Search

Criteria:
  • Keywords = illustrated
  • Le Carosse aux deux lézards verts. Conte de fées. by BARBIER, George, illustrator. René BOYLESVE. BARBIER, George, illustrator. René BOYLESVE. ~ Le Carosse aux deux lézards verts. Conte de fées. Paris: [Studium for] Éditions de la Guirlande, 1921.
    First edition of Boylesve’s modern-day fairytale, with Barbier’s illustrations (the story first appeared in 1920). One of 300 copies (this one on standard paper). (more)

    First edition of Boylesve’s modern-day fairytale, with Barbier’s illustrations (the story first appeared in 1920). One of 300 copies (this one on standard paper).

    (see full details)
    View basket More details Price: £900.00
  • Fêtes galantes. by BARBIER, George, illustrator. Paul VERLAINE. BARBIER, George, illustrator. Paul VERLAINE. ~ Fêtes galantes. Paris: [Imprimerie nationale for] H. Piazza, 1928.
    First edition with Barbier’s illustrations. One of 800 on Rives (of a total edition of 1200). The poems of Verlaine’s Fêtes galantes (first published in… (more)

    First edition with Barbier’s illustrations. One of 800 on Rives (of a total edition of 1200). The poems of Verlaine’s Fêtes galantes (first published in 1869) took inspiration from the pastorals of Watteau, as well as the sumptuous fantasies of Fragonard and Boucher, while drawing characters from the Italian traditions of the commedia dell’arte. Barbier’s sensibilities made him the perfect artist to reinterpret Verlaine for the 1920s.

    (see full details)
    View basket More details Price: £1,500.00
  • Fêtes galantes. by BARBIER, George, illustrator. Paul VERLAINE. BARBIER, George, illustrator. Paul VERLAINE. ~ Fêtes galantes. Paris: [Imprimerie nationale for] H. Piazza, 1928.
    First edition with Barbier’s illustrations. Number LX of 175 copies (on Japon) for America (the total edition was 1200 copies). The poems of Verlaine’s Fêtes… (more)

    First edition with Barbier’s illustrations. Number LX of 175 copies (on Japon) for America (the total edition was 1200 copies). The poems of Verlaine’s Fêtes galantes (first published in 1869) took inspiration from the pastorals of Watteau, as well as the sumptuous fantasies of Fragonard and Boucher, while drawing characters from the Italian traditions of the commedia dell’arte. Barbier’s sensibilities made him the perfect artist to reinterpret Verlaine for the 1920s.

    (see full details)
    View basket More details Price: £3,000.00
  • La double Maîtresse. by BARBIER, George, illustrator. Henri de RÉGNIER. BARBIER, George, illustrator. Henri de RÉGNIER. ~ La double Maîtresse. Paris: [Coulouma, Argenteuil for] A. & G. Mornay, 1928.
    Number 282 of 839 copies on Rives (of a total edition of 1000). La double Maîtresse (1900) was the symbolist poet’s first novel – a… (more)

    Number 282 of 839 copies on Rives (of a total edition of 1000). La double Maîtresse (1900) was the symbolist poet’s first novel – a tale of a tyrannical mother, a troubled son, a provocative cousin and an unscrupulous courtesan. Barbier brings his own brand of wit and sensuality to bear upon in his extensive illustrative scheme which includes full-page illustrations, vignettes and humorous initials.

    (see full details)
    View basket More details Price: £300.00
  • Les Artistes du livre. George Barbier. by (BARBIER). Jean-Louis VAUDOYER. (BARBIER). Jean-Louis VAUDOYER. ~ Les Artistes du livre. George Barbier. Paris: Henry Babou. 1929.
    First edition of this appreciation of George Barbier, the tenth issue of the collection, Les Artistes du Livre. One of 700 copies (on papier vélin). (more)

    First edition of this appreciation of George Barbier, the tenth issue of the collection, Les Artistes du Livre. One of 700 copies (on papier vélin).

