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An illustrated chansonnier, highly decorated, and including songs such as: Souvenir de ‘70, Les Femmes soldats, Le Baiser, l’Anglaise, Le Testament du Libre-Penseur, Marche du Bataillon d’Afrique, L’Africaine, Départ pour Madagascar, La Pucelle de Bellville, Les Prisonniers morts pour la liberté.

These notebooks are a fascinating example of a popular method of collecting popular French cabaret songs, all neatly copied up with headings and illustrations (usually suitably suggestive) copied from contemporary song sheets (an example of one of these loose sheets is loosely inserted). We have seen several similar examples, in which the illustrations are apparently traced using carbon paper from printed (or other manuscripts) exemplars. Their context is usually military or naval and they represent a significant form of popular or naive art.

The decorative title, with elaborate borders describes Arbez Carme as ‘employé au Magasin des Vivres de Réserve du 23me Reg[im]ent d’Inf[anter]ie a Bourg, Ain’. Military records record his birth in 1876 in Jura, his occupation as a perruquier (wigmaker) and his recruitment in 1896.

A seventeenth-century manuscript copy of Dubreuil’s La Perspective Pratique necessaire a tous peintres, graveurs, sculpteurs, architectes, orfevres, brodeurs, tapissiers, & autres se servans du dessein... première partie, first published in 1642. Evidently well-used, rebound in the nineteenth-century, and to judge from the binding, still handled and used thereafter, this is a large illustrated fragment consisting of parts 1, 2 and most of 3 (of 7) of the text. The original title-page and front matter, was replaced by a simple manuscript title, probably at the time of rebinding.

La Perspective Pratique, by Jean Dubreuil ‘the Jesuit’ (1602–1670) was popular among artists, architects and designers of the seventeenth and eighteenth centuries and was still being used by artists well into the nineteenth century as a practical introduction to perspective drawing. As the original title indicates it was intended for the use of painters, engravers, sculptors, goldsmiths, embroiderers and tapestry workers and had a very wide circulation, reprinted in numerous editions, including several in English. It proceeds from the principles of drawing simple shapes and solids in perspective, to specific objects such as chairs, tables, opening chests and shelving, then to buildings and townscapes. Each set of instructions is accompanied by detailed illustrations, which were widely copied. In the printed editions, these were presented as engraved plates opposite the letterpress text, but in this manuscript they are carefully incorporated into the text for ease of use. It seems to have been a practical handbook, extensively, but carefully handled (but not marked or annotated) over a long period of time.

A interesting and unique copy of this monumental pictorial record of European coins and medals struck in the Napoleonic era, including many commemorative medals of battles and truces. A printed book, with a London imprint, with portions (including title) in manuscript copy, and plates dissected, partly copied in manuscript and re-arranged. It is difficult to interpret the unusual hybrid form here, but it would appear to be a contemporary collector or curator’s production allowing the illustrations to be consulted alongside their descriptions in the text. The plates in the printed edition presented the coins and medals in a different order to the text, with corresponding numbers linking the illustrations, but turning from text to plate may have been a tiresome business. The fact that the titles, preliminary text and indexes are given as manuscript copies is less easy to explain, though at least one of the manuscripts indexes is more comprehensive than that of the printed edition. Many of the illustrations are marked with a small flower shaped inkstamp, perhaps also a collector’s demarcation.

Millin de Grandmaison (1759-1818) had been curator of the Cabinet des médailles et antiques of the former French royal library but died before this survey could be published. The manuscript was passed to the British-born James Millingen, formerly of the French mint, later an antiquary and dealer, who collated it and published it in London in both French and English versions. The imprints are faithfully copied in manuscript in our version, but it is likely a French rather than a British production.

Sole edition, a very rare illustrated record of British ships, commercial and naval, by ‘A Lady’, probably an amateur lithographer and the ‘T.I. Walker’ whose name appears on some of the plates (which were all printed by C. Hullmandel). Worldcat: State Library NSW and Canadian War Museum only. No copies located in British libraries. Walker not mentioned by Twyman in Early Lithographed Books.

A collection of finely-executed miniatures reproducing in colour sixteenth-century printer’s ornaments and initials: 39 selected initials, three tailpieces, one headpiece and one printer’s device (Giunta, dated on verso 1567). Some are signed, minutely, ‘A. Baudon’ who we have been unable to trace. The artist has copied, in remarkable detail, these metalcut ornaments, reproducing in many cases the speckled backgrounds typical of punched or ‘criblé’ designs.

