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  • The Home Affections pourtrayed by the Poets … illustrated with one hundred engravings, drawn by eminent artists, and engraved by the brothers Dalziel. by MACKAY, Charles. MACKAY, Charles. ~ The Home Affections pourtrayed by the Poets … illustrated with one hundred engravings, drawn by eminent artists, and engraved by the brothers Dalziel. London: [Richard Clay for] George Routledge & Co, 1858.
    King 734 Victorian Decorated Trade Bindings (by Albert Warren, King’s example in red). (more)

    King 734 Victorian Decorated Trade Bindings (by Albert Warren, King’s example in red).

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  • Pictures of English Landscape. (Engraved by the brothers Dalziel) with Pictures in Words by Tom Taylor. by FOSTER, Birket. FOSTER, Birket. ~ Pictures of English Landscape. (Engraved by the brothers Dalziel) with Pictures in Words by Tom Taylor. London: [Dalziel Brothers for] Routledge, Warne and Routledge, 1863.
    Not in King Victorian Decorated Trade Bindings. (more)

    Not in King Victorian Decorated Trade Bindings.

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  • The Life and Lessons of our Lord. by CUMMING, John, the reverend. CUMMING, John, the reverend. ~ The Life and Lessons of our Lord. London: [Harrild for] John F. Shaw, [n.d. ?1870s].
    Not in King Victorian Decorated Trade Bindings.
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    Not in King Victorian Decorated Trade Bindings.

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  • Poems... by COOK, Eliza. COOK, Eliza. ~ Poems... London: [Richard Clay for] Routledge, Warne, & Routledge, 1861
    King Victorian Decorated Trade Bindings 361 (Red, John Leighton).
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    King Victorian Decorated Trade Bindings 361 (Red, John Leighton).

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  • Poems … selected and edited by the Author. Illustrated by John Gilbert, J. Wolf, H. Weir, J. D. Watson etc etc. engraved by the Dalziel brothers. by COOK, Eliza. COOK, Eliza. ~ Poems … selected and edited by the Author. Illustrated by John Gilbert, J. Wolf, H. Weir, J. D. Watson etc etc. engraved by the Dalziel brothers. London: [Richard Clay for] Routledge, Warne, & Routledge, 1861.
    King Victorian Decorated Trade Bindings 361 (John Leighton). (more)

    King Victorian Decorated Trade Bindings 361 (John Leighton).

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  • The Theory and Practice of Landscape Painting in Water-colours … new edition. by BARNARD, George. BARNARD, George. ~ The Theory and Practice of Landscape Painting in Water-colours … new edition. London: [R. Clay for] George Routledge & Sons, 1871.
    Not in King Victorian Decorated Trade Bindings (more)

    Not in King Victorian Decorated Trade Bindings

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  • Mariette Lydis: Dreams and Destiny. by MARIETTE LYDIS. (CROFT, Justin and Cult Jones). MARIETTE LYDIS. (CROFT, Justin and Cult Jones). ~ Mariette Lydis: Dreams and Destiny. 2023.
    A comprehensive descriptive catalogue of the published works of Mariette Lydis 1922-1940, including several unique items. With an introductory essay and bibliography. (more)

    A comprehensive descriptive catalogue of the published works of Mariette Lydis 1922-1940, including several unique items. With an introductory essay and bibliography.

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  • A Room of One’s Own. by WOOLF, Virginia. WOOLF, Virginia. ~ A Room of One’s Own. New York and London: [Harcourt, Brace and Company/ Robert S. Josephy for] The Fountain Press [and] The Hogarth Press, 1929.
    Number 40 of 100 copies signed by Woolf, reserved for sale in Great Britain, from a total edition of 450.

    ‘Virginia Woolf entered the political arena… (more)

    Number 40 of 100 copies signed by Woolf, reserved for sale in Great Britain, from a total edition of 450.

