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 ALKEN, HENRY, ILLUSTRATOR -- [APPERLEY, CHARLES JAMES]; NIMROD; APPERLEY, C.J., Memoirs of the Life of the Late John Mytton, Esq. Of Halston, Shropshire
Memoirs of the Life of the Late John Mytton, Esq. Of Halston, Shropshire
London: Rudolph Ackermann, 1837. Alken Off To The Races With Apperley In The Saddle Second Edition With the Six Extra Plates in a Fine Contemporary Binding [ALKEN, Henry, illustrator]. NIMROD (pseud. of C.J. Apperley). Memoirs of the Life of the Late John Mytton, Esq. of Halston, Shropshire. Formerly M.P. for Shrewsbury, High sheriff for the Counties of Salup & Merioneth, and Major of the North Stropshire Yeomanry Cavalry. With Notices of His Hunting, Shooting, Driving, Racing, Eccentric and Extravagant Exploits By Nimrod. With Numerous Illustrations by H. Alken and T.J. Rawlins. Second Edition. Reprinted with considerable Additions from the New Sporting Magazine. London: Rudolph Ackermann, 1837. Second and enlarged edition, with additions to the text and six extra hand-colored plates. Tall octavo. ix, [3], 206, [2], pp. Extra-engraved title-page with aquatint vignette. Eighteen hand-colored aquatint plates with tissue guards. Bound in contemporary full hard-grain crimson morocco featuring a single gilt fillet border enclosing floral and foliate gilt tooling with arabesque gilt stems surrounding a gilt vase on pedestal, to both covers. Gilt tooled and lettered spine. Silver clasp engraved "Mr. E. Whittingham / Ellenhall / Nov. 2 1844." Gilt-rolled edges. Wide gilt dentelles with elaborate border and corner-pieces, green moire silk endpapers. All edges gilt. A fine copy in a really fine silver clasped binding. "A most valuable and important book for the sporting life of the period, aptly described by Newton as 'a biography of a man that reads like a work of fiction'" (Tooley). "This is not a work of fiction, for John Mytton, a rather inglorious character for a biography, was a hard-living, hard-drinking country squire of Halston, Shropshire, capable of the utmost physical endurance, and ready to accept any wager to walk, shoot or ride against any man. Many of his feats are recorded and graphically delineated, including the climax of his folly in setting his nightshirt on fire to cure a hiccough (Martin Hardie). The Plates: 1. Well done, Neck or Nothing.. 2. A Nick, or the nearest way home. 3. Wild Duck Shooting. 4. What! Never upset in a gig? 5. I wonder whether he is a good timber jumper! 6. The Meet with Lord Derby's Stag Hounds. 7. Stand and deliver. 8. Tally ho! Tally ho!.. 9. The Oaks Filly. 10. Light come, light go. 11. On Baronet clears nine yards of water. 12. D--n this hiccup! 13. A h-ll of a row in a hell.. 14. Swims the Severn at Uppington Ferry. 15. How to cross a country comfortably after dinner. 16. Heron shooting.. 17. A Squire trap, by Jove! 18. Now for the honour of Shropshire. Abbey, Life, 385. Tooley 67. Schwerdt 1, p. 38. Martin Hardie, pp. 185-186. Prideaux, p. 326. .