    (see full details)
    View basket More details Price: £450.00
  • Casanova. Panorama Dramatique... décors et costumes par George Barbier. by BARBIER, George, illustrator. [Maurice ROSTAND]. BARBIER, George, illustrator. [Maurice ROSTAND]. ~ Casanova. Panorama Dramatique... décors et costumes par George Barbier. Paris: Lucien Vogel, 1921.
    First edition. Barbier designed the sets and costumes for the Bouffes-Parisiens production of Maurice Rostand’s Casanova in February 1919. The 24 fine costume plates here… (more)

    First edition. Barbier designed the sets and costumes for the Bouffes-Parisiens production of Maurice Rostand’s Casanova in February 1919. The 24 fine costume plates here are coloured by Jacomet et compagnie.
    The commission for Casanova was an important moment in Barbier’s artistic career, leading to commissions with theatres, the Ballet Russes and the Folies Bergère. Other successes followed, and for a time he was the most sought-after costume designer in Paris, recognized as the theatrical artist ‘who better than any other had captured the mood of the age’ (Gordon Ray).

    (see full details)
    View basket More details Price: £2,000.00
  • (LYDIS, Mariette). Henry de MONTHERLANT. ~ Mariette Lydis. Paris: Édition des artistes d’aujourd’hui, 1938.
    First edition, one of 1000 copies, complete with the additional lithograph (’Madina’) and etching (’Petite Tzigane à Epsom’). An appreciation of the work of the… (more)

    First edition, one of 1000 copies, complete with the additional lithograph (’Madina’) and etching (’Petite Tzigane à Epsom’). An appreciation of the work of the artist which includes a listing of her works in public collections and a valuable bibliography of her illustrated books. It is an important retrospective of Lydis’s European works before she left for England and ultimately Argentina.

    (see full details)
    View basket More details Price: £450.00
  • LYDIS, Mariette, illustrator. Erik-Ernst SCHWABACH. ~ Miniaturen in Liebesbillete gesetzt von Erik-Ernst Schwabach. [Die verliebten Billete des Prinzen Salamud]. Potsdam: Müller & Co, [ 1924].
    First edition. A striking early Lydis production. Each plate is accompanied by an exotic love lyric by Schwabach (publisher, author and patron of Expressionism) ‘Die… (more)

    First edition. A striking early Lydis production. Each plate is accompanied by an exotic love lyric by Schwabach (publisher, author and patron of Expressionism) ‘Die verliebten Billete des Prinzen Salamu’. The 18 plates reproduce Lydis’ orientalist miniatures in collotype and lithograph with gold and silver. The Müller firm had been established at Potsdam 1919 by Irmgard Kiepenheuer and Hans Müller. Kiepenhauer was an important figure in the artistic world of Weimar Berlin, hosting a cultural salon in Potsdam and being in personal contact with the most important contemporary artists — including many from the Bauhaus in Weimar. The firm issued several influential portfolios showcasing artists such as Max Beckmann, George Grosz, Erich Heckel, Ernst Ludwig Kirchner, Oskar Kokoschka, Max Pechstein, Christian Rohlfs, and Karl Schmidt-Rottluff. One of 1100 copies (of which 100 were signed).

    (see full details)
    View basket More details Price: £200.00
  • Quarles’ Emblems illustrated by Charles Bennet and W. Harry Rogers. by QUARLES, Francis. QUARLES, Francis. ~ Quarles’ Emblems illustrated by Charles Bennet and W. Harry Rogers. London: James Nisbet and Co, 1861.
    King 579 (William Harry Rogers, King’s example in red). (more)

    King 579 (William Harry Rogers, King’s example in red).

    (see full details)
    View basket More details Price: £150.00
  • The Course of Time a Poem … Illustrated edition. by POLLOK, Robert. POLLOK, Robert. ~ The Course of Time a Poem … Illustrated edition. Edinburgh and London: William Blackwood and Sons, 1857.

    King, Victorian Decorated Trade Bindings (British Library & Oak Knoll, 2003) 613 (by John Sleigh). (more)

    King, Victorian Decorated Trade Bindings (British Library & Oak Knoll, 2003) 613 (by John Sleigh).