    ‘Virginia Woolf entered the political arena with A Room of Ones Own (1929). It originated as two papers read to women undergraduates in the Arts Society at Newnham College and the ODTAA Society at Girton College, Cambridge, in October 1928. The aim was to establish a woman’s tradition, recognizable through its distinct problems: the age-old confinement of women to the domestic sphere, the pressures of conformity to patriarchal ideas, and worst, the denial of income and privacy (’a woman must have money and a room of her own if she is to write’). A brief history of women’s writing tries to prove that their works were deformed by inward strife—not convincingly when we are pressed to agree that Jane Eyre is flawed by its author’s protest against the limitations imposed upon women. On the other hand, Virginia Woolf is brilliantly persuasive when she ridicules the power bias of male history narrowing in on war and kings with golden teapots on their heads. A counter-history waits in the wings: the untried potentialities of women, nurtured but unspoilt in women’s colleges, who are not to be imitation men but are to think back ‘through their mothers’. Virginia Woolf wants to retrieve rather than discard the traditions of womanhood, a position forecast in 1906 at the outset of her career with a historical story, ‘The Journal of Mistress Joan Martyn’, set during the fifteenth-century Wars of the Roses. It suggests that women excluded from historical record were the true makers of England as they passed their unnoticed code of preservation from mother to daughter, cultivating domestic order and the arts of peace, as opposed to militarized thugs who repeatedly destroyed it.’ (Lyndall Gordon, Oxford DNB). Kirkpatrick A12a.

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  • Clémentina, ou le Cigisbéisme... by DURDENT, [René-Jean]. DURDENT, [René-Jean]. ~ Clémentina, ou le Cigisbéisme... Paris: [Lebégue for] Coges, 1817.
    First edition. A preface explains the etymology of the novel’s subtitle: Cigisbéisme [’cicisbeism’] — the custom, probably of Italian origin, of a married woman keeping… (more)

    First edition. A preface explains the etymology of the novel’s subtitle: Cigisbéisme [’cicisbeism’] — the custom, probably of Italian origin, of a married woman keeping an additional male companion, either Platonic or otherwise. Its author, Durdent, produced several other novels and a translation of Edgeworth’s Fanny. Despite its promising subject matter, Clémentina appears to have gone almost entirely unnoticed by contemporary reviewers.

    This copy is complete with spine labels (two for each volume) printed on the verso of the title-page of the second volume. Thankfully, they have not been used in binding here (which has black labels lettered in gilt supplied by the binder) since their use would entail sacrificing the title page. It seems an odd place to print them, and where such printed title-pages have been encountered elsewhere they have been printed on a blank. Worldcat: Cambridge (England) and Toronto only.

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  • Le Jugement par Jury, ou la Vengeance d’une Femme... by [DUBERGIER]. [DUBERGIER]. ~ Le Jugement par Jury, ou la Vengeance d’une Femme... Paris: Dondey-Dupré père et fils, 1824.
    First edition. A novel illustrating the contemporary vogue for fiction based on the records of the French law courts. A contemporary reviewer in the Revue… (more)

    First edition. A novel illustrating the contemporary vogue for fiction based on the records of the French law courts. A contemporary reviewer in the Revue encyclopèdique savaged the novel itself but evidently found the 38-page introduction interesting - being a commentary on the merits of the relatively recent development of trial by jury in France. The book found several other reviews in the same year and evidently divided opinion. The Revue bibliographique du Royaume des Pays-bas simply noted ‘Cet ouvrage a été saisi par la police’.

    Dubergier, who did not put his name on the title, was prolific both as a translator from English and as a novelist in his own right — usually favouring popular literature of the Walter Scott variety, sometime with Scottish or Irish settings. Querard, 11, p. 115. Worldcat lists the Bn and Princeton copies only.

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  • An Act to amend and consolidate the Laws relating to the Abolition of the Slave Trade. 24 June 1824. by (ANTI-SLAVERY SOCIETY). (ANTI-SLAVERY SOCIETY). ~ An Act to amend and consolidate the Laws relating to the Abolition of the Slave Trade. 24 June 1824. [London: George Eyre and Andrew Strahan, 1824].
    First edition. This important anti-slavery act, now approaching its bicentenary, was a direct result of the formation of the Anti-Slavery Society in 1823, and renewed… (more)

    First edition. This important anti-slavery act, now approaching its bicentenary, was a direct result of the formation of the Anti-Slavery Society in 1823, and renewed political agitation by key abolitionist figures such as Wilberforce and Clarkson. The society was founded on 31 January 1823, when a group well known for their opposition to the slave trade met at the King’s Head tavern in the City of London. ‘Its purpose was to rouse public opinion to bring as much pressure as possible on parliament, and the new generation realized that for this they still needed Clarkson... He rode some 10,000 miles and achieved his masterpiece: by the summer of 1824, 777 petitions had been sent to parliament demanding gradual emancipation’. Also in this year, Wilberforce published his Appeal to the Religion, Justice and Humanity of the Inhabitants of the British Empire in behalf of the Negro Slaves in the West Indies, in which he ‘dwelt on the moral and spiritual degradation of the slaves and presented their emancipation as a matter of national duty to God. It proved to be a powerful inspiration for the anti-slavery agitation in the country’ (Oxford DNB).