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Book number: 02859
USD 1950.00 [Appr.: EURO 1646.75 | £UK 1509.5 | JP„ 203885]
Keywords: NIMROD APPERLEY, C.J. Color-Plate Books Fine Bindings Nineteenth-Century Literature Sports

 ALKEN, HENRY; SHAKESPEARE, WILLIAM, Shakspeare's Seven Ages of Man
Shakspeare's Seven Ages of Man
London: E. and C. McLean, 1824. Shakspeare's Seven Ages of Man ALKEN, Henry, illustrator. Shakspeare's Seven Ages of Man, Illustrated by Henry Alken. London: Published by E. and C. McLean, 1824. Oblong folio (10 3/4 x 14 1/2 inches; 273 x 368 mm.). One page of text, plus seven large hand-colored etchings. Original printed paper wrappers. A bit of edgewear to wrappers, two plates with short, narrow creases at upper right fore-edge, otherwise an excellent copy. Housed in a red cloth portfolio with internal bookplate. OCLC/KVK locate only seven copies in institutional holdings worldwide. The plates are titled: The Infant (June 20th. 1824) The School-Boy (June 15th, 1824) The Soldier (June 20th. 1824) The Lover (June 15th. 1824) The Justice (June 20th. 1824) The Sixth Age (June 20th. 1824) Last Scene of all (June 20th. 1824) "This is of a very different sort from Stothard's Seven Ages. It represents a satirical treatment of that speech, with hand-coloured etchings by Henry Alken which are very amusing" (Colin Franklin). Abbey, Life in England, 256; Tooley, 47; Jaggard, p. 288. .
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Book number: 02783
USD 4500.00 [Appr.: EURO 3799.75 | £UK 3483.5 | JP„ 470503]
Keywords: SHAKESPEARE, William Color-Plate Books Caricatures Literature Theater

 ALKEN, HENRY, Sporting Notions
Sporting Notions
London: T. McLean, 1831-33. The Rarest Alken In Color The Comic Story of Men On Steeds At Unsafe Speeds ALKEN, Henry. Sporting Notions. London: T. McLean, 1831-33. First edition. Oblong quarto (10 1/4 x 14 1/8 in; 261 x 358 mm). Thirty-six hand-colored soft-ground etchings and aquatints with tissue guards, as issued without title page, watermarked 1831-1833. Contemporary half black morocco over pebbled paper boards with gilt-stamped vignette to upper board signed "Knight Sc." (Charles Parsons Knight). Some bubbling to cloth. Two plates with small margin tears professionally closed. Schwerdt l, p.23. Occasional very light smudges to margins. A really fine copy of one of the finest and rarest Alken color plate books. Only one colored copy has come to auction within the last thirty-six years - the Jeanson copy sold at Christie's in 1987.. and sold again at Christie's in 2012. The Plates: 1. All he is fit for Sir, now is to be cut up.. 2. I have a Notion that the Brute is going to make the best of his way out.. 3. I had not the most distant Notion that my Horse was going to stop. 4. I had a Notion that Timber jumping was quite an easy thing. 5. I begin to have a Notion that my Horse is Dead. 6. I have a Notion that this is what is called a Bog. 7. I have a Notion that this may be called "Riding to the hounds at a Smashing rate." 8. This gives me a Notion that its better to "Look before you leap." 9. I have a Notion you must pull him over or persuade him to pull you back again. 10. I have a Notion that this will a Bridge my Sport. 11. I had no Notion of the Comforts of Hunting by Water. 12. My good fellows have you any Notion.. 13. My dear fellows I have a Notion.. 14. My Notion is we shall get him up pretty shortly.. 15. Its my Notion that this is the only way.. 16. I have a Notion that my Horse looks like 40 Guineas to the Pound. 17. Hav'nt you a Notion.. 18. I have a Notion that I don't look like Mazeppa. 19. Hallo you ditchers.. 20. I have a notion however hard work it is.. 21. I say my fine fellow.. 22. I had a Notion that that there was room for two to go through at a time. 23. I have a notion that Ducrow could not excell this. 24. I have a Notion that that even Chiffney.. 25. I have a Notion that anything is acceptable.. 26. I have a Notion that you are going the wrong way, don't you see our party out yonder. 27. I have a Notion that I have made a Bull. 28. I have a notion you've made a damn near shot. 29. I have a Notion he's pinn'd him.. 30. Woo - Woo- I have a notion that I shall lose him.. 31. I have a strong Notion.. 32. A Gad I had no Notion.. 33. Well I have a very strong Notion.. 34. I have a notion that that I am not quite up to this riding in Surry. 35. I have a Notion that this is about the hardest mouthed Horse in England. 