EGERTON, Michael

A Day's Journal of a Sponge

London: Published for the Proprietor, by Rowney & Forster, 1824. The Misadventures of a Regency Free-Loader Told in Six Beautifully Hand-Colored Aquatint Plates [EGERTON, Michael]. [A Day's Journal of a Sponge. By Peter Pasquin. London: Published for the Proprietor, by Rowney & Forster, 1824]. First edition. Oblong folio (10 3/8 x 14 inches; 264 x 351 mm.). Six bright and beautifully hand-colored aquatint plates with interleaves. The plates are unsigned, with imprint: London, Published by W. Egerton, 1824. Bound without the lithographed title. Watermark: J Whatman Turkey Mill 1826. Bound by Rivière and Son in later red half crushed morocco over red cloth boards. Raised bands. Gilt-lettered compartments. Expertly rebacked with the original spine laid down. An excellent copy. A work of profound rarity with or without the title; OCLC notes only four copies in institutional holdings. Abbey's copy, as this one, also lacked the titlepage. These satiric plates with their lengthy droll and witty captions depict the comic misadventures of a pretentious, social striving man about town free-loader, moocher, muzzler, cadger, touch-artist; a Regency Period slacker who is thick as a brick but convinced otherwise. This work has been attributed by Abbey and Houfe to M[ichael]. Egerton, a social caricaturist who worked in London in the 1820s in the manner of George Cruikshank. The Plates, untitled but each with three-five lines of text that begin: 1. Was stirring with the lark.. 2. Feeling one of those pangs.. 3. Having returned, & hired a Chaise.. 4. Former fears confirmed.. 5. Sauntering down Bond Street.. 6. Being recovered from the effects.. Abbey, Life, 289. Houfe, p. 294. Prideaux, p. 347. .

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Book number: 02595

Catalogue: English Literature

Keywords: Color-Plate Books Caricatures Nineteenth-Century Literature

EGERTON, Michael, illustrator

Here and There over the Water

London: Geo: Hunt, 1825. A Regency Excursion to The Low Countries of Europe with Twenty-Four Magnificent Hand-Colored Plates E[GERTON], M[ichael]. Here and There Over the Water: Being Cullings in a Trip to the Netherlands. By Omnium Gatherum. Drawn and Written by M.E. Esq. Engraved by Geo: Hunt. London: Geo: Hunt, 1825. First edition. Large quarto (10 1/2 x 8 1/2 inches; 267 x 215 mm.). [2, title-page], 34 pp. Twenty-four hand-colored aquatint plates and four uncolored aquatint plates of Waterloo memorials. Bound by Zaehnsdorf ca. 1900 (stamp-signed on verso of front free endpaper) in three quarter red crushed levant morocco over red cloth boards, covers ruled in gilt, spine with five raised bands elaborately stamped and lettered in gilt in compartments, marbled endpapers, top edge gilt, others uncut. Lower portion of front joint slightly cracked but still sound. Plate no. 4 with two small and insignificant fox marks, some very minor offsetting from the plates to the text. A fine and large copy with superb hand-coloring, the plates and the text watermarked "Whatman Turkey Mills 1824". A scarce work, describing and illustrating a Regency excursion to the Low Countries. Egerton begins his tour at Ostend where he was stuck for a day as it was a Sunday. He took time to describe the people, the 'Custom House', the hotel and the 'Purgatory Gate' attached to the Church (destroyed in a fire later in the nineteenth century) before traveling the next day by 'Great Coach' and barge to Ghent observing the 'Belgic Military' various 'Diligences' and peasant costumes before continuing onto Brussels. Here he examined the Market Pavilion of the Prince of Orange before traveling on the the next leg of the journey which takes the artist once more to Ghent where he describes and illustrates the Exchange. Egerton then returns to Brussels to view the Palace of Schoonenberg; and then on to the main reason for his excursion: a trip to Waterloo taking in all the main sites of the battle including graves and monuments. Michael Egerton(also known as Omnium Gatherum flourished between 1821 and 1828 and produced a number of caricatures mainly of social comedy sporting scenes and jokes on the weather; almost all his work was engraved by George Hunt. OCLC records just six copies in North America: Harvard; Yale; New York Public Library; Brown University; Claremont College & the Art Institute of Chicago. The plates:: 1. Frontispiece. [Flying over the Channel]. 2. Quay, Custom House & Hotel-Ostend. 3. The Purgatory Gate, Ostend. 4. Post Office-Ostend. 5. [Dandy chimney sweeper & Merry making party]. 6. The Great Coach. 7. Trekschuit or Barge. 8. Military-Ghent. 9. Diligences. Starting from the Messageries - Ghent. 10. Peasants in the Neighbourhood of Brussells. 11. Market-Brussells. 12. Pavilion of the Prince of Orange at Terrevueren. 13. Peasants &c. near Antwerp. 14. Exchange at Antwerp. 15. A Bird's Eye. 16. Palace of Schoonenberg near Brussells. 17. Cottage - Waterloo/Occupied by the Marquis of Anglesea. 18. [Tomb & Trees]. 19. Tombs in the Burial Ground of Waterloo Church. 20. Church & Village of Waterloo. 21. [Tombstones] uncolored. 22. [Tombstones] uncolored. 23. [Tombstones] uncolored. 24. [Tombstones] uncolored. 25. Monuments-Field of Waterloo. 26. Ruins of the Chateau de Goumont. 27. La Belle Alliance. 28. [Similar to frontispiece - Returning across the Channel]. Abbey, Travel, 188; Bobins, II, 417; Martin Hardie, p. 157; Tooley, 207. .