A series of calligraphic models or exercises of impressive size and quality. The writer, who signs his (or just possibly, her) name, minutely, at the foot of the first leaf, has chosen two edifying texts to transcribe. The first three sheets contain passages (including one on the immorality of duelling) from Varietés serieuses et amusantes of 1765, while the other eight, rather unusually contain letters from a father to a daughter (Émilie), being extracts from Abbé Gerard’s epistolary novel Le Comte de Valmont, ou les égarements de la raison of 1774. It would be unusual if this denoted a female scribe, but the choice of these extracts is tantalsing.

Each leaf is ruled in leadpoint and bears a large calligraphic cartouche, some have an additional penwork initial roundel and most exhibit a variety of scripts of exceptional neatness and regularity.

Becker, Practice of Letters, Hofer collection.

An unusual and rather beautiful variant of the lithographed prayerbook illuminated by hand. Such books, printed with broad blank margins could be purchased with a range of more-or-less unique embellishments in manuscript by talented anonymous ecclesiastical artists, usually women. This example is unusual for the range of its decorative motifs, including flowers, insects, stained glass windows, a sailing boat, elephants, a frog and peacocks. It combines consciously medieval imagery (notably a lady with a unicorn) with a delightful fin-de-siècle lightness, with elements of japonisme and art nouveau.

The final full page images include a nativity scene with named bells on the opposing page: Jacques, Marie and Magdelain, perhaps a personalisation for its particular owner, again, almost certainly a woman.

Grimm’s Iron John, the classic tale of male rights-of-passage, is here rendered in calligraphy and a series of fine historiated initials by a young Maria Elizabeth Passini. The style is medievalist, paying homage to the chivalric manuscripts of earlier age, but is unmistakably of the 1930s. We have been unable to find any other examples of manuscripts by Passini, and it must have to have been a student project. Her later works were figurative drawing and paintings, often portraits and graphic designs for commercial clients.

Elizabeth Passini was born in Innsbruck in 1911 into a family of notable Austrian painters and emigrated to England in the late 1920s where she studied at the Slade School. She also studied at the Munich Academy of Fine Arts, the Central School and St Martins. She was a member of the Pastel Society, Contemporary Portrait Society and a founder member of the Hampstead Artists Council. She was a key member of the Hampstead art scene and regularly took part in the Open Air Exhibitions in Heath Street there from the late 1940s and, later on, the Royal Free Hospital Exhibitions. She taught at the Camden Arts Centre for many years. She died in 1995. Burgh House & Hampstead Museum holds a number of her works.

First collected edition, with 4 engraved vignettes by Blake after designs by Thomas Stothard. The Bradley Martin copy. Jackson, p. 96; Keynes 94; Russell 48.

One of six copies, a fine and characteristic example of Beatrice Coron’s cut paper artist’s books. Across the four panels, the artist has opened a series of tunnels linking worlds above and below ground, inviting us to look into ‘memory holes’. Dreamlike and haunting, Memory Holes is a meditation on what lies below the surface of everyday life, but, as often in Coron’s world, we are never sure what is real, and what is imagined. Examples of her work, both books and public art, are held by numerous significant museums and libraries in Europe and America.

A recent miniature book, unique, illustrated in ink and watercolour. ‘Ce tout petit livre est unique. Je l’ai peint et relié à ma façon et à Marliac, en fin d’hiver 2018’.

A set of blank ornamental borders designed for use by the convent girls of the monastery of the order of the Visitation at Ornans in Eastern France. Probably destined for use as models for notecards and letters, as suggested by the contemporary tracings. A wonderful example of contemporary decorative arts in a convent environment these watercolours are elegantly ornate, incorporating foliage, flowers, vines, swags and birds. The convent at Ornans had been founded in the early seventeenth century and, after the Revolution, refounded as a religious school in 1839 for girls. The Ordre de la Visitation de Sainte-Marie, or ‘Visitandines’ had existed also from the early seventeenth century, founded as an active order for the visitation of the sick.