36. I now have a Notion that yo should always Look before you Leap. "First edition. The plates are a fine example of Alken's work at the height of his career" (Dixon) Tooley 54; Bobins IV, 1381; Siltzer p. 73. Dixon 95, Mellon/Snelgrove 34, Schwerdt l, p.23. Henry Alken worked in both oil and watercolor and was a skilled etcher. His earliest productions were published anonymously under the signature of "Ben Tallyho", but in 1816 he issued The Beauties & Defects in the Figure of the Horse comparatively delineated under his own name. From this date until about 1831, he produced many sets of etchings of sporting subjects mostly colored and sometimes humorous in character, the principal of which were: Humorous Specimens of Riding 1821, Symptoms of being amazed 1822, Symptoms of being amused 1822, Flowers from Nature 1823, A Touch at the Fine Arts 1824, and Ideas 1830. Besides these he published a series of books: Illustrations for Landscape Scenery and Scraps from the Sketch Book of Henry Alken in 1823, New Sketch Book in 1824, Sporting Scrap Book and Shakespeare's Seven Ages in 1827, Sporting Sketches and in 1831 and Sporting Notions (1831-1833), Illustrations to Popular Songs and Illustrations of Don Quixote, the latter engraved by John Christian Zeitter. Alken provided the plates picturing hunting, coaching, racing and steeplechasing for The National Sports of Great Britain (London, 1821). Alken, known as an avid sportsman,is best remembered for his hunting prints, many of which he engraved himself until the late 1830s. (Charles Lane British Racing Prints pp. 75-76). He created prints for the leading sporting printsellers such as S. and J. Fuller, Thomas McLean, and Rudolph Ackermann, and often collaborated with his friend the sporting journalist Charles James Apperley (1779-1843), also known as Nimrod. Nimrod's Life of a Sportsman, with 32 etchings by Alken, was published by Ackermann in 1842. In many of his etchings, Alken explored the comic side of riding and satirized the foibles of aristocrats, much in the tradition of other early 19th century caricaturists such as Thomas Rowlandson and James Gillray. One of his best known paintings, "The Belvoir Hunt: Jumping Into And Out Of A Lane", hangs in the Tate Britain and shows one of the oldest of the great foxhound packs in Leicestershire. A collection of his illustrations can be seen in the print department of the British Museum. .
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Book number: 02047
USD 27500.00 [Appr.: EURO 23220.5 | £UK 21287.75 | JP„ 2875297]
Keywords: Color-Plate Books Caricatures Nineteenth-Century Literature Sports

 ALKEN, HENRY, Touch at the Fine Arts, A.
Touch at the Fine Arts, A.
London: Published by Thomas M'Lean, Repository of Wit and Humour, 1824. Artists Jargon Satirically Defined Rare In Original Boards ALKEN, Henry. A Touch at the Fine Arts. Illustrated by Twelve Plates, with Descriptions by Henry Alken. London: Published by Thomas M'Lean, Repository of Wit and Humour, 1824. First edition. Quarto (10 3/4 x 7 1/2 inches; 273 x 190 mm.). [28] pp. Twelve hand-colored soft-ground etchings. Each plate with a leaf of descriptive letterpress. With the half-title and the leaf of advertisements present. Original quarter crimson roan over drab boards with printed pink title laid on. Some expected corner-wear and rubbing and soiling to boards. Early repairs to spine head and foot, otherwise and internally clean and excellent copy. "A Touch at the Fine Arts..is, according to the preface, 'an attempt to elucidate, by graphic delineations, a variety of terms generally and perhaps exclusively made use of by artists, amateurs, connoisseurs, virtuosos, and the like. Long, indeed, has a generous public been, doubtless, puzzled in the endeavour to discover some ray of meaning in those glowing, brilliant and forcible phrases, which the critical catalogues, Catalogues Raisonnées, etc. of the day are woefully burthened with.' It is a cheap kind of humour at the best. To take two of the most deserving subjects-'A Moving Effect; the Execution rapid,' is represented by a runaway coach, with expressions of the utmost horror in the faces and attitudes of the occupants; 'A Striking Effect, the handling by no means good or pleasant to the eye,' is illustrated by a fracas between two returning roisterers and some night-watchmen. In these and in plate 2, a prison-scene depicting 'An unpleasant effect, but the Keeping is Good,' Alken shows genuine power as a draughtsman, and infuses his work with a character lacking elsewhere. The last plate, indeed, might almost be a coloured lithograph from the hand of Daumier. All twelve plates, it should be said, are soft-ground etchings, with colour applied by hand" (Martin Hardie). The Plates: 1. -An Imposing Effect 2. Unpleasant in Effect-but the keeping is Good 3. A Moving Effect-the Execution Rapid 4. A Striking Effect-The handling by no means good, or pleasnat to the eye 5. All Effect-The Subject far from good, but Rich 6. A Forcible Effect 7. A Sudden Effect 8. A surprising Effect-but no Execution 9. A Very Warm Effect 10. A powerful Effect-but the subject rather hurried 11. A Spirited Effect-but no order kept in the grouping of the Figures 12. A very Brilliant Effect Martin Hardie, pp. 183-184 and 319. Siltzer, p. 71. Tooley 58. Not in Abbey. .