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Book number: 05694

Catalogue: Color-Plate Books

Keywords: Caricatures Voyages and Travels

BIBLE IN ENGLISH; BOOK OF COMMON PRAYER

The Book of Common Prayer, and Administration of the Sacraments, and Other Rites and Ceremonies of the Church

Oxford: Printed at the University Press, by S. Collingwood and Co.. 1839. A Fine Mid-Nineteenth Century Book of Common Prayer [BIBLE IN ENGLISH]. The Book of Common Prayer, and Administration of the Sacraments, and Other Rites and Ceremonies of the Church, According to the Use of the United Church of England and Ireland: Together with the Psalter or Psalms of David, pointed as they are to be sung or said in churches; and the form and manner of making, ordaining, and consecrating of bishops, priests, and deacons. Oxford: Printed at the University Press, by S. Collingwood and Co.. 1839. Sixteenmo (3 1/2 x 2 inches; 89 x 51 mm.). Unpaginated. Contemporary full purple morocco, covers decoratively bordered in gilt and blind, spine with four raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt board edges and turn-ins, yellow coated end-papers, all edges gilt. Neat early ink inscription on front blank. A fine example. .

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Book number: 04269

Catalogue: Bibles

Keywords: BOOK OF COMMON PRAYER Fine Bindings Religion

L'ESTRANGE, Roger

Observator, in Dialogue, the

London: Printed by J. Bennet, for WIlliam Abington, 1684. First Collected Edition of The Observator "A Feat of Literary Endurance" Roger L'Estrange's Newspaper, The Observator, Corroded the Foundations of Whiggery.. L'ESTRANGE, Roger. The Observator, in Dialogue. The First Volume..[Nos. 1 (Wednesday April 13, 1681)-470 (Wednesday, January 9, 1683)]. London: Printed by J. Bennet, for William Abington, 1684. Volume I (of 3) of the first collected edition of The Observator, Nos. 1-470. Folio (13 1/8 x 8 1/8 inches; 333 x 207 mm.). [2], [4, "To the Reader"], [8, "The Table"], [3, contents], [1, blank] pp. followed by The Observator Nos. 1-470 (unpaginated). Engraved frontispiece portrait of Roger L'Estrange, dated 1684, by R. White after G. Kneller. Handsomely rebound in 'antique Cambridge-style' paneled calf. Covers decoratively ruled and tooled in blind, spine richly tooled in gilt in compartments with six raised bands and red morocco gilt lettering label, board edges and turn-ins decoratively tooled in blind, marbled endpapers. An excellent copy. "The Reader will find in the First Number of This Collection, the True Intent, and Design of the Undertaking; And he will likewise find, in the very Date of it, (April 13. 1681.) the Absolute Neccessity of some Such Application, to Encounter the Notorious Falsehoods; the Malicious Scandals, and the Poysonous Doctrines of That Season" ("To the Reader"). The Observator was a newspaper written in the form of a dialogue by Roger L'Estrange, and published from April 13, 1681 to March 9, 1687. There were 470 issues in the first volume (as offered here), 215 issues in the second volume and 246 issues in the third and last volume. "Rumbustious and vitriolic, satiric and savage, week after week for six years and through two million words, Roger L'Estrange's newspaper, The Observator, corroded the foundations of Whiggery.. "The Observator was the work of a compulsive writer, a feat of literary endurance..L'Estrange was, said his enemies, the 'scribbler-general of Tory-land'..Its prose hectic, its thoughts haphazard, the Observator lay, its author admitted, somewhere 'betwixt fooling and philosophizing.' It transposed to print the Restoration's fondest verbal facility, raillery, delivering a cascade of libel and abuse, tempered by seriocomic moralizing, and philosophy and political theory reduced to epithets and exclamations.. "Its deliberate coarseness puts it at an arresting remove from the high eloquence of Dryden. Polite it was not. The Observator was Toryism at its most unbuttoned and vulgar. It was routinely scatological, or, more precisely, urological. The Whig newsmonger Langley Curtis is 'the common piss pot [for] the fanatical clubs about town." Henry Care, 'holds up his leg and pisses upon the government.. "The relentless repetitiveness of the Observator is half-redeemed by its inventiveness. The Whigs are not just a faction: they are a 'cabal,' 'consult,' consistory,' 'confederacy,' conspiracy..' This was politics by thesaurus" (Mark Goldie. Roger L'Estrange's Observator and the Exorcism of the Plot. In Roger L'Estrange and the Making of Restoration Culture, edited by Anne Duncan-Page and Beth Lynch, pp. 67-68). Roger L'Estrange (1616-1704) fought on the Royalist side in the English Civil War. In 1644 he led a conspiracy to deliver the town of Lynn to the king and was sentenced to death as a spy. He escaped and took refuge in Holland. In 1653, he returned to England. By 1659, however, he was making his presence as a Royalist known. He printed several pamphlets supporting a return of Charles II. As a reward for his propaganda, L'Estrange was appointed Surveyor of the Imprimery (Printing Press) in 1663. Thereafter, also appointed Licenser of the Press, he retained both positions until the lapse of the Licensing of the Press Act in 1679. As Licenser and Surveyor, L'Estrange was charged with the prevention of the publication of dissenting writings, and authorized to search the premises of printers and booksellers on the merest suspicion of dissension. L'Estrange excelled at this, hunting down hidden presses and enlisting peace officers and soldiers to suppress their activities. He soon came to be known as the "Bloodhound of the Press." He succeeded not only in checking allegedly seditious publications but also in limiting political controversy and reducing debate. Toward the end of 1680, he was forced to flee the country by the political opposition but on his return in 1681 he established The Observator, a single sheet printed in double columns on both sides. It was written in the form of a dialogue between a Whig and a Tory (later Trimmer and Observator), with the bias on the side of the latter. During the six years of its existence, L'Estrange wrote with a consistent fierceness, meeting his enemies with personal attacks characterized by sharp wit. The Glorious Revolution (1688-89), in which King James II lost the throne, cost L'Estrange his official post. Accomplished in languages, he afterward supported his wife and himself chiefly by translations of many standard authors, including the lively Fables of Aesop, and other Eminent Mythologists: with Morals and Reflexions (1692). .