    ‘The Consolidated Slave Act repealed previous legislation on slavery and brought together all slave laws into one act. The act was designed to eliminate the more vicious provisions of the West Indian slave codes while simultaneously setting out new guidelines for the better treatment of slaves and free people of color. As recommended by the commission, the act included clauses that facilitated manumission’. Newton, ‘The King v. Robert James, a Slave, for Rape: Inequality, Gender, and British Slave Amelioration, 1823-1834’ in Comparative Studies in Society and History, vol. 47, no. 3, 2005, pp. 592-3. JSTOR, http://www.jstor.org/stable/3879392. Accessed 12 Mar. 2024.

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  • The Ullage Cask Gauger, comprised in a Series of Tables, calculated with the utmost Accuracy and Perspicuity. Whereby the Ullage Contents of any Cask, from five to one hundred and sixty Gallons (inclusive) is at one View exactly and expeditiously known: and likewise the Ullage Contents of all other Casks, however large. As also the Foot or Sediment in Oil Casks, are alike correctly ascertained. Compiled after the most approved Method made use of by the Excise. By James Boydell, late Wine Merchant. by BOYDELL, James. BOYDELL, James. ~ The Ullage Cask Gauger, comprised in a Series of Tables, calculated with the utmost Accuracy and Perspicuity. Whereby the Ullage Contents of any Cask, from five to one hundred and sixty Gallons (inclusive) is at one View exactly and expeditiously known: and likewise the Ullage Contents of all other Casks, however large. As also the Foot or Sediment in Oil Casks, are alike correctly ascertained. Compiled after the most approved Method made use of by the Excise. By James Boydell, late Wine Merchant. London: Printed by R. and H. Causton, Finch-Lane, for the Author, and sold by him at No. 2, Cooper’s-Row, Crutched-Friars, and by all Booksellers in Town and Country, 1784.
    First edition. Boydell’s tables allowed dealers in beer, wine and spirits to accurately assess the true contents of part-used casks through measurement of ullage (the… (more)

    First edition. Boydell’s tables allowed dealers in beer, wine and spirits to accurately assess the true contents of part-used casks through measurement of ullage (the empty portion of any barrel) — an essential calculation in tax and excise assessments. Several new editions were advertised in the nineteenth-century but all editions are rare.
    The author was probably the same Boydell who described himself as ‘ships-husband’ on the title of his The Merchant Freighter’s and Captains of Ships Assistant - Being Tables Calculated with the Greatest Accuracy (‘London: printed for the author... and to be had at Lloyd's, the New York, the New England, the Jamaica, and the Pensylvania coffee-houses; and of any bookseller in Great Britain, 1764). ESTC: Leeds, NLS, Glasgow, St Andrews, U Kentucky, UVA, Saint Olaf (MN) and State Library of Tasmania.

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  • Sappho. by LYDIS, Mariette, illustrator. Henri CREUZEVAULT, binder LYDIS, Mariette, illustrator. Henri CREUZEVAULT, binder ~ Sappho. [Paris: Maurice Darantière and J. J. Taneur, 1933].
    First edition, in a superb geometric binding by Henri Creuzevault. This is copy III of 5 copies on vieux japon (of a total edition of… (more)

    First edition, in a superb geometric binding by Henri Creuzevault. This is copy III of 5 copies on vieux japon (of a total edition of only 45 copies, the remainder on japon imperial), bound without the additional suite on chine. All the plates are signed in pencil. Sappho is one of Mariette Lydis’s rarest books, and among the most provocative, with its large format plates demonstrating her mastery of the etched line. Still under-appreciated and under-represented in institutional collections, Lydis is one of the most intriguing artistic figures of her era. Her youth in bourgeois Jewish Vienna was followed by travels across Europe, Africa and later England, the USA and South America. She settled in Paris in the 1920s (later describing the city as ‘the only place where it is possible to forget the brutality of men’) where she embraced the fluidity of culture and sexuality she found there. Though married three times (the last to publisher Giuseppe Govone, with whom she jointly published Sappho) she was openly bisexual. Her flight from Europe to Argentina in 1940 and subsequent isolation from European collectors and artistic movements perhaps served to obscure the astonishing range of her graphic art in the twenties and thirties.