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Book number: 02538
USD 1500.00 [Appr.: EURO 1266.75 | £UK 1161.25 | JP„ 156834]
Keywords: Color-Plate Books Color-Plate Books Caricatures Nineteenth-Century Literature

The Ingoldsby Legends
London: Richard Bentley, 1855. In an Elegant, Beautifully Wrought Pictorial Binding [BAYNTUN OF BATH, binders]. INGOLDSBY, Thomas (pseudonym of Richard Harris Barham). The Ingoldsby Legends. Or, Mirth and Marvels. The Three Series. London: Richard Bentley, 1855. Tenth edition. Three octavo volumes (7 5/8 x 4 3/4 in; 193 x 121 mm). xii, 338, [2]; iv, 288; vi, [2], 364 pp. Twenty engraved plates by George Cruikshank and John Leech, including frontispieces. Uniformly bound c. 1925 by Bayntun of Bath (stamp-signed to front turn-in) in full crushed blue morocco with a multi-colored pictorial onlay vignette to each upper cover, the vignette within an enchanting arabesque-bordered frame with extensive gilt dots as background. Wide turn-ins with triple fillets. Gilt rolled edges. Gilt ornamented raised bands. Gilt framed and ornamented compartments. All edges gilt. Pink marbled endpapers. A fine set, handsomely bound. The exquisite multi-color leather inlays on the front cover of each volume depict as follows: First Series: The Great Lord Cardinal. From the Jackdaw of Rheims (opposite page 221) "Then the great Lord Cardinal call'd for his book, And off that terrible curse he took; The mute expression Served in lieu of confession, And, being thus coupled with full restitution, The Jackdaw got plenary absolution." Second Series: Shylock. From The Merchant of Venice (opposite page 45) "I believe there are few But have heard of a Jew, Named Shylock, of Venice, as arrant a "Screw" In money transactions, as ever you knew; An exorbitant miser, who never yet lent A Ducat at less than three hundred per cent." Third Series: Sir Christopher Hatton. From The House-Warming, A Legend of Bleeding-Heart Yard (opposite page 292) "The fact is, Sir Christopher, early in life, As all bachelors should do, had taken a wife, A Fanshawe by family, ---one of a house Well descended, but boasting less "nobles" than nous.." "George Bayntun [1873-1940] served an apprenticeship with the Taylor family, before starting his own bookbinding business in 1894. He took on London binders to raise the standard of craftsmanship and soon moved into larger premises on Walcot Street. It was recognized that 'He has brought intelligence into play as well as high craftsmanship." In 1939 the Bayntun and Rivičre & Son binderies were incorporated into a new set of premises on Manvers Street (Bath), in which the business still exists today. "George Bayntun adhered to traditional book binding techniques: 'We work in the old way. Machine binding? Ah yes..but not for us.' He had an especially good relationship with many pre-eminent American dealers, and Arthur Brenanto, Maurice Inman, Nat Ladden and Dr Rosenbach hosted a lunch in his honour on a visit to New York in 1936. "George Bayntun died at the age of 67 in 1940, having built a world famous business. George Bayntun's last years were crowned by the frequent patronage of Queen Mary, who spent the war years near Bath. She granted the firm the appointment of Bookseller to Her Majesty in 1950" (Wiki). Richard Barham's famous series of often-macabre (and often non-politically-correct!) parodies of myths, legends and ghost stories, many in verse - illustrated with plates by George Cruikshank and John Leech. These pieces began appearing in Bentley's Miscellany in 1837 (at about the time Oliver Twist was appearing there), and were immensely popular with that journal's readers -- so much so that they were subsequently collected in these three separately-published volumes. Though Barham's work is largely forgotten today, we do have several hold-overs from it - such as the tale from which Walt Disney devised "The Sorcerer's Apprentice," and the earliest published version of the children's poem about the dog "Bingo" ..and Bingo was his name-O.