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Book number: 00811

Catalogue: English Literature

Keywords: Early Books Early Books Literature Seventeenth-Century Literature

FACCIOLI, Emilio, editor

Arte Della Cucina

Milan: Edizioni il Polifilo, 1966. Emilio Faccioli's Unsurpassed Volume" FACCIOLI, Emilio, editor. Arte Della Cucina. Libri di Ricette testi sopra lo scalco il trinciante e i vino dal XIV al XIX secolo. Milano: Edizioni il Polifilo, [1966]. (Art of Cookery in Italy. Recipe books, texts on carving and wines from the 14th to the 19th century). Special edition, limited to 300 numbered copies, this being no. 82. Two large octavo volumes (10 3/8 x 7 1/8 inches; 264 x 181 mm.). xxv, [1, blank], [1]-393, [1], [2, limitation leaf, verso blank]; [vi], [1]-444, [2, blank, limitation leaf] pp. Three color plates in volume one, numerous woodcut illustrations in the text. Quarter green morocco over ochre cloth boards, smooth spines lettered in gilt, top edge gilt, others uncut. A fine set. Emilio Faccioli (1912-1991) Italian literary scholar "I looked at Emilio Faccioli's unsurpassed volume, L'arte della cucina in Italia: libri di ricette e trattati sulla civilta della tavola dal XIV al XIX secolo (Turin, 19 to see if there was a great difference. The fifteenth-century English recipe for losyns differs from the fourteenth-century Tuscan recipe for lasagne only in the specification that poudre douce (a mixture of mace and cardamom or cinnamon with white pepper) should be added. The Italian recipes are distinguished, however, by a wondrous range of ingredients, far richer and more varied and appetising, and corresponding more closely to the range of ingredients available in modern markets." (Nerida Newbigin). .

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Book number: 05783

Catalogue: Books in Italian

Keywords: Food Cookery

FELLINI, Federico

Fellini's Films

New York: G.P. Putnam's Sons, 1977. With a Fine Black & White Inscribed Photograph of Federico Fellini FELLINI, Federico. Fellini's Films. The four hundred most memorable stills from Federico Fellini's fifteen and a half films. Edited by Christian Strich. With a Foreword by Georges Simenon. New York: G.P. Putnam's Sons, [1977]. First edition. Large quarto (13 x 10 5/8 inches; 330 x 270 mm.). [1-344] pp. Illustrated throughout in color and black & white. Publishers red cloth over boards, front cover and spine lettered in black, black endpapers. Pictorial dust jacket. Jacket with three inch tape repair to front panel, crease to rear panel, light chipping to extremities. A fine copy in a very good dust jacket. Affixed to the front free endpaper is a 9 14/ x 7 1/8 inch black & white photograph of Fellini inscribed "To Paul R. Palmer. Good luck! Federico Fellini June 73". Federico Fellini (1920-1993) was an Italian filmmaker. He is known for his distinctive style, which blends fantasy and baroque images with earthiness. He is recognized as one of the greatest and most influential filmmakers of all time. His films have ranked highly in critical polls such as that of Cahiers du Cinéma and Sight & Sound, which lists his 1963 film 8 1 2 as the 10th-greatest film. Fellini's best-known films include I vitelloni (1953), La Strada (1954), Nights of Cabiria (1957), La Dolce Vita (1960), 8½ (1963), Juliet of the Spirits (1965), Fellini Satyricon (1969), Roma (1972), Amarcord (1973), and Fellini's Casanova (1976). .

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Book number: 05832

Catalogue: Photography

Keywords: Film Signed Photograph

FELLOWES, W.D.

Visit to the Monastery of la Trappe, in 1817: A.

London: Printed for Thomas M'Lean, 1823. With Thirteen Fine Hand-Colored Plates FELLOWES, W.D. A Visit to the Monastery of La Trappe, in 1817: with notes, taken during a tour through Le Perche, Normandy, Bretagne, Poitou, Anjou, Le Bocage, Touraine, Orleanois, and the Environs of Paris. Illustrated with numerous coloured engravings, from drawings made on the spot. London: Printed for Thomas M'Lean, 1823. Fourth Edition, Large Paper Copy. Text watermarked J. Whatman, 1823; Plates watermarked J. Whatman, 1827. Large octavo (10 1/4 x 6 7/8 inches; 261 x 175 mm.). xii, 188 pp. Thirteen fine hand colored aquatint plates and two plain plates. Contemporary dark blue straight-grain morocco, covers decoratively bordered in gilt and blind, spine with five raised bands, decoratively tooled and lettered in gilt, gilt board edges and turn-ins, brown endpapers, all edges gilt. First page of preface with small paper-flaw on blank margin. A clean, near fine copy. "First published by William Stockdale in 1818, with new editions in 1818 and 1820. Judging by the late watermark in the plates this 1823 M'Lean edition was kept in print for some years" (Abbey). "I performed this journey during the months of June, July, August, and September, a distance of near one thousand miles, and had the singular good fortune to enjoy the finest weather possible. The perusal of Madame de La Roche-Jaquelin's interesting work on the Vendean war, first gave me the idea of visiting the country called le Bocage, the theatre of so many events, and sufferings of the brave royalists; and, as the province of le Perche, in which is situated the ancient convent of La Trappe, was in my route to Bretagne, I resolved to make an excursion there, in order to satisfy myself of the truth of those austerities which I had read of in the Memoirs of the Count de Comminge.." (Chapter 1). Tooley, 212; Abbey, Travel, 91; Martin Hardie, p. 313; Prideaux, p.335 (1818 edition). .

