Browse

First published in 1873 and reprinted several times.

One of Diane de Bournazel’s magical optical ‘peepshows’ with a window opening onto a mysterious three-dimensional scene within. It features some of the distinctive features of the artist’s much-admired artist’s books, but makes use of the peepshow form to bring added depth and perspective to her enchanted world. The paper peepshow was popularised by publishers such as Martin Engelbrecht in Munich from the middle of the eighteenth century, evidently inspired by baroque stage sets, but reached the peak of their elaboration in the Victorian era. They were either sold as toys or souvenirs or, in expanded form, were popular fairground attractions. Each of Diane de Bournazel’s peepshows is a unique creation.

An interesting group of receipts for labouring and building work carried up in Cumbria, including Kirkoswald, Dolphenby, Skeugh and other named places. Several are for significant amounts received from Sir Philip Musgrave to Thoams Westmorand who oversaw a variety of works: wall building, making a pump, tiling, flagstones, boarding and cutting spiles. Most are from the eighteenth century.

First editions of two very rare Swedenborgian sermons preached in the New Jerusalem Temple in Cripplegate. Separately issued, they were the first two in a series of 12 published in the same year listed on the advert leaf with details of subscription. On completion, all twelve could also be bought bound up with a general title as Twelve Sermons (also 1796). They are rare both alone and collectively — ESTC lists copies of these first 2 sermons at BL only and copies of the collected Twelve Sermons at: BL, Glasgow, Rylands, Academy of the New Church and Louisiana State University. The printer, Robert Hindmarsh was one of the founders of the Swedenborgian movement and the Church of the New Jerusalem in England. The publication dates of both titles is given as 1796=40, reflecting the Swedenborgian belief that the Last Judgement had occurred in 1757, with 1796 representing the 40th year of the Second Coming of Jesus Christ through divine revelation.

‘Sibly... (1757–1840), Swedenborgian minister and banker, was born at Bristol on 20 August 1757. He was the brother of Ebenezer Sibly (1751–c. 1799), a notable publisher of esoteric lore, and was himself an autodidact and nonconformist, self-taught in the classical and biblical languages, part of the self-taught artisan culture. He specialized in alchemy and astrology, and became for a period a bookseller in Goswell Street, London, specializing in books on the occult, some of which his brother was then publishing. He himself translated two astrological works by Palcidus de Titis... He also served as a shorthand writer... (ODNB).

They are here bound together with three other East London non-conformist sermons:

Joseph Priestley, The present State of Europe compared with antient Prophecies; a Sermon, preached at the Gravel Pit Meeting in Hackney, February 28, 1794, being the day appointed for a general fast. By Joseph Priestley, LL.D. F. R. S. &c. with a preface, containing the reasons for the author’s leaving England. London: for J. Johnson, pp. xx, 44, [8] (advert/catalogue for Priestley’s books). First edition.

William Cooper. The Promised Seed. A Sermon, preached to God’s ancient Israel the Jews, at Sion-Chapel, Whitechapel, on Sunday afternoon, August 28, 1796. By William Cooper.... London: Printed for the author; and sold by T. Chapman and J. Matthews, [1796], pp. 38. One of several editions of 1796 and probably the first.

William Cooper. Daniel’s Seventy Weeks. A Sermon, preached at Sion-Chapel, on Sunday Afternoon, September 18, 1796, to the Jews. By William Cooper. Being his second Address to that People. London: Printed and sold by T. Chapman, 1796, pp. 32. One of several editions of 1796 and probably the first.

First edition. An unnumbered artist’s proof copy from Edition A (which consisted of 250 numbered copies, plus 50 artist’s proof copies). The total edition was of 550 bound copies and 120 loose sets of the plates only. Edition A was issued with an additional loose signed print ‘Cavafy II’, sometimes framed by owners and not present in this copy. The very rare publisher’s prospectus and an uncompleted order form are inserted at the rear. The plates are not edition stamped on the rear.
‘Cavafy wrote two kinds of poem — love and historical. The fourteen selected for this book are, with the exception of Caesarian, poems of homosexual love: short, unrhymed, deeply felt but totally unsentimental. They appear in a new, hitherto unpublished translation by Nikos Stangos and Stephen Spender... For several years Hockney has admired the work of Cavafy’ (from the Prospectus). The book was included by Neil McGregor in the BBC/British Museum’s History of the World in 100 Objects as an emblem of the struggle for human rights and sexual freedom ― homosexual acts in private were decriminalised in Britain only in 1967, the year Hockney’s startling collection appeared (McGregor, pp. 635-9).