A superb illuminated manuscript decorated in a wide variety of styles, chronologically arranged, including Egyptian, Assyrian, Greek, Greco-Roman, Chinese, Indian, Persian, Arab, Byzantine, Carolingian, German, Celtic and European styles from the twelfth to the eighteenth centuries. The manuscript is unsigned, but is typical of the very best French revivalist artists of the period, who were often (but not always) women trained in ultra-orthodox Catholic religious houses. Leading binders such as Léon Gruel in Paris could call upon a wide range of talented calligraphers and artists for commissions such as this commemorative marriage book for Irma Lafontaine and Émile Brangeon (both born 1899 and married at Lourdes in 1929).

First edition. Jointly authored with Robida, who also provided the illustrations, Contes pour les Bibliophiles contains Uzanne’s prescient essay ‘La Fin des livres’. This remarkable text has been eagerly discussed by commentators on the interface between traditional and electronic book. Like many contempories Uzanne and Robida had been enthralled by inventions such as Edison’s phonograph and Ader’s ‘théatrophone’ and they predicted fundamental shifts in the consumption of literature in their wake. ‘La Fin des livres’ describes (and illustrates) wonderful devices for the consumption of audiobooks in the home and in public places, suggesting that they would become as straightforward as turning on a tap. The library of the future would in turn become a roomful of recorded cylinders, and publishers would be required to register the voices of their authors by way of copyright.

What would such a democratization of the word do to the printed book? Uzanne’s response was to look at current production of books and insist that books would not die provided they remained objects of beauty and desire worthy of the attention of bibliophiles. The wonderful cover illustrations and typography are by George Auriol, member of the Chat Noir circle and friend of Erik Satie.

First and only edition, issued the year after the Easter Rising, showing hundreds of Dublin businesses seeking exports all over the world. Among the many listings and advertisements for brewers, distillers, foundries, printers, publishers, linen manufacturers, shipyards, engineers and so on, are found two one-third page adverts for the Yeats sisters’ Cuala Industries and the Dun Emer Guild. The two firms had been founded under the Dun Emer name by Elizabeth and Lily Yeats in 1902 producing Arts and Crafts printing, embroidery, rugs and tapestry, before dividing in 1904. The Cuala advert shows the Yeats’s Churchtown bungalow and reads: ‘Embroidery—Lily Yeats. Hand Press—Elizabeth C. Yeats. Editor of the Press—W.B. Yeats.’ The Dun Emer advert shows a woman working at a loom and offers ‘Hand-woven Carpets & Tapestries, Embroideries, Enamels, Bookbinding’.

There are also historical and topographical accounts of the city. This was the first appearance of the Dublin Year Book and it was apparently not reprinted. Scarce. Worldcat lists US copies at NYPL, Illinois, Kansas, Chapel Hill and South Carolina. We also find copies at the University of Cork, UCD, LSE and BL.

A very neatly presented elementary project on leather production and its use in craft bookbinding, with useful samples illustrating the different characters and textures of goat, sheep and calf, and the nature of morocco. There are also colour samples and some examples of elementary lettering and tooling (presumably by the author) who was probably a student at a British technical college. There are two samples of eighteenth century book covers and a nice drawing of the binding of the seventh century Stoneyhurst/St Cuthbert Gospel, the earliest intact European bookbinding.

A superb and thought provoking example of French book artist Claire Illouz’s ‘Gravures à lire’ — long semi-narrative images made up from multiple coloured impressions from several plates. In the Air considers the environmental cost of our addiction to plastic, with discarded coloured plastic bags multiplying in the air in a hauntingly beautiful arrangement. The edition is of just 20 copies (10 on chine, 10 on soie, as here). Illouz’s illustrated artist’s books have been exhibited all over the world and are well represented in European and American collections.

An elaborate antiquarian collection containing 19 large double-page armorials, apparently of the sixteenth century of the major families of Belgium, including Beaufort, Berghes, Egmont, Hornes, Lalain, Luzembourg, St. Aldegond, and including a number of members of the Order of the Golden Fleece. Each of these armorials bears detailed contemporary genealogies to their versos. These have been conserved by the British antiquary David Powell (?1772-1848) with other early genealogical material, his own notes and four large drawings of related stained glass, including a large window from the church of Notre Dame du Sablon (Brussels) and another in the hands of ‘Mr Whatson an eminent glazier Hanway Yard Oxford Street’ in 1816.

Born in Tottenham, Powell became a Lieutenant in the 14th Light Dragoons; he left a manuscript account of his 1794 experiences in Cork, Flanders and Brabant. He later entered Magdalen College, Oxford, receiving a B.C.L. in June 1805. He spent much of the rest of his life making heraldic and genealogical collections, and touring England and Wales to make watercolour sketches of churches and manor houses in over forty counties. He died in 1848, and his library was sold by Puttick & Simpson over three days. Many of Powell's manuscripts are now in the British Library.