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Book number: 03443

Catalogue: Color-Plate Books

Keywords: Views Voyages and Travels

FERRARI, Filippo; LENGHI, Giacomo

[Italian Trades and Costumes]

Naples & Rome: , 1824. A Fascinating Album Containing Thirty Superb Hand Colored Lithographs of Italian Trades and Costumes FERRARI, Filippo. LENGHI, Giacomo. [Costumi No. XXX di Roma e di altri paesi dello Stato pontificio, designati ed incini all' acqua forte da Filippo Ferrari]. [Italian Trades and Costumes]. Naples & Rome, [1824-1835]. An album of thirty fine hand colored lithograph plates and one original gouache painting. Folio (12 x 8 3/4 inches; 305 x 222 mm.). Thirty fine hand colored lithograph plates plates heightened with gum arabic, mostly with tissue guards, and one fine gouache painting. Many of the plates neatly inscribed in ink ‘Dorothea Power, March 21st 1835'. Eight hand colored lithograph plates by Giacomo Lenghi and one original gouache painting - possibly by Giacomo Lenghi. Contemporary quarter dark green straight-grain morocco over marbled boards, smooth spine decoratively tooled and lettered in gilt, marbled endpapers. Neatly inscribed in ink on front blank leaf "Constance Hastings, Sharavogue, from Granny'" Some of the original tissue guards crease or torn, the second plate with a small 5/8 inch lower margin tear, otherwise fine. Dorothea Power who has inscribed her name and the date 1835 on many of the plates was most likely the sister or cousin of Lady Constance Hastings. It is possible that she was a highly accomplished colorist who colored a plain version of the book - or that she just signed her name.. what is certain is that the coloring is of the highest quality with the typical use gum arabic to heighten the lithographs (see note from Hiler below). "Also known with plates in black and white. The plates have been reproduced in color for [part 1] of Costumes des differens etats de l'Italie." (Hiler). Rare: The last copy to appear at auction was in 1983. According to OCLC there are just five copies recorded in libraries and institutions worldwide: Univ. of San Francisco (CA, USA); Yale Univ. Library (CT, USA); Univ. of Georgia (GA, USA);The British Library (UK) and Kunstbiblio Staatliche Museen zu Berlin (Germany). Provenance: Lady Constance Wilmot Annie Hastings Pasley (1870-1922) daughter of Francis Power Plantagenet Hastings, 14th Earl of Huntingdon and Mary Anne Wilmot Westenra. Lady Contance married Major Sir Thomas Edward Sabine Pasley, 3rd Bt. in 1890. The family home was Sharavogue House, Sharaovoge, County Offaly, Ireland. Sharavogue house was completely destroyed by fire in the 1920s. By descent to Thomasina Beck, granddaughter of Lady Constance Hastings. Filippo Ferrari (1819-1897) "was a disciple and imitator of Bartolmeo Pinelli (1781-1835), a popular painter of Roman folk costumes and rural life. In this series of plates, Ferrari illustrates various types of Roman dress as well as the costume of the surrounding areas within the Vatican State. It is an expanded edition of an 1826 issue which contained only 15 plates. Ferrari had originally trained as a sculptor and was employed in stage design being responsible, for example, for a well-known scene of the eruption of Vesuvius for La Scala Theatre in Bologna." (Bobins, 1222). Giacomo Lenghi published Raccolta di Costumi Napoltani. [Napoli], 1854 as well as the three-panel frescoe of Pompei (ca. 1840). The Victoria & Albert Museum, London has a few examples of Giacomo Lenghi's lithographs including "Bagatterello". The Plates: 1. Ritorno della Madôna dell'Arco (lith. A. Ledoux) 2. Venditore di Sorbetto 3. Brigante Calabrese (lith. Ledoux) 4. Briganta Calabrese (lith. A. Ledoux) 5. Venditrice di Uova (L. Ledoux) 6. Venditòre d'Olio (lith. A. Ledoux) 7. Ritorno della Madôna dell'Arco (lith. A. Ledoux) 8. Facchino Napolitano 9. Donna Ciociara (Ferrari Fece. Roma 1825) 10. Eminente di Roma (Ferrari) 11. Donna di Nettuno (Ferrari Fece. Roma 1825) 12. Donna di Norcia 13. Donna di Frascati (Ferrari Fece. 24) 14. Donna di Tagliacozzo (Ferrari Fece.) 15. Donna di Civita Castellana (Ferrari Fece. 1825) 16. Ciociaro (Ferrari Fece. 1825) 17. Donna di Ponte Corvo 18. Donna di Serre (F. Ferrari Fece. 1825) 19. Fusagliaro. Costume di Camerino. (F. Ferrari Fece. 1825) 20. Matriciana (Ferrari Fece.) 21. Donna di Cingoli (F. Ferrari Fece. Roma 1825) 22. Original watercolor [Untitled] Possibly by Filippo Ferrari? 23. Donna di Palestrina (F. Ferrari Fece. 1825) 24. Donna di Alatri (F. Ferrari Fece. 1825) 25. Donna di Pofi (F. Ferrari) 26. Donna di Sora di Campagna 27. Donna di Terni (F. Ferrari Fece.) 28. Donna dell'Atricia (F. Ferrari Fece. 1825) 29. Donna di Filettino (F. Ferrari Fece.) 30. Donna di Cori (F. Ferrari Fece.) 31. Donna di Castel Madama (F. Ferrari) Bobins IV, 1222; Colas I, 1046; Hiler, p. 310; Lipperheide I, 1276. .

