the cannon which Palafox, dressed as a volunteer, directs with Father Consolaçion, an Augustinian friar. Worldcat lists the Harvard copy only.

First edition of this rousing patriotic endorsement of French manufactures, with its invocation of the might of the king, on the eve of the Revolution. A ‘France First’ manifesto, it insists on the primacy of French metalwork, silks, and cloth — pointing out that women could demonstrate their patriotism by renouncing plain white mousseline dresses (from Eastern sources). It insists on domestic linen manufacture, which could be a source of employment for sixty thousand people and on the imposition of means-related taxation. Peddling (‘colportage’) or other unregulated trade is to be strictly forbidden. It is signed at the end ‘R..... patriote’. Worldcat: UCB, Newberry, Harvard and Toronto in North America.

First edition, with author’s signature at the end of the preface and with various small manuscript corrections, presumably editorial. An exhaustive proposal for a post-Revolutionary national bank based on property the title bears Mengin’s statement his aim: ‘Fonder l’intérêt public sur l’intérêt particulier, les concilier pour l’avantage général de tous ces citoyens, multiplier les richesses nationales, tel est l’unique but de cet ouvrage’ (‘Basing the public interest on private interest, reconciling them for the general advantage of all citizens, multiplying national wealth, such is the sole aim of this work)’. The folding tables include models for four different credit notes: Papier rouge, papier bleu, papier jaune and papier vert.

First edition of this rather extraordinary survey of Curzon’s many appearances in caricature in Hindi Punch and other Indian comic papers, where he often appears in Indian dress and frequently as various Hindu deities (notably Ganesh). ‘This unpretentious little book is offered as a humble souvenir of the Delhi Durbar: in its pages our popular Viceroy, as representative in the great Coronation Durbar, of the greatest monarch of modern times, is the central figure. In a land of her-worship it is not to be marvelled that the energy, versatility and strong personality of Lord Curzon, added to his many loveable traits, should lend themselves easily to the genius of the Indian artist for caricaturing’ (author’s Preface).

Despite this warm introduction, Curzon was subject to both approval and dissent through these images. The satire of British comic publications like Punch was enthusiastically appropriated by Indian artists - and India itself was frequently represented through the figure of Mr Punch - though their caricatures were also influenced by Indian artists such as Raja Ravi Varma. It is a fascinating fusion.

An early seventeenth-century heraldic pedigree of the Offley family of Madeley (Staffordshire) with the arms of their prominent dynasty of London guildsmen, which include Henry Offley (d. 1613) who had married Mary, the daughter of Sir John White Lord Mayor of London; and Thomas Offley (1501-1582), a successful wool and cloth merchant — Lord Mayor of London in 1556. Also in the lineage is Stephen Jenyns (1453-1523) another important London Lord Mayor with Wolverhampton origins whose arms are accompanied by an elaborate cartouche noting his mayoralty. An early docket on the verso (legible with ultra-violet light) reads: ‘The Pedigree of Stephen Jenings’.

The youngest member of the Offley family shown is John (b. 1586). He was educated at Middle Temple and married in 1605. He was knighted in April 1615, served as sheriff of Staffordshire in 1616-17 and was a magistrate for the county by 1621. 1625-6 he was MP for Stafford. Another contemporary version of the pedigree is described in the Staffordshire Visitation of 1614:

‘Quarterly — 1. Argent, on a cross fleurettée azure a lion passant-guardant or [OFFLEY]; 2. Azure, a chevron between two eagles displayed in chief and a lion passant in base or [NECHELLS]; 3. Argent, a chevron gules between three plummets sable [JENNINGS]; 4. Azure, a tiger passant or [LANE]. CREST— A demi-lion rampant-guardant or, holding an olive branch vert, fructed gold’ (’Heraldic Visitations of Staffordshire in 1614 and 1663-64’, in History of Staffordshire, 1884).

One of 375 numbered sets (number 266). The type of the Shakespeare Head Chaucer is Caslon Old Face and the illustrations of the Canterbury pilgrims are adapted from the Ellesmere manuscript. ‘The first impression is of care in planning, of thought for the reader. A friendly craftsmanship comes from all the pen and brush work in these books. The illustrations enter as a pleasant surprise, rather than necessary parts of the plan. The edition seems complete without them, but we are delighted to find them’ (Franklin, The Private Presses, pp. 149-50). The set comprises The Canterbury Tales (in the first four volumes), Consolation of Philosophy, Troilus and Criseyde, The House of Fame, The Legend of Good Women, later minor poems, doubtful poems, A Treatise on the Astrolabe and The Romaunt of the Rose.

First edition, one of 276 copies in ‘vert aqueux’ wrappers (after 57 in ‘vert de Perse). The tableau Ouverture de la Pêche was written when the author was 15 and later deemed by him worthy of publication by the Collège de Pataphysique. This piece of comic Jarry juvenilia sees families haste to catch the opening of the French fishing season.