    (see full details)
    View basket More details Price: £150.00
  • La Pécheresse. by BARBIER, George, illustrator. Henri de RÉGNIER. BARBIER, George, illustrator. Henri de RÉGNIER. ~ La Pécheresse. Paris: [Coulouma, Argenteuil for] A. & G. Mornay, 1924.
    Number 978 (on Rives) of a total edition of 1000 copies. La Pécheresse (’The Sinner’) was first published in 1912. (more)

    Number 978 (on Rives) of a total edition of 1000 copies. La Pécheresse (’The Sinner’) was first published in 1912.

    (see full details)
    View basket More details Price: £300.00
  • Étudiants et Lorettes. Almanach du Quartier Latin (5e année). by (PUBLISHER’S ADVERT). (PUBLISHER’S ADVERT). ~ Étudiants et Lorettes. Almanach du Quartier Latin (5e année). Paris: E. de Soye et compagnie, [1850 or 51].
    A rare publisher’s advert for a short-lived satirical almanac devoted to the comic lowlife of the Parisian Latin Quarter, with its famously hedonistic students and… (more)

    A rare publisher’s advert for a short-lived satirical almanac devoted to the comic lowlife of the Parisian Latin Quarter, with its famously hedonistic students and lorettes courtesans or sex workers). The lorette emerged both in reality and in the popular imagination during the July Monarchy (1830-48), named after the Right Bank church of Notre Dame de Lorette where they were thought to reside and the almanac promises a range of playful gender inverting fun based on the ‘Vésuviennes’ (popular heroines of the 1848 revolution who donned uniform and took to the barricades) including the confessions of a Vésuvienne and their ‘Charte-Constitution’.
    During the February Revolution of 1848, French women briefly hoped for political rights and an improvement in their social situation. Such hopes were short-lived and popular reaction was expressed in satires like this. The complex image of the Vésuvienne woman warrior, both pleasantly seductive and scandalously rebellious. She appeared in all the major newspapers, while real women in the streets claimed this title by parading under a Vesuvian banner. Their morality was often called into question and it is no surprise to see lorettes and Vésuviennes share a billing here. In Belhomme’s lithograph, three lorettes step out of basket (one thumbing her nose); a reflection of a popular contemporary song ‘Le Panier aux lorettes’.

    (see full details)
    View basket More details Price: £1,500.00
  • [Saint Francis with the Virgin and Infant Christ; Saint Anthony of Padua. by (DEVOTION. DRESSED PRINTS). (DEVOTION. DRESSED PRINTS). ~ [Saint Francis with the Virgin and Infant Christ; Saint Anthony of Padua. [France or Catholic Low Countries, eighteenth century]
    The fashion for dressing prints existed probably from the origin of printed illustrations themselves, though it was a widespread, predominantly female recreation during the seventeenth… (more)

    The fashion for dressing prints existed probably from the origin of printed illustrations themselves, though it was a widespread, predominantly female recreation during the seventeenth and eighteenth centuries, often with a devotional intent.

    The subjects here are Franciscan: Francis himself in a version of the legend of the appearance to him of the Virgin and Infant Christ, and Anthony of Padau in friar’s habit with an infant and a cherub. St Francis is the most elaborate of the two, with almost all of the cut print’s surface covered with colour, several silk brocade fabrics (brown, black, white and silver), gold paper highlights and glittering ground glass. Cherries on a tree above the group are rendered in tiny red wax spots, giving a round and shiny surface to each. The border is of black lacquer-like paint and gold paper, and an engraved Latin caption reads: ‘Quid parvum Francisce adeo miraris Iesu / Expecta pendens in cruce maior erit’. The surrounding parchment surface is illuminated with full borders of pink roses. Saint Anthony’s robe is rendered with a single piece of shiny brown silk, with narrow painted bands of the original print giving the impression of its folds. The grassy ground on which he kneels, and the tree above him shine with fragments of ground green glass.