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Book number: 05068

Catalogue: Color-Plate Books

Keywords: LENGHI, Giacomo Books in Italian Costume Street Vendors

FINDEN, William; FINDEN, Edward; MITFORD, Mary Russell, Editor; PERRING, W., Painter

Findens' Tableaux of the Affections; [with: ] Finden's Tableaux

London: Charles Tilt, 1839; 1840. Two of the Exceptionally Rare Hand-Colored Deluxe Issues for 1839 and 1840" FINDEN, William and Edward. Finden's Tableaux or the Affections; A Series of Picturesque Illustrations of the Womanly Virtues. From paintings by W. Perring. Edited by Mary Russell Mitford [With:] Findens' Tableaux: The Iris of Prose, Poetry, and Art, for MDCCCXL. Illustrated with Engravings by W. and E. Finden, from Paintings by J. Browne. Edited by Mary Russell Mitford. London: Charles Tilt, 1839; [1840]. First Deluxe Hand-Colored Editions. Two folio volumes (14 9/16 x 10 7/8 inches; 370 x 276 mm.). [vi], 60; [3]-70 pp. Twenty-four hand-colored engraved plates after Perring or Browne, engraved by Holl, Finden, Egleton, Freeman, Scriven, Hollis, Gibbs and others, all heightened with gum arabic. Publishers red and green morocco, covers elaborately tooled in gilt and blind. Slight rubbing to extremities, otherwise near fine. Two issues of the exceptionally rare hand-colored deluxe edition of a noted English Literary Gift annual. Finden's Tableaux was issued between 1837 and 1844. A publisher's ad reveals that this work was issued in three forms: uncolored on regular paper, uncolored India proofs, or "a few copies with the plates beautifully coloured after the original Drawings". The hand colored deluxe issues, as here, are considerably more scarce than the others, making these among the most desirable of the illustrated English literary annuals of the nineteenth century. "I do not, I hope, sin against editorial modesty, when in returning my most earnest thanks to the Friends whose Contributions have given to this Volume its literary value, I congratulate myself upon being enabled to offer to the Public Poems of an importance and interest which will far outlast the date of an Annual." (Preface). Plates in the 1839 volume: The Romaunt of the Page; The Buccaneer; The Treason of Gomez Arias; The Sister of Charity; The Minstrel of Provence; The Baron's Daughter; The Greek Wife; The Cartel; Zulette; A Story of the Woods; The Coronation; The Novice. Plates in the 1840 volume: The Dream; The King's Page; Legend of the Brown Rosarie; The Proud Ladye; The Maid's Trial; The Roundhead's Daughter; The King's Forester; The Beacon; Venice; The Bride; The Fetches; The Woodcutter. William Finden (1787-1852) was an English line engraver. He served his apprenticeship to James Mitan, but appears to have owed far more to the influence of James Heath, whose works he privately and earnestly studied. His first employment on his own account was engraving illustrations for books, and among the most noteworthy of these early plates were Smirke's illustrations to Don Quixote. His neat style and smooth finish made his pictures very attractive and popular, and although he executed several large plates, his chief work throughout his life was book illustration. His younger brother, Edward Finden (1791-1857), worked in conjunction with him, and so much demand arose for their productions that ultimately a company of assistants was engaged, and plates were produced in increasing numbers, their quality as works of art declining as their quantity rose. The largest plate executed by William Finden was the portrait of King George IV seated on a sofa, after the painting by Sir Thomas Lawrence. For this work he received two thousand guineas, a sum larger than had ever before been paid for an engraved portrait. Finden's next and happiest works on a large scale were the Highlanders Return and the Village Festival, after Wilkie. Later in life he undertook, in co-operation with his brother, aided by their numerous staff, the publication as well as the production of various galleries of engravings. The first of these, a series of landscape and portrait illustrations to the life and works of Byron, appeared in 1833 and following years, and was very successful. But by his Gallery of British Art (in fifteen parts, 1838-1840), the most costly and best of these ventures, he lost the fruits of all his former success. Finden's last undertaking was an engraving on a large scale of William Hilton's Crucifixion. The plate was bought by the Art Union of London for £1,470." Coxhead Thomas Stothard (1906) p. 96; Not in Hammelmann Book Illustrators in Eighteenth Century England; Jaggard p. 287. .