First editions, deluxe issues, each volume being one of only 15 copies with an additional suite on chine printed from the original woodblocks, by renowned artists such as Hermann-Paul, Sem, Daragnès, Baudier, Cochet, Hallo, Renefer and Roubille, many numbered or signed by the artists in pencil. Fayard’s enterprise was one of democratisation — aiming to bring high-quality illustration, examples of the current revival in woodcut and wood engraving, to a wide audience at a reasonable price. Accordingly, the illustrations of the regular volumes were printed in large numbers from phototype metal blocks made from the woodblocks, with just 15 copies of each (as here) presented with an additional suite specially printed on fine paper from the original blocks. A remarkable collection of separately-issued works. This group contains 36 of the first 41 volumes (vols. 4, 13, 17, 21, 26, 29 and 36 are those not present):

I. BENJAMIN, René. RENEFER, illustrator. Les Soldats de la guerre. Paris: Arthème Fayard, [1923].
pp. 158, [2], plus a suite of 21, signed and numbered in pencil, copy number 2 of 15.
II. WILLY, Colette. HERMANN-PAUL, illustrator. Mitsou ou Comment l’Esprit vient aux Filles. Paris: Arthème Fayard, [1923].
pp. 94, [2], plus a suite of 16 on chine, signed and numbered in pencil, copy number 2 of 15.
III. BORDEAUX, Henry. Paul BAUDIER, illustrator. Une Honněte femme. Paris: Arthème Fayard, [1923].
pp. 123, [5], plus a suite of 25 on chine, signed and numbered in pencil, copy number 2 of 15.
V. BOYLESVE, René. Georges BRUYER. Le Meilleur Ami. Paris: Arthème Fayard, [1923].
pp. 106, [4], plus a suite of 20 on chine, signed and numbered in pencil, copy number 2 of 15.
VI. SEM. Louis ANDRÉ, illustrator. La ronde de nuit. Paris: Arthème Fayard, [1923].
pp. 126, [2], plus a suite on chine, signed and numbered in pencil, copy number 2 of 15.
VII. HARRY, Myriam. Pierre FALKÉ, illustrator. L’ile de Volupte. Paris: Arthème Fayard, [1923].
pp. 125, [3], plus a suite of 24 on chine, signed and numbered in pencil, copy number 2 of 15.
VIII. DUVERNOIS, Henri. Achille OUVRÉ, illustrator. Crapotte. Paris: Arthème Fayard, [1923].
pp. 126, [2], plus a suite of 23 on chine, numbered in pencil, copy number 2 of 15.
IX. CORTHIS, André. Paul VIGOUREUX, illustrator. Le Pardon premature. Paris: Arthème Fayard, [1923].
pp. 126, [2], plus a suite of 25 on chine, signed and numbered in pencil, copy number 2 of 15.
X. BORDEAUX, Henry. Paul BAUDIER, illustrator. La Maison. Paris: Arthème Fayard, [1923].
pp. 159, [1], plus a suite of 40 on chine, signed and numbered in pencil, copy number 2 of 15.
XI. MIOMANDRE, Francis de. Roger GRILLON, illustrator. L’Aventure de Thérèse Beauchamps. Paris: Arthème Fayard, [1923].
pp. 124, [4], plus a suite of 28 on chine, signed and numbered in pencil, copy number 2 of 15.
XII. FARRÈRE, Claude. A. ROUBILLE, illustrator. La Bataille. Paris: Arthème Fayard, [1923].
pp. 142, [2], plus a suite of 27 on chine, signed and numbered in pencil, copy number 2 of 15.
XIV. BENJAMIN, René. Georges BRUYER, illustrator. Les Justices de paix ou les Vingt Façons de juger dans Paris. Paris: Arthème Fayard, [1923].
pp. 142, [2], plus a suite of 38 on chine, signed and numbered in pencil, copy number 2 of 15.
XIV. DELARUE-MARDRUS, Lucie. RENEFER, illustrator. La Cigale. Paris: Arthème Fayard, [1923].
pp. 125, [3], plus a suite of 28 on chine, signed and numbered in pencil, copy number 2 of 15.
XV. HARRY, Myriam. Gérard COCHET, illustrator. La petite fille de Jérusalem. Paris: Arthème Fayard, [1923].
pp. 126, [2], plus a suite of 27 on chine, signed and numbered in pencil, copy number 2 of 15.
XVI. Henri DUVERNOIS. Guy DOLLIAN, illustrator. Morte la Bête… La Fugure – Un Soir de pluie. Paris: Arthème Fayard, 1924.
pp. 125, [3], plus a suite of 30 on chine, signed and numbered in pencil, copy number 2 of 15.
XVIII. WILLY, Colette. G. JEANNIOT, illustrator. Chéri. Paris: Arthème Fayard, [1925].