    (see full details)
    View basket More details Price: £1,900.00
  • The Adoration of the Magi. by (ARUNDEL SOCIETY). [Christian SCHULTZ after Hans MEMLING]. (ARUNDEL SOCIETY). [Christian SCHULTZ after Hans MEMLING]. ~ The Adoration of the Magi. The Arundel Society. 1863.
    The Arundel Societies superb colour printed version of Hans Memling’s Jan Floreins Triptych, copied by Christian Schultz.
    The Society was founded in 1849 at a meeting… (more)

    The Arundel Societies superb colour printed version of Hans Memling’s Jan Floreins Triptych, copied by Christian Schultz.
    The Society was founded in 1849 at a meeting in the house of the painter Charles Eastlake, who became the first Director of The National Gallery, and was named after the Earl of Arundel, collector and patron - a man whom Horace Walpole described as the ‘father of Vertue in England’. The Society saw the progress of art in England as being dependent on popular taste. It was established with the aim to promote a greater knowledge of art through the publication of literary works and high quality reproductions of Italian fresco cycles, classical art and a handful of Northern European masterpieces. John Ruskin was an early member. Many modern British artists who did not travel, including the Pre-Raphaelites, and many collectors and an entire art-hungry class were only familiar with the Old Masters in colour through Arundel Society prints. The Society was discontinued in 1897, when it was overwhelmed by the use of photography.
    The prints did not rely on photography and were not made directly from the original paintings. Instead from 1852 skilled copyists were sent out across Europe (by Henry Layard of the Society) to make smaller, very accurate water- and body-colour copies directly from the originals, probably using Windsor and Newton ‘Moist Colours’ in zinc tubes, which had been available from 1846. Each colour used was given its own lithographic stone, and up to 20 stones were drawn upon by hand and printed from to build a composite colour image. Standardising the colours throughout the complex process produced rather saturated but faithful copies, entirely by hand, before colour photography. Perhaps the greatest copyist, Christian Schultz, was also a lithographer.
    Memling painted this triptych in 1479 for brother Jan Floreins of the Oud Sint-Janshospitaal in Bruges, where it remains as part of the collection of the Memlingmuseum. He probably depicted himself to the left of the central panel, where he kneels behind a wall, holding an open book. The two panels on the verso of the wings, which are visible when closed, depict John the Baptist and Saint Veronica. The patron’s initials ‘IK’ are visible in the margins and these two panels include a trompe l’oeil lock which visually ‘fastens’ as the triptych is closed - reproduced faithfully in the Arundel copy. The Society made facsimiles of only two Flemish artists: Van Eyck (The Ghent Altarpiece) and Memling (The Lubeck altarpiece and the present Jan Floreins triptych). W. Noel Johnson, A Handbook (Catalogue raisonné) to the Collection of Chromo-lithographs from Copies of important Works of Ancient Masters, published by the Arundel Society: with historical and special artistic Record and Notes (1907) 182-6.

    (see full details)
    View basket More details Price: £3,000.00
  • Caractères des Passions gravés par Bernard Picart sur les desseins de Mr. le Brun. [for:] [Conférence... sur l’expression générale des passions]. by PICART, Bernard, engraver. Charle LE BRUN. PICART, Bernard, engraver. Charle LE BRUN. ~ Caractères des Passions gravés par Bernard Picart sur les desseins de Mr. le Brun. [for:] [Conférence... sur l’expression générale des passions]. Amsterdam: chez B. Picart le Rom. Sur le Cingel vis a vis le Marché aux pommes A. l’Etoile, [n.d. c. 1711].
    A complete set of the small plates for Le Brun’s influential artists’ manual, Conférence sur l’expression générale des passions (lectures at the French Académie royale… (more)

    A complete set of the small plates for Le Brun’s influential artists’ manual, Conférence sur l’expression générale des passions (lectures at the French Académie royale given between 1668 and 1678, but not printed until 1698). They are preserved in their original uncut state, four plates to an uncut sheet. Each sheet retains the stab holes for stitching in oblong format, probably the form in which they were issued by Picart, with the plates reorientated here when bound on guards in the nineteenth century. They were evidently sold separately, uncut as here, but were also issued dissected with the small format editions of the Conférence.