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Book number: 03178

Catalogue: Color-Plate Books

Keywords: FINDEN, Edward MITFORD, Mary Russell, Editor PERRING, W., Painter Costume Women

FORE-EDGE PAINTING; Horatius Flaccus, Quintus; DOUBLE-LINE PAINTER; HORACE

Carmina

Paris: E Prelis Fratrum Mame, 1808. With a Fine Fore-Edge Painting of Verona, Italy by the "Double-Line Painter" FORE-EDGE PAINTING. DOUBLE-LINE PAINTER. HORACE (Quintus Horatius Flaccus. Carmina. Editio Stereotypa Herhan. Paris: E Prelis Fratrum Mame, 1808. With a fine early twentieth century fore-edge painting by the "Double-Line Painter" showing a colorful view of Verona, Italy. Twelvemo (6 5/16 x 3 15/16 inches; 161 x 97 mm.). [i]-xi, [xii, blank], [1]-354 pp. Full contemporary maroon straight-grain morocco, covers elaborately tooled in gilt and blind, spine with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, gilt board-edges and double-ruled turn-ins, marbled endpapers, all edges gilt. With the Armorial bookplate of Sir Thomas Rumbold, 1st Baronet (1736-1791) with an note in ink by his son Charles Rumbold (1788-1857) who was educated at Oriel College, Oxford, and then went to Trinity College, Cambridge. The motto "Virtutis Laus Actio" means "The Praise of Virtue is Action". The "Double-Line Painter" was an English artist, name unknown, possibly active in the 1920s. The most identifiable feature of this artist's work is the label for the painting. The artist labels his own paintings on the the front fly-leaf. If you look carefully you will see a neat light penciled double-line above and below the written title (like an architect would do). The painting title itself is also neatly written in tiny letters. This artist is highly skilled painter with high productivity." (Jeff Weber. Annotated Dictionary of Fore-Edge Painting Artists & Binders, pp. 95-96). Jeff Weber cites eight example of the "Double-Line" artist in his book on pp. 96-97. Provenance: Charles Rumbold (1788-1857). .

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Book number: 05170

Catalogue: Fine Bindings

Keywords: Horatius Flaccus, Quintus DOUBLE-LINE PAINTER HORACE Fore-Edge Paintings

FONTALLARD, Henri-Gérard, illustrator; DUCARME, lithographer

Histoire D'Une épingle Par Elle Mème

Paris: Chez Osterwald ainé, 1827. The History of a Pin" Sixteen Fine Hand Colored Lithograph Plates [FONTALLARD, Henri-Gérard, illustrator]. Histoire d'une Épingle Par elle mème. [En seize tabeaux]. Composé et dessine par H. Gérard-Fontallard, [accompagnés d'un texte], extrait du Corsaire. Du 17 Juillet, 1827. Paris: Chez Osterwald ainé, et chez Rittner, 1827. Large folio (14 3/4 x 11 inches; 374 x 280 mm.). One lithographed leaf of text with head-piece vignette (at end) and sixteen fine hand colored lithographed plates. Plates lithographed by Ducarme, and mounted on stubs. Early-to-mid twentieth century half red cloth over marbled boards, spine lettered in gilt. With the bookplate of antiquarian book dealer Antoine Vautier on front paste-down. Henri-Gérard Fontallard (1798-?) was one of the contributing artists to La Silhouette and La Caricature. (Benezit volume 4, p. 423). OCLC locates just three copies in libraries and institutions worldwide: The Morgan Library (NY, USA); The Getty Institute (CA, USA); Kumstbiblio Staatlische Museen zu Berlin (Germany). We have been able to trace just one copy at auction over the past fifty years (Christie's, Paris May 27th, 2002, lot 322 (Euros 1,645/$1,500). The Plates: 1. Les mais..les Si..les Cav..bref, la rouille survint et j'en aurais été malade moi-méme, si les huissiers accoutumés à tirev leur Epingle du jeu, n'eussent fain d'avance leur provision. 2. Un jeune homme à la mode, me pris un matin, pour soutenir l'edifice de sa cravate. 3. J'en revins au fichu d'une jeune personne dom je servais à réparer le dèsordre. 4. Je suivis avec tour le déshabillé la blanchifseuse à la campagne. 5. Lea fils du paysan s'empariereur de moi pour jouer à la poucette. 6. Bientôt reprise malgré leurs pleurs, je me sentis eufoneer dans la tête d'un canard. 7. Le Restaurateur qui fit emplête de l'animal, me server avec lui sur la table d'un Milord. 8. Milord m'oublia avec une liasse de Billets de banque, sur le canapé d'une danseuse. 9. Je ne tardai pas à passer, avec le dernier billen, dance la Caisse des Philellènear. 10. En Grèce, j'attachai un premier appareil sur la blessure d'un soldat qui retournair à la mélée. 11. En Eocilé en Sibérie s'empara de moi pour piquer sur le papier une page de ses infortunes. 12. En Italie, je retins au bout d'une corde une lettre glissée par une Jalousie. 13. Enfermé avec un Espagnol dans les cachots de l'inquisition, je lui rendis le triste ministère de lui ouvrir les veines. 14. En angleterre, je mèlai aux cheveux d'une anglaise le Crêpe du deuil que répandait la mors d'un grand-homme. 15. De retour en France, je fixai le sigue de l'honneur sur la poitrine d'un Brave. 16. Enfin j'habite entre la robe et le Corset d'une jeune ouvrière occuppée à retenir sur son coeuv la première missive d'amour. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05133