pp. 126, [2] plus a suite of 22 on chine, signed and numbered in pencil, copy number 2 of 15.
XIX. LOUŸS, Pierre. HALLO, illustrator. La Femme et le pantin: roman espagnol. Paris: Arthème Fayard, [1925].
pp. 107, [2], plus a suite of 24 on chine, signed and numbered in pencil, copy number 2 of 15.
XX. AUDOUX, Marguerite. Paul-Émile COLIN, illustrator. Marie-Claire. Paris: Arthème Fayard, [1925].
pp. 126, [2], plus a suite of 21 on chine, signed and numbered in pencil, copy number 2 of 15.
[XXII.] BOYLESVE, René. Paul BAUDIER, illustrator. Je vous ai désirée un soir. Paris: Arthème Fayard, [1925].
pp. 109, [3], plus a suite of 22 on chine, signed and numbered in pencil, copy number 2 of 15
XXIII. BORDEAUX, Henry. René POTTIER, illustrator. Le Pays natal. Paris: Arthème Fayard, [1925].
pp. 126, [2], plus a suite of 38 on chine, signed and numbered in pencil, copy number 2 of 15.
XXIV. MONTFORT, Eugène. DARAGNÈS, illustrator. La Belle-Enfant ou l’amour à 40 ans. 27 bois originaux de Dargnès. Paris: Arthéme Fayard, [1926].
pp. 126, [2], plus a suite on chine, numbered in pencil, copy number 2 of 15.
XXV. VIOUX, Marcelle. RENEFER, illustrator. Les Amants tourmentés. 29 bois originaux de Renefer. Paris: Arthéme Fayard, [1925].
pp. 125, [1], plus suite of 29 proofs on chine, signed and numbered in pencil, copy no. 2 of 15.
XXVII. BOURGET, Paul. G. JEANNIOT, illustrator. Tragiques Remous. Paris: Arthème Fayard, [1925].
pp. 125, [3], plus a suite of 20 on chine, signed and numbered in pencil, copy number 2 of 15.
XXVIII. VILLETARD, Pierre. Pierre FALKÉ, illustrator. Monsieur Bille dans la tourmente. Paris: Arthème Fayard, [1925].
pp. 125, [3], plus a suite of 25 on chine, signed and numbered in pencil, copy number 2 of 15.
[XXX.] DUVERNOIS, Henri. Berthe MARX, illustrator. Gisèle. La Guitare et le jazz-band. Paris: Arthème Fayard, [1925].
pp. 125, [3], plus a suite of 27 on chine, signed and numbered in pencil, copy number 2 of 15.
XXXI. HARRY, Myriam. J. HALLO, illustrator. La Divine Chanson. Paris: Arthème Fayard, [1925].
pp. 126, [2], plus a suite of 23 on chine, signed and numbered in pencil, copy number 2 of 15.
XXXII. BENJAMIN, René. ROUBILLE, illustrator. Grandgoujon. Paris: Arthème Fayard, [1925].
pp. 126, [2], plus a suite of 22 on chine, signed and numbered in pencil, copy number 2 of 15.
XXXIII. D’HOUVILLE, Gérard. Gérard COCHET, illustrator. L’inconstante. Paris: Arthème Fayard, [1926].
pp. 125, [1], plus a suite of 23 on chine, signed and numbered in pencil, copy number 2 of 15.
XXXIV. BORDEAUX, Henry. RENEFER, illustrator. La Fée de Port-Cros. Paris: Arthème Fayard, [1926].
pp. 126, [2], plus a suite of 28 on chine, signed and numbered in pencil, copy number 2 of 15.
XXXV. CHAUVIÈRE, Claude. Hermann PAUL, illustrator. La Femme de personne. Paris: Arthème Fayard, [1925].
pp. 110, [2], plus a suite of 24 on chine, signed and numbered in pencil, copy number 2 of 15.
XXXVII. THARAUD, Jérome et Jean. Pierre FALKÉ, illustrator. La Randonnée de Samba Diouf. Paris: Arthème Fayard, [1926].
pp. 126, [2], plus a suite of 40 on chine, signed and numbered in pencil, copy number 2 of 15.
XXXVIII. ELDER, Marc. RENEFER, illustrator. Le Peuple de la mer. Paris: Arthème Fayard, [1926].
pp. 126, [2], plus a suite of 22 on chine, signed and numbered in pencil, copy number 2 of 15.
XXXIX. CHATEAUBRIANT, A. de. CRESTON, illustrator. La Brière. Paris: Arthème Fayard, [1926].
pp. 127, [1], plus a suite of 24 on chine, signed and numbered in pencil, copy number 2 of 15.
XL. JALOUX, Edmond. Paul BAUDIER, illustrator. La Fin d’un beau jour. Paris: Arthème Fayard, [1926].
pp. 126, [2], plus a suite of 32 on chine, signed and numbered in pencil, copy number 2 of 15.
XLI. CORTHIS, André. Hermann PAUL, illustrator. Victime Expiatoire. Paris: Arthème Fayard, [1926].
pp. 109, [3], plus a suite of 27 on chine, numbered in pencil, copy number 2 of 15.