The short article plays on Banks’s youthful reputation at Oxford, his curiosity for the natural world and his experiences in the South Seas: ‘As nature has been his constant study, it cannot be supposed that the most engaging part of it, the fair sex, have escaped his notice; and if we may be suffered to conclude from his amorous descriptions, the females of most of the countries he has visited, have undergone every critical inspection by him...’ The plate is described in BM Satires 5146.

A French satire on the excesses of contemporary fashion for both women and men — a woman has her corset laces mechanically tightened by a fop in a ridiculously exaggerated version of Napoleon’s headgear and a young woman in a scooped bonnet and corset (which leaves her breast almost entirely bare). The corset enjoyed a brief resurgence in popularity in the Empire era, before being swept away once more at the Restoration. It was a frequent subject of mirth in the popular press on both sides of the English Channel, and while there are several French and English prints on the same theme, this one is very rare. Not in the British Museum catalogue; WorldCat lists a copy in the Spanish national library, and there is also a copy at the Musée Carnavalet in Paris.

Fenning’s popular Guide to the Use of the Globes first appeared in 1760 and ran to numerous editions. It was regularly used in schools, notably that of Joseph Moon of Salisbury, who made improvements and additions to later editions, including our sixth edition. The identity of this copy’s early owner is not certain, but Barbara Priestman is a sufficiently uncommon name to make a tentative connection with a Quaker of that name who died at Pontefract (Yorks) in 1837 and was born around 1781. The same Barbara may have been among several members of the Priestman family to subscribe to the British and Foreign Bible Society in 1812 via the York Auxiliary Society.

[uniform with:] Les Rieurs anglais, ou Supplément a l’Encyclopédie comique, traduction libre de l’anglais. Paris: Marchand, An X [1801/2]. 2 vols bound together, pp. [4], viii, [4], 132; [4], 156, [4],20, including half-titles, plus engraved frontispiece to each volume.

4 vols bound in 2, 12mo (175 × 95 mm), partially uncut. Later red straight grain quarter morocco, spines elaborately gilt (by Champs-Stroobants Sr). Excellent copies.

First edition. A rare collection of comic extracts translated or abridged from English authors including: Shakespeare, Gay, Johnson, Milton, Sheridan, Fielding, Goldsmith, Richardson, Young, Smollett, Sterne and Swift. Bertin (1751-1819) had worked in England as a tutor and translator and was the author of some 50 works on various subjects, including several translations. While in England he had studied Samuel Taylor’s system of shorthand and published, in 1791 a French edition of An Essay intended to establish a Standard for a universal System of Stenography, successfully introducing modern shorthand to the French public. Encyclopédie comique and Les Rieurs anglais are partly adverts for this system, with their shorthand plates and supplement entitled ‘Dissertation critique et curieuse sur l‘Okigraphie’. The second volume of Encyclopédie comique has a frontispiece depicting an English ‘Wife Sale’ (vente d’une femme Angloise à l’encan) which illustrates a short account of this peculiarly English custom or ritual observed in rural or working-class communities. ‘It can be seen as a bleak transaction, or as street-theatre, or as a shaming ritual’ (E. P. Thompson, ‘Sale of Wives’ in Customs in Common, 1993, p. 447). Gay II, 98 (first work only); Rochedieu, Bibliography of French Translations of English Works, 1700-1800, Appendix III (Collections of works translated from the English), 30.

First Dublin edition, printed in the same year as the first (London) edition. The ten letters comprise: On the First Principles of Religion; On the Study of the holy Scriptures (2); On the Regulation of the Heart and Affections (2); On the Government of the Temper; On Oeconomy; On Politeness and Accomplishments; On Geography and Chronology; On the Manner of Reading and Course of reading History. It is dedicated to Elizabeth Montagu. ‘Montagu encouraged Chapone, presumably in the summer of 1770, when the two friends were travelling in Scotland, to publish the letters on education she had been sending her niece since 1765. Chapone was grateful to Montagu for correcting the manuscript, and the text, Letters on the Improvement of the Mind (1773), was Chapone’s most celebrated work’ (Oxford DNB). It ran to many editions over several decades. ESTC: BL, Cambridge, NLI, Bodley and National Trust (Florence Court, Enniskillen, N.I.). No US copies of this edition.