    Le Brun had lectured on the expression of emotions and produced a set of drawings to illustrate tranquility, admiration, desire, apprehension, joy, sadness, contempt and hatred, jealousy, and despair and fury. The lectures and the illustrations (’expressive heads’) were not published until 1698, when they appeared as Caractères des Passions which swiftly became one of the principal artists’ manual and was reprinted several times within a few decades, including in English. These Picart plates ‘correspond to [the first edition] with the addition of eleven new plates, except for fig. no. 34. Here, for the first time, the previously rather strange head-dress of this figure has been clearly represented as a metal helmet, thus making it easier to recognise in it Rhosaces, the man about to strike Alexander in the Battle of the Granicus’ (Montagu).

    This set bears the stamp and spine title of the Pictura Groningen (the stamp being Lugt 2028); a print collection now widely dispersed. Jennifer Montagu, The Expression of the Passions. The Origin and Influence of Chalres Le Brun’s Conférence sur lexpression générale et particulière (Yale, 1994) B.8.

    (see full details)
    View basket More details Price: £1,200.00
  • [ALBUM. by (?PARKER, Mary, Lady Leighton, compiler). (?PARKER, Mary, Lady Leighton, compiler). ~ [ALBUM. England, c. 1830s with some earlier inclusions].
    A large and full album containing accomplished watercolours and a selection of contemporary prints.
    The original drawings and watercolours here (together with the more significant… (more)

    A large and full album containing accomplished watercolours and a selection of contemporary prints.
    The original drawings and watercolours here (together with the more significant prints) display a distinctly romantic sensibility, with mountain and lakeland scenes (and more than a hint of the cult of the sublime) and other rural subjects of cottages and cottagers. Some of the views are obviously of Britain, while others are continental (specifically alpine). The majority are unsigned, though a number are by the same very accomplished amateur hand, with others by less schooled, perhaps juvenile hands. The whole assemblage is typical of the culture of early Victorian album- and scrapbook keeping, where a female compiler (often a mother) brought together contributions from family, friends and visitors, sometimes recording their travels, but including also subjects painted at home or copied or adapted from other sources. In the latter category are found a fine series of flower paintings, together with drawings in pencil and crayon of animals, a female reader, a cottager with a bundle of firewood, and so on. The principal artist, who contributes the largest and best watercolour views may well be identifiable as Mary Leighton, née Parker (1799-1864), a northern British artist whose work is represented in a sequence of albums closely comparable to ours at the Yale Center for British Art (MSS 16). Not only is the range of materials of our album similar in each case (including watercolour contributions from Leighton’s brother, John Parker) but the style of the best watercolours is close to those by Leighton (examples of here work are digitised by the YCBA, notably the watercolour of Lake Maggiore catalogued as B2009.9.68 in the Printed and Drawings collection, together with others in the V&A collection in London). A recent northern provenance for the album further supports that likelihood.
    The contents include:
    Six fine watercolours of rural scenes (one mountainous, another captioned ‘Cottage. From nature’), several other sepia watercolour views, probably by the same hand. All unsigned.
    Pencil drawing, Warwick Castle, signed ?C.W.W. May 29th, 1821.
    Twelve watercolours of flowers and fruit (including sweet peas, auricula, a rose, geranium, fuchsia and two mixed bouquets). Unsigned.
    Silhouette portrait (perhaps a self portrait) of the prolific society silhouettist Auguste Édouart (1789-1861), signed, 1831, mounted on an elaborate lithograph background, plus one other silhouette without background, possibly also his work.
    Two watercolour miniatures (85 × 115 mm) by John Parker (1798-1860) of mountain views in North Wales: Trevaen (Tryfan) and Snowdon (Yr Wyddfa), signed, dated 1824 and with manuscript descriptions on versos.
    A circular miniature (diameter 85 mm) in sepia wash of a woodland grotto scene, mounted on a bifolium with manuscript caption in German dated 1818 signed Rösel, the miniature attributable to Johann Gottlob Samuel Rösel (1768-1843).
    Four large alpine engravings/lithographs (Montblanc, Hospice de Grimsel, Hospice du St Bernard, Chamounix), elaborately hand-coloured.
    Numerous usually smaller pencil or crayon drawings, including rural or cottage scenes, animals (a pig and a donkey), marine scenes, children at play, a girl reading etc. In several hands of different competence.
    Larger prints include: ‘The Late King’ (Hullmandel, after 1830); ‘Oaklands near Newnham, Gloucestershire’ (Haghe, ?c. 1830s); ‘Rev. Richard Raikes’ [founder of the Sunday School movement] (Hullmandel, n.d.); ‘The Thames Tunnel’ [Harding/Dixie, hand-coloured lithograph, c. 1835]; ‘L’Ingrat’ (Hullmandel, after 1832); ‘Kossynier : Sensenträger’ (Warsaw, c. 1830); ‘Ilfracombe, from Lantern Hill’ (Day & Haghe, c. 1830). There also several smaller lithographs including series of seaside views in Devon (Ilfracombe) and East Kent (Ramsgate and evirons, some locally printed.
    Four small continental devotional prints, two with moveable flaps, one metallic.
    (From the YCBA catalogue record): Mary Leighton, née Parker, 1799-1864 was the third child of Thomas Netherton Parker (1771-1848) and his wife, Sarah. Her parents must have encouraged their children's creative pursuits, as Mary and her elder brother John both became accomplished amateur artists. Their family was close friends of the Ladies of Llangollen, Eleanor Charlotte Barker (1739-1829) and Sarah Ponsonby (1755-1832), two upper-class Irish women who fled their families and established a home together in North Wales, at Plas Newydd, only fifteen miles from the Parker family estate, Sweeney Hall. Correspondence between Sarah Parker and Sarah Ponsonby, currently in the Denbighshire Record Office archives, reveals that Mary occasionally sent the ladies her drawings, many of which record the grounds of Plas Newydd and the surrounding countryside. The subjects of Mary's drawings also include prominent Grand Tour sites, satirical treatments of contemporary fashions, and thoughtful portraits of friends and family. Notably, the only portrait from life of the Ladies of Llangollen is by Mary's hand. Mary remained an active amateur artist following her 1832 marriage to Baldwin Leighton, 7th Baronet (1805-1871), of Loton Hall. Together they had six children, who Mary actively encouraged in drawing and painting. 