First edition in English, very rare, of this celebrated treatise on inventions and origins, including accounts of the invention of printing, theatre, mathematics, medicine, magic, religion, law, government (as well as prostitution and warm baths). First published in Latin in 1499 (Venice) and augmented in 1521, it digested a huge mass of classical, biblical and contemporary learning and became a Renaissance bestseller. As many as 30 Latin editions alone appeared before the author’s death in 1555. The English translation, an abridgement by Thomas Langley, did not appear until 1546, by which time the Urbino-born Polydore had been resident in England for several decades. A diplomat, scholar and historian, Vergil counted Desiderius Erasmus, Thomas More, Cuthbert Tunstall, Thomas Linacre and Baldessare Castiglione among his acquaintances and correspondents.

Issued no less than three times in 1546, this English edition is remarkably rare. We can find only this copy at auction in the last 50 years. The work is divided into eight books, from which Langley makes succinct abridgements, of which a selection of chapter headings gives a flavour:

I. 9. ‘The begynnyng of Tragedies, Comedies, Satyres, and newe Comedies; 11. ‘Who founde Musyke’; 12. ‘Who found Musicall instruments’; 14. ‘Astrologie’; 15. ‘Who fonde Geometrie, Artihmetike’; 16. ‘Physike’; 17. ‘The inventours of herbes medicinable’; 18. ‘The beginnyng of Magike’; 19. ‘Two kyndes of divination’.

II. 1. ‘The originall of lawes’; 2. ‘Who ordeyned the first gouvernaunces’; 6. ‘Who set furth books fyrst, or made a library, Printyng, paper, parchement, arte of memory’ (which includes the observation: ’Truely the com[m]odite of liberaries is right profitable & necessary, but in co[m]parison of the crafte of printyng it is nothyng, both because one ma[n] may printe more in one day, then many men in many years could wryte: And also it preserveth both Greke & Latine auctours fro the dau[n]ger of corruption. It was found in Germany at Mogunce [Mainz] by one J. Guthenbergus a knight, he found moreover the Inke by his devise that printers used...)’

Among other entries we find treatments of: war, Olympiades, plays, metals, coins, painting, ‘wyne, oyle, honye, chese, and strange trees broughte into Italy’, labyrinths, theatres, prostitution and brothels, and Christian and Moslem origins and customs.

Provenance: Sotheby’s, June 14th, 1965, lot 231 (Traylen, £55); Blackwell, Centenary Catalogue, 1979, item 27, £450; private collection. STC 24654. STC lists two other printings of the same year: 24655 (another edition, reset, with colophon dated 16 April) and 24656 (another issue, portions reset, with both title and colophon dated 16 April). In an article of 1888, John Ferguson suggested that these 16 April editions/issues preceded the 25 January edition, having old style dates in their imprints, but this sequence was not adopted by the editors of STC; John Ferguson, ‘Bibliographical Notes on the English Translation of Polydore Vergil’s work, De Inventoribus Rerum’, 1888, pp. 17 et seq.