A superb collection which includes 24 large watercolours of fashionable interiors in houses and hotels in Pisa, Lucca, Nice, Tours, Lyon (and one in Saint Petersburg). Richly coloured and detailed these are wonderful visual accounts of contemporary European taste in interior design. Ceiling and wall mouldings, chimney pieces and window frames are rendered in painstaking detail, as are a wide range of furnishings and fabrics, together with domestic articles such as clocks, mirrors, musical instruments, albums, books, prints and pictures. Fabrics, carpets and wall hangings are especially carefully treated, with details of patterns and textures faithfully recorded. The number of books and albums adorning shelves and tabletops is notable, giving an impression of a leisured and cultivated milieu.
The images are generously proportioned, usually more than 20 cms high and between 25 and 30 cms wide (some are larger). All are probably by the same hand, unsigned, leaving us to search for clues among the captions to the identity of the artist. One refers to the house of ‘My Grandfather Sir Coote’ while two of the pencil drawings are recognisable as the Coote family seat at Ballyfin, Leinster, Ireland. One watercolour refers to ‘ma chambre’ suggesting the watercolours are personal records of a series of visits and stays in popular winter and summer holiday spots, some with prominent hosts. Some images have the captions in pencil on their backs, in a very shaky hand, which have evidently been transcribed when the pictures were pasted into this album, perhaps c. 1860.
Some of the interiors are unpopulated (and have an eerie quality) while others have well-dressed figures sitting and standing, conversing, reading or drawing. Several faces recur, notably a mustachioed man with longish hair, who might possibly be the artist or a relative. The Anglo-Irish Coote family owned Ballyfin, which became one of the finest mansions in Ireland, from the early nineteenth century and the 9th Baronet, Sir Charles Coote (d. 1864, likely to be the grandfather mentioned in the caption) was educated at Eton and Trinity College, Oxford and was frequently on the continent. He had five sons and two daughters, and presumably many grandchildren — one of whom may have been the artist here. It is possible that the additional pencil drawings (1, 28 and 29) are in different hands.

1. Pencil caricature ‘The honorable général William Rerelinson’ [sic], signed ‘Vte. R. de Querelly’. (360 × 240 mm), edges creased and slightly frayed.
2. Portrait of a young girl, untitled (295 × 215 mm).
3. Interior, untitled, but a variant of the following view (126 × 160 mm).
4. Caza Leoli - à Pise (126 × 160 mm), closed tear (56 mm) no loss, slightly creased.
5. Salon au quai du Midi [?Nice] (238 × 180 mm), slight loss at upper corners.
6. Un salon d’Hôtel - 1842. à Tours (230 × 220 mm).
7. Eté 1842 Maison Viallon (La Mulatière, Lyon) (235 × 280 mm).
8. Salon de la Maison Gilly à la Croix de Marbre (Nice) Hiver 1842 et 1843 - Eté 1846 (246 × 342 mm).
9. Pise - Palais Leoli - Salon. Hiver 1843 et 1844 (235 × 298 mm).
10. Eté 1844. Bagni di Lucca (225 × 318 mm).
11. Eté 1845. Viareggio (230 × 280 mm).
12. Salon. Chez le Prince Méncherski (238 × 310 mm).
13. Maison Marchet (204 × 274 mm).
14. [Another version of the above, untitled] (216 × 275 mm).
15. [Untitled interior with woman reading by a fireside] (250 × 362 mm).
16. Maison de Roubion (215 × 250 mm).
17. Maison Gilly (246 × 340 mm).
18. [Untitled interior, a gentleman seated, in a dressing gown, verso caption ‘ma chambre’] (124 × 146 mm).
19. Hiver 1844 - 1845 - 1846 à Pise (234 × 314 mm).
20. Maison Gilly (Adrien) à Nice - Croix de Marbre - Eté 1846 (227 × 295 mm).
21. [Untitled, an opulent interior] (188 × 262 mm).
22. Maison Ambroise Tiranty - Nice (Hiver 1846-1847) (246 × 300 mm).
23. Viareggio (228 × 284 mm).
24. Petersbourg - Caserne des Chevaliers Gardes (250 × 349 mm), 2 short tears to right border, no loss.
25. Chambre de mon Gd Père Sir Coote à Nice (288 × 224 mm).
26. Maison Maselet [or Maschet] (170 × 245 mm).
27. Photograph, view of Nice (216 × 275 mm).
28. Pencil drawing [Ballyfin House, Leinster, Ireland] (270 × 375 mm).
29. Pencil drawing [Ballyfin House, Leinster, Ireland] (180 × 276 mm).