    The contemporary binding of this copy is an especially striking example of the art deco architectural style of Henri Creuzevault (1905-1971), among the most prominent and celebrated Parisian binders of the immediate pre-war era. Camille Creuzevault illustrates an almost identical binding on a copy of Pierre Louys’ Aphrodite of 1936 (Henri Creuzevault, II, 59). ‘Henri Creuzevault intended to be a painter but in 1918 he learned the craft of leather-gilding and then entered the binding studio of his father Louis Lazare Creuzevault. During his military service in the Middle East in 1925, he again took up painting and drawing. The following year, back in his father's studio, he drew his first sketches and exhibited his bindings at the Musée Galliera where he won first prize in 1928. Creuzevault’s art, always highly rigorous, developed throughout his life. His early style was fairly sober and traditional, progressing in the 1930s to compositions in the style of Art Deco, and 10 years later returning to an austere Classicism before the production of his bold works of the 1950s... ’ (Benezit).

    Worldcat lists copies at Cornell, Harvard and Bibliothèque nationale only (there are also copies at Edinburgh University and the National Gallery of Scotland).

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  • Claudine à l’école; Claudine à Paris; Claudine en ménage; Claudine s’en va. by LYDIS, Mariette, illustrator. COLETTE (and WILLY). LYDIS, Mariette, illustrator. COLETTE (and WILLY). ~ Claudine à l’école; Claudine à Paris; Claudine en ménage; Claudine s’en va. Paris: Éditions de Cluny, [1939].
    First edition with the Lydis illustrations, of Colette’s coming-of-age novel (first published in 1900-3 with debatable contribution from her then-husband, Willy). This is copy number… (more)

    First edition with the Lydis illustrations, of Colette’s coming-of-age novel (first published in 1900-3 with debatable contribution from her then-husband, Willy). This is copy number 88 of 100 on pur fil Lafuma with plates in 2 states, after copies on Japon and Hollande, of a total edition of 1585 copies on different papers. There was mutual admiration (and perhaps more) between Colette and Lydis, the former having written an admiring note on the artist for the programme of the 1934 Bal des petits lits blancs, which Lydis had illustrated.

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  • Henry Walter Livingston. by [SAINT-MÉMIN, Charles Balthazar Julien Févret de. [SAINT-MÉMIN, Charles Balthazar Julien Févret de. ~ Henry Walter Livingston. 1804 or 5].
    A rare physionotrace portrait of Henry Walter Livingston (June 12, 1768 – December 22, 1810) a United States Representative from the state of New York.… (more)

    A rare physionotrace portrait of Henry Walter Livingston (June 12, 1768 – December 22, 1810) a United States Representative from the state of New York. He graduated from Yale College in 1786 where he studied law and was admitted to the bar and commenced practice in New York City. He was private secretary to Gouverneur Morris, American Minister Plenipotentiary to Paris, France, 1792-1794; judge of the court of common pleas of Columbia County, N.Y.; member of the State assembly in 1802 and again in 1810; elected as a Federalist to the Eighth and Ninth Congresses (March 4, 1803-March 3, 1807). He died at his home in Livingston, New York on December 22, 1810 and is interred with his wife in a vault there.

    Before the advent of photography the physionotrace was ‘the first system invented to produce multiple copies of a portrait, invented in 1786 by Gilles-Louis Chrétien (1774–1811). In his apparatus a profile cast by a lamp onto a glass plate was traced by an operator using a pointer connected, by a system of levers like a pantograph, to an engraving tool moving over a copper plate. The aquatint and roulette finished engraved intaglio plate, usually circular and small (50 mm), with details of features and costume, could be inked and printed many times’ (Photoconservation.com, sub Printing Processes). The process was introduced to America by Charles Saint-Mémin.