    (see full details)
    View basket More details Price: £2,500.00
  • Le Livre de Marco Polo gentilhomme venitien 1271-1295. by LYDIS, Mariette, illustrator. LYDIS, Mariette, illustrator. ~ Le Livre de Marco Polo gentilhomme venitien 1271-1295. [Paris: Taneur and Darantière for] Les Cent Une, 1932.
    Copy number 5 of 111 copies only printed for Les Cent Une, Société de femmes bibliophiles, with two original pencil drawings and a suite of… (more)

    Copy number 5 of 111 copies only printed for Les Cent Une, Société de femmes bibliophiles, with two original pencil drawings and a suite of proof plates. All copies were printed on paper watermarked ‘Les Cent Une’ and this is a tirage de tête copy printed for member, Celeste Pigasse. The text is after the 1556 French edition by André Jaulme (complete with authentic contractions) while the superb visual interpretations by Mariette Lydis include two of her characteristic decorated maps (both are signed). This is one of the early publications for the women’s book collecting club founded in Paris by the Princesse Schakhowskoy in 1926 as a direct riposte to ‘Les Cent’ — a bibliophile circle which then included no women among its members. Les Cent Une issued editions limited to the 101 members only and a handful of collaborators, usually no more than once a year, and the club is still in existence. Celeste Pigasse (née Crouzat) was a founder member and served as the club’s general secretary in its formative years (her husband founded the publishing house Librairie des Champs-Élysées ‘LCE’ whose Le Masque imprint published popular crime and detective fiction, including the French editions of Agatha Christie). Carteret IV, 322.