Slavery in France was abolished during the Revolution, but was reintroduced by Napoleon in 1804 and not finally abolished until 1838. In April 1826 Charles X had signed a treaty formally recognising the independence of Saint-Domingue (Haiti) and it seems likely that these notes were written for a speech given shortly after that date. Barante notes that some viewed the treaty as an act of submission, but he states that the king and the negotiators who signed the treaty had ‘une horreur sincère pour cet infame trafic’ and that the loss of the colony was no threat to France. In the light of the treaty, Barante believes that this was a favourable moment to advance the cause of abolition. Towards the end he refers to the famous saying of Robespierre: ‘Périssent les colonies plutôt qu’un principe’ (though he simply writes ‘périsse les colonies...’ here) but he goes on ‘ces paroles sont atroces — le premier de tous les principes est l’horreur du crime... Cependant ce principe auquel on faisait des sacrifices humains était un principe et de cruauté’. For Barante therefore the fight against the injustice and cruelty of the slave trade is of the highest importance, and these eight pages clearly reveal his humanity and support for the cause of abolition.
Prosper de Barante (1782-1866), a prominent liberal voice in nineteenth-century France was variously a diplomat, politician, statesman, historian and writer. From 1807-9 he was a ‘sous préfet’ in the department of Ardèche, and from 1813-15 prefect of Loire-Inférieure at Nantes. He made several diplomatic visits to Spain and Poland and was a close friend of liberal thinker Benjamin Constant. He was also a member of the Coppet group in the circle of Madame de Staël.

It deals with the various attempts to frame legislation on human rights from the English Bill of Rights of 1688, the Rights of Man in the American Revolution, the French Revolution, to his own time. He examines each and discusses the difficulties of framing a Declaration of the Rights of Man. This manuscript was evidently the basis of his essay ‘Déclarations des droits de l’homme et du citoyen’ published in Études littéraires et historiques (1858).

Prosper de Barante (1782-1866) a prominent liberal voice in nineteenth-century France was variously a diplomat, politician, statesman, historian and writer. From 1807-9 he was a ‘sous préfet’ in the department of Ardèche, and from 1813-15 prefect of Loire-Inférieure at Nantes. He made several diplomatic visits to Spain and Poland and was a close friend of liberal thinker Benjamin Constant. He was also a member of the Coppet group in the circle of Madame de Staël.

A record of dinners given and attended by a prominent British diplomat and his wife in Berlin and Vienna in the years of the French Revolutionary Wars. Completed on an almost daily basis, the ‘Dinner Book’ lists the names of all the attendees, including many of the key figures in Prussian and Austrian diplomacy, as well as representatives of Great Britain, Russia, Italy, Spain, Portugal and the United States. Emigré French nobles also completed many of the tables. The dinners range from state balls and dinners to ‘great’ and ‘little’ suppers given by Eden himself. In Berlin, the Edens were frequent guests at the court of Prussian King Frederick William II and his Queen, while at Vienna the Prince of Stahremberg was a frequent host. British dining companions included Sir Watkin Williams Wynne, the Duke of Buccleuch, Lord Henry Spencer, Sir Robert Cotton and Lord Dalkeith. French guests included the emigré duc de Richelieu, Louis de la Trémouille, Armand de Polignac and on 11 November 1797 in Vienna Eden notes: ‘Dinner was given to the Duke d’Enghien, who stayed here 3 days on his way to Russia...’ As a member of the House of Bourbon Enghien commanded a corps of emigrés established by the Prince de Condé and he was later executed by Napoleon for collaboration with the British. Also among Eden’s acquaintances in Vienna was American statesman Gouverneur Morris, who was in Vienna in the autumn of 1796 as American Minister Plenipotentary to France. He is noted in Eden’s book as ‘Mr Morris — American’ and dined with him at least six times.
The dinners form the diplomatic and social background to the negotiations concerning the balance of power in Europe during the French Revolutionary Wars — on 4 May 1795, for example, Eden had signed a treaty with Austrian chancellor, guaranteeing a loan of £4,600,000 to Austria for fielding 170,000 troops in Germany against France.
Educated at Eton and Christchurch, Oxford, Eden was appointed ‘envoy-extraordinary and minister-plenipotentiary at the court of Berlin. He was nominated a knight of the Bath on 16 December 1791 and, at the special request of George III, was publicly invested with the insignia of the order by the king of Prussia on 1 January 1792. In February he very readily proceeded to Vienna as ambassador to the emperor of Austria for a year, and on 12 November 1794 he was sworn in a privy councillor, and, after reluctantly agreeing to be dispatched to Madrid as ambassador-extraordinary, he was reappointed envoy-extraordinary to Vienna to negotiate the war loan to the emperor. He remained in the Austrian capital for five years’ (Oxford DNB).