    The miniaturist Saint-Mémin (1770-1852) had emigrated from France in 1793 to Switzerland, where he practised as an engraver. Crossing the Atlantic to Canada and then the United States, he established a portrait business in New York with his compatriot Thomas Bluget de Valdenuit (who initially produced the drawings for Saint-Mémin to engrave). When Valdenuit returned to Paris, Saint-Mémin adopted an itinerant practice all over the East Coast states, working variously at Philadelphia, Richmond, Charleston and Burlington. He too returned to France in 1814, having destroyed his drawing apparatus in a symbolic end to a prolific artistic enterprise which produced more than a thousand different portraits of significant figures in American society, including Washington, Revere and Jefferson.

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  • WATSON, David. by [SAINT-MÉMIN, Charles Balthazar Julien Févret de]. [SAINT-MÉMIN, Charles Balthazar Julien Févret de]. ~ WATSON, David. 1808
    A rare physionotrace portrait of David Watson (1773–1830) was a lawyer, educated at William & Mary College (1796-1797) and (with Jefferson) a member of the… (more)

    A rare physionotrace portrait of David Watson (1773–1830) was a lawyer, educated at William & Mary College (1796-1797) and (with Jefferson) a member of the first Board of Visitors of the University of Virginia in 1817. He and known to have been a confidant of Thomas Jefferson and other notable figures of the period. He was elected six times to the General Assembly and represented Louisa County at the 1829 Constitutional Convention.

    Before the advent of photography the physionotrace was ‘the first system invented to produce multiple copies of a portrait, invented in 1786 by Gilles-Louis Chrétien (1774–1811). In his apparatus a profile cast by a lamp onto a glass plate was traced by an operator using a pointer connected, by a system of levers like a pantograph, to an engraving tool moving over a copper plate. The aquatint and roulette finished engraved intaglio plate, usually circular and small (50 mm), with details of features and costume, could be inked and printed many times’ (Photoconservation.com, sub Printing Processes). The process was introduced to America by Charles Saint-Mémin.

    The miniaturist Saint-Mémin (1770-1852) had emigrated from France in 1793 to Switzerland, where he practised as an engraver. Crossing the Atlantic to Canada and then the United States, he established a portrait business in New York with his compatriot Thomas Bluget de Valdenuit (who initially produced the drawings for Saint-Mémin to engrave). When Valdenuit returned to Paris, Saint-Mémin adopted an itinerant practice all over the East Coast states, working variously at Philadelphia, Richmond, Charleston and Burlington. He too returned to France in 1814, having destroyed his drawing apparatus in a symbolic end to a prolific artistic enterprise which produced more than a thousand different portraits of significant figures in American society, including Washington, Revere and Jefferson.

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  • by their London Intelligencer. And presented to the Lords of the Covenant of Scotland. Anno Domini. 1639. by THE SCOTS SCOUTS DISCOVERIES: THE SCOTS SCOUTS DISCOVERIES: ~ by their London Intelligencer. And presented to the Lords of the Covenant of Scotland. Anno Domini. 1639. London: for William Sheares, 1642.
    First edition of this Covenanter propaganda pamphlet of the era of the Bishops’ Wars, purporting to offer intelligence as to the parlous and divisive state… (more)

    First edition of this Covenanter propaganda pamphlet of the era of the Bishops’ Wars, purporting to offer intelligence as to the parlous and divisive state of the English nation, particularly the English forces, who the author ‘L.D.’ claims to have infiltrated. It is full of fascinating gossip and opinion, albeit mainly fictional, sometimes in verse form.

    ‘What will you fight for a Booke of Common Prayer?
    What will you fight for a Court of High Commission?.... [English]
    Wee fight to have our true Religion stand:
    Wee fight to keepe our Lawes unvilified...’ [Scots].

    The spy-narrator recounts various sorties into England. At Canterbury he visits Becket’s tomb and scrawls on the cathedral wall, hears a sermon at Lambeth, visits Guy Fawkes’s house and reports a dissolute Whitehall, with the King having fled. Wing L10 (another edition of 22 pages is L11); Thomason E.153[22].