Catalogue: Color-Plate Books

Keywords: DUCARME, lithographer Books in French Caricatures French Caricature

FRANKLAND, Sir Robert, Illustrator

Delights of Fishing

London: Thomas McLean, 1823. One of the Rarest of all Color Plate 'Angling' Books FRANKLAND, Sir Robert, artist. TURNER, Charles, illustrator. [Delights of Fishing]. London: Thomas McLean, 1823-25. First edition, second issue. Oblong quarto (10 x 12 1/2 inches; 255 x 317 mm.). Six fine hand-colored aquatint plates. All plates mounted on stubs and interleaved. The last plate watermarked "J. Whatman 1827". Bound ca. 1933 by Alfred de Sauty of Donnelly's in half red morocco over red cloth boards decoratively ruled in gilt. Rectangular black morocco label on front cover decoratively ruled and lettered in gilt. Spine with five raised bands decoratively tooled in gilt, brown endpapers. Bookplate of Joel Spitz on front paste-down. Housed in the original red cloth slipcase. A fine copy of this great angling rarity. The first issue has the imprint C. Turner. Pencil note at end "Bot. from Hart - NY. 1/20/33 / Bound by de Sauty of Donnellys /Although only fair execution of plates, quite rare & seldom met with. / Complete in six plates - reference "Slater" --- "Siltzer" / watermarked 1827." The plates are all by Charles Turner (1773-1857) after Sir Robert Frankland (1784-1849) and have printed quotes from Virgils Aenid, Eclogues & Georgics; Horace's Odes, and Ovid's Metamorphoses. 1. "Nune me fluctus habet" "Nune me fluctus habet. Ibi omnis Effusus labor atque immitis rupta tyranni" (Virgil) London, Published June 18, 1823, by Thos. Mc. Lean. 26, Haymarket 2. "Hine toto praeceps se corpore ad undus" "Et ramos compesce fluentes" (Virgil) London, Published June 18, 1823, by Thos. Mc. Lean. 26, Haymarket 3. "Sic omnia retro In pejus ruere" (Virgil) "Perchicos odi, puer, apparatus" (Horace) London, Published June 18, 1823, by Thos. Mc. Lean. 26, Haymarket 4. "Piscium et summa genus haesit ulmo" (Horace) "et fluvios tentare minaces" (Virgil) London, Published June 18, 1825, by Thos. Mc. Lean. 26, Haymarket 5. "Dux ego vester eram" (Virgil) "Heu nimis longo satiate ludo" (Horace) London, Published June 18, 1825, by Thos. Mc. Lean. 26, Haymarket 6. "Terribili petit irritamina cornu" (Ovid) "nec severus" (Horace) Watermarked "J. Whatman 1827" London, Published June 18, 1825, by Thos. Mc. Lean. 26, Haymarket Exceptionally rare with just two copies (including the copy here offered) having appeared at auction over the past fifty years. OCLC locates just one copy in libraries and institutions worldwide (Athenaeum of Philadelphia, USA, PA). Bobins V, 1630; Siltzer. The Story of British Sporting Prints, p.122; Not in Prideaux or Hardie. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05681

Catalogue: Color-Plate Books

Keywords: Angling Caricatures Sports

FRANKLAND, Sir Robert, Illustrator

Eight Representations of Shooting

Cambridge: W.D. Jones, at His Repository of Arts.. 1813. A scarce set of amusing shooting incidents. In draftsmanship and colouring they are superior to "Indispensable Accomplishments."" (Schwerdt). FRANKLAND, Sir Robert, Illustrator. Eight Representations of Shooting. Engraved by Woodman & Turner from Drawings by Robert Frankland Esqr. To whom these Plates are most Respectfully dedicated by his very Obedient & Obliged Ser[van]t. W.D. Jones. Cambridge: W.D. Jones, 1813. First edition. Oblong quarto (7 7/8 x 11 inches; 200 x 280 mm.). Engraved title-page and eight amusing hand colored engraved plates. Each plate bears the publisher's name and address with the date Aug. 1st, 1813. All plates with original tissue guards. Publisher's stiff paper wrappers with printed label lettered "Shooting." Original? red roan spine. Housed in a felt-lined half black morocco clamshell case, spine with five raised bands decoratively ruled and lettered in gilt. "A scarce set of amusing shooting incidents. In draftsmanship and colouring they are superior to "Indispensabe Accomplishments."" (Schwerdt). "Issued in paper wrappers with printed label lettered "Shooting."" (Tooley). "A rare set of plates showing shooting mishaps, poking fun at the gentleman hunter." (Bobins). OCLC locates just four copies in libraries and institutions worldwide: Art Institute of Chicago (IL, US); Harvard University Library (MA, US); Yale University Library (CT, US); Transylvania University (KY, US). We know of one other copy in the Bobins The Exotic and the Beautiful - The World in Colour Collection. The Victoria & Albert Museum in South Kensington, London have just one of the plates. The last copy to appear at auction was in 2008 (Christie's S. Kensington, Sept. 1st, 2008, lot 100. (£4,200/$7,477). The Plates: 1. Grouse shooter and wounded dog; horseman bogged in distance. 2. Sportsman with gun following bird; dog worrying sheep. 3. Sportsman firing at hare; second sportsman wounded. 4. Sportsman watching dog pursuing hare; birds disappearing. 5. Sportsman raising right arm; dogs approaching wounded bird. 6. Sportsman whipping dog, second dog with bird in mouth; gun on the ground. 7. Sportsman climbing hedge, second sportsman following with dog and pointing gun dangerously; birds disappearing. 8. Sportsman fallen, with broken gun; pheasant escaping. Bobins III, 1179; Schwerdt 1, 286; Tooley 230. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05233