First edition of this attractive book illustrated by Jacynth Parsons. Parsons was a child prodigy, contributing superb illustrations to Ann’s Book by her father, the Arts and Crafts designer Karl Parsons, in 1929. In 1927 the Medici Society put on an exhibition of her ‘Pictures from the age of 3 to 16’ which met with considerable success. She later illustrated an edition of Blake under the patronage of W.B. Yeats, and several other works.

First edition of Drian’s stylish illustrated version of Perrault’s tales including La Belle au Bois Dormant (Sleeping Beauty), Cendrillon (Cinderella), Barbe-Bleu (Bluebeard), Peau-d’Âne (Donkey Skin) and a risqué fable pastiche by Marcel Boulenger, Les Oeufs (The Eggs, 1912). This is copy number 256 of 388 copies. Drian (1890-1961) was one of the most celebrated fashion illustrators of 1920s and 30s Paris. Worldcat: Minnesota, Ocean State and V & A only outside Continental Europe.

First edition of this important act acknowledging the success of John Harrison’s ‘H4’ chronometer in the accurate calculation of longitude, among the most important scientific breakthroughs of the eighteenth century. ‘And whereas the Utility of the Invention of the said John Harrison has been proved by a late Voyage to Jamaica, under the Directions of the Commissioners of the Longitude; And whereas the said Commissioners at their Meeting on the Seventeenth Day of August last did adjudge, that by the Trial made of the said Instrument, it was found of considerable Use to the Publick, and did thereupon make an Order for the Payment of the Sum of Two thousand Pounds to the said John Harrison...’

Harrison believed the extraordinary accuracy of his fourth marine chronometer (it lost just five seconds on an 81-day trial to Jamaica) should be enough to win the full £20,000 promised by the British government’s 1714 longitude prize, but the ‘Act for the Encouragement’ insisted on further tests and disclosures. ‘It was intended to enforce the Commissioners’ directions that Harrison make “a full and clear Discovery of the Principles” of his latest timekeeper to eleven named witnesses so that the details could be published in order to allow other clockmakers to reproduce the designs. Once these witnesses or the majority of them certified that Harrison had done so, then the Treasurer of the Navy was to pay the clockmaker £5000...’ (Baker). The 1763 Act for the Encouragement is the first official government acknowledgement that the revolutionary H4 chronometer had succeeded, but it took Harrison most of the rest of his life to extract the prize money from the Board of Longitude, despite his publication of An Account of the Proceedings in order to the Discovery of Longitude in 1763 (see Printing and the Mind of Man, 208).

Several copies of this act have appeared at auction in recent years (notably the Streeter Library copy sold by Christie’s in New York for $14,400 in 2007) almost always physically disbound from complete sessional volumes of the Acts of Parliament. Though separately published with a general title (as here) individual acts were almost always bound together in yearly volumes as their pagination dictated — our copy is preserved in such a yearly volume with 24 other acts. Acts of this era were printed in limited numbers, usually estimated at around 1100 copies only. Baker, ‘Longitude Acts’ in Longitude Essays, Cambridge Digital Library, accessed June 2021. ESTC records just 8 copies of the act (3 in the UK, 5 in the US) and Worldcat adds a small handful more, though copies are under-recorded since they are often (especially in the UK) catalogued within volumes and sets of the Acts of Parliament.

First edition of a striking chromolithograph book, with all the pages and illustrations orientated to be read and viewed along the long edge of the book.

First edition of these selections from Shakespeare, Milton, Marlowe, Coleridge, Spenser, Herbert, and others. ‘The ornamental borders in this book have been printed by means of wood-blocks’. A collaborative enterprise between Cundall and the Chiswick Press it was printed in 2000 copies. ‘One-quarter share in the profits was to be paid to Joseph Cundall, but it is doubtful if there were any, since, in January 1851, forty bound copies and no less than one thousand six hundred and forty-two copies in sheets were sold to H.G. Bohn. It is a charming little volume and deserved a greater success: it is now a collector’s piece’ (McClean). McLean, Victorian Book Design and Colour Printing (2nd ed.), pp. 70-71.

First edition. ‘Illuminated by W. & G. Audsley, architects, Liverpool... Illustrated by Charles Rolt. Chromolithographed by W.R. Tymms.’ William and George Audsley were to become highly influential in the Victorian gothic revival, designing significant buildings both in Britain and the United States. They created a number of lavishly illustrated books on ornament and Japanese art, notably The Keramic Art of Japan of 1875. ‘The size of this book alone is enough to make it one of the outstanding monuments to the Victorian passion for illumination’ (McLean). McLean, Victorian Book Design and Colour Printing (2nd ed.), p. 133.