First edition. One of 1040 copies, this one of 940 on Hollande.

Copy number 50 of 750 copies of the limited edition, signed by the illustrator. Edward Detmold was the longest surviving of the two tragic Detmold twins who had attracted the attention of artists such as Edward Burne-Jones as children and young artists. Edward’s brother Maurice had committed suicide in 1908, after producing numerous highly regarded prints at the turn of the century. Edward himself continued to make prints and publish illustrated books until his own suicide in 1957. Animals and birds were their primary subjects and to varying degrees, their prints exhibit the clear influence of the Japanese master printmakers.

Number 381 of 485 copies on paper (there were also 15 on vellum). Along with Troilus and Criseyde and The Four Gospels, The Canterbury Tales is one of the high points of the Golden Cockerel Press. It perhaps stands above above all in Gill’s masterful designs, forming, as Colin Franklin pointed out an integral part of the book’s success — ‘not quite illustration but far transcending decoration’. ‘The balance of text and illustration goes further than typography... Most of the borders are leaf and stem, but among the leaves, hiding or beckoning, climbing or leaning out, are girls and men, kings and boys, priests and nuns who take part or seem to be commenting on the stories. A young man is whistling across the page, two fingers at his mouth, to a girl; Chaucer himself waves to a little god of love facing across his own poem; a sad lover looks over to Christ crucifies; Pan blows pipes and a naked girl, hearing him, prepares to climb her tree; a nineteen-twentyish girl climbs up, and a sad young bearded man looking like Robert Gibbings sits, supporting the whole tree’s weight, opposite; Chaucer is writing with confidence under the leaves, taking it down by dictation from the naughty spirit looking down and over the lines. So the pattern continues, affectionate and cheeky, erotic, enjoyable and relevant, decorative and explanatory, a balance of taste and eye’ (Franklin). Franklin, The Private Presses, 137-144.

Number 183 of 225 copies. Troilus and Criseyde is the first of the three outstanding Golden Golden Cockerel Press editions produced by Robert Gibbings and Eric Gill (the others being The Canterbury Tales and the The Four Gospels). The Middle English text was edited by Arundell del Re, the compositors were F. Young and A.H. Gibbsand the pressman, A.C Cooper.

Gill’s woodcuts include portraits of Chaucer: one depicting him with Cupid whispering in his ear, the other shows him writing Troilus. There are four full page illustrations, one at the beginning of each book, while every page has a tall border facing each other across each opening. In these Gill successfully re-imagined the borders of medieval manuscripts in which the images do more than simply decorate the margins, but work in interplay with the text — marking, illustrating and commenting with varying degrees of transparency, subtlety, eroticism and humour. ‘They rank very high in the range of Gill’s work’ (Franklin, p. 142).

Provenance: Sotheby’s, 10^th July 2001, lot 369.
Franklin, The Private Presses, 137-144.

First edition, copy number 7 of 100, of this sumptuously illustrated version of the story of the Queen of Sheba, combining illustrations by Barbier and the Abyssinian artist Michel Engueda-Work. French scholar, traveller and diplomat, Hughes Le Roux had transcribed parts of the Ethiopian chronicle Kebra Nagast in 1904, with the help of local scholars, from a manuscript looted by the British at Maqdala and subsequently returned. The Kebra Nagast or ‘The Glory of the Kings,’ is a fourteenth-century national epic of Ethiopia, written in Geʽez by the nebure id Ishaq of Aksum. In its existing form, the text is at least 700 years old and purports to trace the origins of the Solomonic dynasty, a line of Ethiopian Orthodox Christian monarchs who ruled the country (until 1974), to the biblical king, Solomon and the Queen of Sheba.

The story of the text’s survival is interesting. The Battle of Maqdala, the last struggle in the British Expedition to Abyssinia, led to significant looting by the victorious British forces, who took Emperor Tewodros II’s crown along with ceremonial crosses, chalices, weapons and the holy icon Kwer’ata Re’esu along with two fine manuscripts of the Kebra Nagast which found their way to the British Museum (catalogued as Oriental MS 818 and 819 respectively). 819 was returned to Ethiopia in 1872 on the request of the Abyssinian king, who identified it as a fundamental source of law. Hugues Le Roux, a French envoy from the President of the French Republic to Menyelek II, King of Ethiopia, later went to Addis Alem in order to see this manuscript and to obtain his permission to translate it into French. He notes in his introduction here the inscription ‘This volume was returned to the King of Ethiopia by order of the Trustees of the British Museum, Dec. 14th, 1872’. Of the artist Michel Engueda-Work who is referred to elsewhere as an ‘Abyssinian artist’, almost nothing else is known, but his illustrations are of course far truer to the Ethiopian style than Barbier’s highly exoticised and eroticised interpretations, in which Sheba is portrayed (following long tradition) as a white woman.