    (see full details)
    View basket More details Price: £6,500.00
  • L’Amour Badin ou les ruses de Cupidon dediès a la jeunesse. by (ALMANAC). (ALMANAC). ~ L’Amour Badin ou les ruses de Cupidon dediès a la jeunesse. Paris: [Jagot for] Boulanger, [1788].
    Sole edition of this entertaining almanac for 1789, aimed at young people (but presumably not children) with a delightful suite of humorous and mildly erotic… (more)

    Sole edition of this entertaining almanac for 1789, aimed at young people (but presumably not children) with a delightful suite of humorous and mildly erotic plates by François-Marie-Isidore Quéverdo. Each month is given an engraving, several verses and songs with music. Among the latter is found ‘Air de la negresse’ — a three-verse song with music from (or perhaps just inspired by) Radet’s 1787 opéra-comique La Negresse. Though recorded by both Gay and Carteret we have not located any institutional copy in the usual online catalogues (WorldCat, KVK, CCFr, JISC). Carteret 866; Gay I, 112.

    (see full details)
    View basket More details Price: £750.00
  • Picturesque Views of the Principal Seats of the Nobility and Gentry in England and Wales. By the most eminent British Artists. With a Description of each Seat. by HARRISON, publisher. HARRISON, publisher. ~ Picturesque Views of the Principal Seats of the Nobility and Gentry in England and Wales. By the most eminent British Artists. With a Description of each Seat. London: Harrison & Co. No 18, Paternoster Row, [1786-1788].
    First edition of this serially issued country house book with fine engraved plates by Birrell, Walker, Ellis, Fittler, Heath, among others, after E.F. Burney, Corbould,… (more)

    First edition of this serially issued country house book with fine engraved plates by Birrell, Walker, Ellis, Fittler, Heath, among others, after E.F. Burney, Corbould, Dayes, Robert Nixon and others. The engraved title includes a fine vignette of Harrison’s book and print shop in Paternoster Row. It was issued monthly, with four plates per issue at 3 shillings, and printed on ‘real Superfine French Colombier Paper’ (advert in London Gazette, 10-14 October, 1786).
    The houses illustrated and described range from the most opulent (including Blenheim palace) to more humble gentry houses. Included are Garrick’s Hampton House, Piozzi’s Thrale Place, William Pitt’s Holwood House, Lady Diana Beauclerk’s Twickenham Meadows, Charles Dashwood’s West Wycombe Park and Horace Walpole’s Strawberry Hill. The engravings are valuable records of both architectural, landscape and garden details and were widely imitated, not least on contemporary ceramics, while the descriptions contain useful details of architects, garden designs, landscape features such as rivers and lakes, and fine art collections — they are not always entirely complimentary. Upcott p. xxxiv. For Harrison’s bookshop see Raven, ‘Location, Size and Succession: The Book shops of Paternoster Row before 1800’ in The London Book Trade, eds. Myers, Robin; Harris, Michael & Mandelbrote, Giles (London, 2003), pp 89-126.

    (see full details)
    View basket More details Price: £750.00
  • The Last Records of a Cotswold Community: being the Weston Subedge Field Account Book for the final twenty-six years of the famous Cotswold Games, hitherto unpublished, and now edited with a Study on the old time Sports of Campden and the Village Community of Weston. by ASHBEE, C. R. ASHBEE, C. R. ~ The Last Records of a Cotswold Community: being the Weston Subedge Field Account Book for the final twenty-six years of the famous Cotswold Games, hitherto unpublished, and now edited with a Study on the old time Sports of Campden and the Village Community of Weston. [Chipping Campden] Essex House Press, 1904.
    Inscribed by the editor to an early Labour party activist, Walter Coates of Berkshire. One of 75 copies on Essex House paper (there were also… (more)

    Inscribed by the editor to an early Labour party activist, Walter Coates of Berkshire. One of 75 copies on Essex House paper (there were also 150 copies on ordinary paper) this copy unnumbered. Printed in Endeavour type, illustrations by Edmund H. New. Preface by Sidney Webb. The Cotswold Olimpick Games originated in 1612 in Chipping Campden, England, and continues today. Originally, the Games included competitions such as running, jumping, dancing, and equestrian events, along with traditional contests such as sword, quarterstaff, and sledgehammer throwing. It was of interest to both Webb and Ashbee as evidence of the early communal activities of pre-industrial societies, and worthy of encouraging and reviving as part of the incipient labour movement. Tomkinson 50.

    (see full details)
    View basket More details Price: £800.00