Catalogue: Color-Plate Books

Keywords: Caricatures Hunting Sports Dogs

FRANKLAND, Sir Robert; COPLOW, Billesdon

Indispensable Accomplishments

London: H. Humphreys, 1811. Six Humorous Hand-Colored Engraved Hunting Scenes FRANKLAND, Sir Robert. COPLOW, Billesdon (pseudonym). Indispensable Accomplishments..London: Published..by H. Humphrey, 1811. First edition. Oblong folio (10 5/8 x 14 5/8 inches; 270 x 370 mm.). Engraved title and six numbered hand-colored engraved plates with interleaves. Seventeen blank leaves at rear. Bound by Morrell (stamp-signed) in later full green crushed morocco with gilt frame and equine-themed gilt corner-pieces. Gilt-ruled raised bands. Gilt ornamented and decorated compartments. Broad gilt dentelles. Top edge gilt. With the leather bookplate of Joseph Widener and armorial bookplate of Clarence S. Bemens. An excellent copy of this rare series of hunting scenes. OCLC locates only one copy (at Harvard). "Ev'ry species of ground ev'ry Horse does not suit;/What's a good Country Hunter may here prove a Brute;/And, unless for all sorts of strange fences prepar'd,/A Man and his Horse are sure to be scar'd" (engraved title). "As every Country Gentleman may not comprehend the force of this expression, he ought to know, that the Meltonians hold every Horse cheap, which cannot Go along a slapping pace, Stay at that pace, Skim ridge & furrow, Catch his Horses, Top a flight of Rails, Come well into the next field, Charge an Ox fence, Go in and out clever, Face a Brook, Swish at a Rasper, and in short, Do all that kind of thing, phrases so plain & intelligible, that it's impossible to mistake their meaning. That Horse is held in the same contempt in Leicestershire, as a Coxcomb holds a Country Bumpkin. In vulgar Countries, (i.e. all others) where these Accomplishments are not Indispensable, he may be a Hunter." Signed: Billesdon Coplow (engraved title). Sir Robert Frankland (1784-1849), Seventh Baron of Thirkelby, was an MP and artist, a talented amateur who later succeeded to the baronetcy as Sir Robert Frankland-Russell. He was the almost exact contemporary of Henry Alken Senior and this set of engravings was the inspiration for Alken's Qualified Horses and Unqualified Riders. In 1815, Henry Alken published a rejoinder to Indispensable Accomplishments: Qualified Horses and Unqualified Riders, or The Reverse of Sporting Phrases Taken from the Work Entitled Indispensable Accomplishments: "In looking over that very amusing work call'd Indispensable Accomplishments sign'd Billesdon Coplow with which I was very much delighted but could not forbear remarking that he consider'd it only necessary that the horse should come well into the next field, charge an ox fence, go in and out clever, face a brook & swish at a rasper he does not mention that to do all that kind of thing it is necessary he should be mounted by a rider of judgment and courage. I have undertaken beging [sic] his pardon to mount well qualified horses with unqualified riders and to shew the figure those horses are likely to cut during the day" (Tooley 44: "The first of Alken's coloured books"). The Plates: 1. Going along a slapping pace. 2. Topping a flight of Rails, and coming well into the next Field. 3. Charging an Ox-fence. 4. Going in and out clever. 5. Facing a Brook 6. Swishing at a Rasper." The London bindery of W. T. Morrell was established c. 1861 as successor to the firm begun by Francis Bedford, who, in turn, had assumed control of the esteemed bindery of Charles Lewis. Sarah T. Prideaux, in "Modern Bookbindings," states that Morrell had a very large business that supplied "all the booksellers with bindings designed by his men," bindings that were "remarkable for their variety and merit." Schwerdt I, pp. 186-187. Silzer, p. 122. Tooley 158 (under Billesdon Coplow). Not in Abbey. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02598

Catalogue: English Literature

Keywords: COPLOW, Billesdon Color-Plate Books Fine Bindings Caricatures Nineteenth-Century Literature

GALSWORTHY, John

Swan Song

London: William Heinemann Ltd. [1928]. The Sixth Novel of John Galsworthy's Prize Winning Saga 'The Forsyte Chronicles' GALSWORTHY, John. Swan Song. London: William Heinemann Ltd. [1928]. First edition. Octavo (7 3/16 x 4 3/4 inches; 186 x 121 mm.). [ix], [1, blank], 347, [1, blank] pp. Publisher's dark blue cloth, front cover stamped and lettered in gilt, spine lettered in gilt, rear cover with publisher's blind-stamp, top edge stained blue. A fine crisp copy in the original color pictorial dust jacket, spine minimally darkened, otherwise fine. The sixth of the nine novels which make up The Forsyte Chronicles - one of the most popular and enduring works of twentieth century literature - chronicle the ebbing social power of the commercial upper-middle class Forsyte family between 1886 and 1920. Galsworthy's masterly narrative examines not only their fortunes but also the wider developments within society, particularly the changing position of women. The author has drawn a fascinating and accurately detailed picture of the British propertied class. Often incorrectly called The Forsyte Saga - the nine novel sequence properly known as The Forsyte Chronicles contains three trilogies- of which the first trilogy is The Forsyte Saga (The Man of Property - In Chancery- To Let). The second trilogy- A Modern Comedy (The White Monkey- The Silver Spoon- Swan Song) is followed by the third and concluding trilogy- End of the Chapter (Maid in Waiting- Flowering Wilderness- One More River). "Michael Mont is succeeding in his public life in Parliament, but holds grave doubts about his private life and his wife, Fleur. Fleur's original love, Jon Forsyte, her cousin and the son of her father's ex-wife, returns to England where a meeting is inevitable. Fleur's undying love for Jon is disclosed. Other members of the Forsyte family are included in this imminently readable saga." John Galsworthy (1867-1933) was an English novelist and playwright. Notable works include The Forsyte Saga (1906-1921) and its sequels, A Modern Comedy and End of the Chapter. He won the Nobel Prize in Literature in 1932. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04945

Catalogue: English Literature

Keywords: Modern Firsts