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  • Jeu instructif des peuples et costumes des quatre parties du monde et des terres australes. by (GAME). (GAME). ~ Jeu instructif des peuples et costumes des quatre parties du monde et des terres australes. Paris: Basset, [n.d., 1815].
    A superb ‘game of goose’ on the theme of the peoples of the known world, with fine engraved corner vignettes representing Africa, America, Europe and… (more)

    A superb ‘game of goose’ on the theme of the peoples of the known world, with fine engraved corner vignettes representing Africa, America, Europe and Asia and 63 vignettes representing different peoples. They include native Americans (of California, Mexico, the Amazon, Iroquois, Brazil, Chile, Tierra del Fuego, Paraguay and Nootka Island), inhabitants of Java, Sumatra, China, Japan, Tahiti, Australia (Nouvelle Hollande) and New Zealand, as well as Africa, the Middle East and Europe. In common with other games of this type, the cultural attitudes represented by the symbolism and mode of play is worthy of decoding. With dice and counters, the players are to navigate (culturally, not geographically) from China (evidently still at the furthest reaches of the European geographical imagination) to France, via the 63 numbered squares, with their various characteristics, advantages and disadvantages. Mexico (square 6) is shown as a bridge and players landing there jump straight to square 12 (the Amazon); at 19 (Tahiti) the islanders’ hospitality detains players for two turns; at 31 (Siberia) the players waits in exile until another player reaches the same square and rescues them, at square 42, traditionally the ‘puzzle’ square (Japan) the player is refused landing and goes back to 30 (Abyssinia) and just before the end, square 58 (New Zealand) the player encounters the reputed anthrophages (man-eaters) and returns to the start. Ciompi/Seville Collection 32; Adrian Seville, ‘The geographical Jeux de l'Oie of Europe. Les Jeux de l’Oie géographiques de l’Europe’, Belgeo, 3-4, 2008, 427-444 (56).

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  • at White-hall, giving Advice to the young Æsops at Tunbridge and Bath: or, Some Fables relating to Government. By a Person of what Quality you please. by Old Æsop Old Æsop ~ at White-hall, giving Advice to the young Æsops at Tunbridge and Bath: or, Some Fables relating to Government. By a Person of what Quality you please. London: J. Nutt, 1698.
    First edition of this British political satire, co-opting Aesop’s animals of in a series of witty verses, capitalising on the popularity of the Aesop in… (more)

    First edition of this British political satire, co-opting Aesop’s animals of in a series of witty verses, capitalising on the popularity of the Aesop in English via the editions of Ogilby and L’Estrange. ‘In 1698 a whole series of fables began to appear anonymously which set Aesop on a journey through England and the rest of Europe. He comments through his animal characters about the Jacobite threat, William’s government of England, and Louis XIV’s ambitions on the continent. As one writer put it, “It is now the Mode, it seems, for Brutes to turn Politicians,” and Aesop was chosen as their main expositor. Aesop at Tunbridge (1698) was a structured attack on William and on Whig principles in general. In the same year Aesop at Bath criticized the Jacobites; Aesop Return d from Tunbridge committed the hapless supporter of the Jacobites to Bedlam; Old Aesop at Whitehall defended the government; and Aesop at Amsterdam objected to the very monarchical forms of government supported in one way or another by Whig, Tory, and Jacobite factions’ (Daniel, ‘Political and Philosophical Uses of Fables in eighteenth-century England’, The Eighteenth Century, 23, 2, 1982, p. 153).
    Wing O196. ESTC lists US copies at Clark (UCLA), Folger, Harvard, Cincinnati and Texas.

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  • Neuf pas autour de ma chambre. Tournée sentimentale, dédiée aux amateurs d’un exercice modéré. by [CARON or CHARLES] ‘H.R.C’. [CARON or CHARLES] ‘H.R.C’. ~ Neuf pas autour de ma chambre. Tournée sentimentale, dédiée aux amateurs d’un exercice modéré. Stockholm: Charles Deleen, 1816.
    First edition, presentation copy. A witty imaginary Voyage autor de ma chambre in the spirit of Le Maistre. In just nine steps the author circumnavigates… (more)

    First edition, presentation copy. A witty imaginary Voyage autor de ma chambre in the spirit of Le Maistre. In just nine steps the author circumnavigates his room, bumping into Napoleon and traversing Europe. There are verses, riddles, enigmas and an acrostic on the Swedish succession: ‘Charles Jean Prince Royal de Suede’. The ninth step is a long verse dedicated to the elderly British King George III. The allegorical plate depicts voyagers in an elegant state of undress on the back of a flying horse. The dedicatee of this presentation copy is Maria Juliana Wahrendorff von Rosen (1763-1820). Worldcat locates the Yale copy only in the US. JISC/Copac lists no UK copies.

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