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Book number: 01997
USD 5500.00 [Appr.: EURO 4644.25 | £UK 4257.75 | JP„ 575059]
Keywords: [BARHAM, Richard Harris] Fine Bindings Nineteenth-Century Literature

 COSWAY-STYLE BINDING; BAYNTUN, BINDER; WALTON, ISAAC, Complete Angler; or, Contemplative Man's Recreation, the
Complete Angler; or, Contemplative Man's Recreation, the
London: Samuel Bagster, 1808. A Superb Mid-Twenties Cosway-Style Binding by Bayntun of Bath with Two Fine Oval Miniatures Extra-Illustrated by the Insertion of Fifty-Five Engraved Plates of which Ten are Hand-Colored COSWAY-STYLE BINDING. BAYNTUN, binder. WALTON, Isaac. The Complete Angler; or, Contemplative Man's Recreation. Being a Discourse on Rivers, Fish-Ponds, and Fishing. In two parts: The first written by Mr. Isaac Walton; The second by Charles Cotton, Esq. With the lives of the authors.. by Sir John Hawkins. London: Printed for Samuel Bagster, 1808. First Bagster Edition. Octavo (8 x 4 7/8 inches; 204 x 124 mm.). [iv], vi, vii-512, pp. Hand-colored frontispiece and nineteen engraved plates and two sheets of music. Ten of the plates are engraved by Audinet, eight after Wale, two after Samuel; two music plate; two plates of fishing tackle and flies. There are seventeen fine engravings of fish and two large woodcuts in the text. Extra-illustrated by the insertion of fifty-five engraved plates of which ten are hand-colored. Bound ca. 1925 by Bayntun, stamp-signed in gilt "Bayntun. Binder. Bath. Eng." on front turn-in. Full green crushed levant morocco over beveled boards, covers with elaborate gilt frames, spine with five raised bands, elaborately decorated and lettered in gilt in compartments, gilt decorated board edges, wide gilt turn-ins, all edges gilt. Front doublure of brown morocco surrounded by a frame of inlaid maroon morocco. Set into the front doublure is a fine oval miniature painting of Isaac Walton under beveled glass within a double gilt frame. Set into the rear doublure is a fine oval miniature painting of Charles Cotton under beveled glass within a double gilt frame. Both miniatures measure 3 1/4 x 2 1/2 inches; 82 x 63 mm. Green watered silk end-leaves. Tips of joints slightly split but absolutely sound, spine slightly sunned, otherwise a very fine example housed in its original felt-lined green cloth clamshell case, spine lettered in gilt. List of plates including the extra-illustrations which are marked with a* (77 total, 11 of which are in color) 1. Frontis. Portrait of Izaak Walton, Charles Cotton, and Sir John Hawkins (hand-colored) 2. Portrait of St. Francis Bacon* 3. Portrait of Bp. Ken* 4. Portrait of Hon. Robert Boyle* 5. Portrait of Dr. Robert Sanderson, Mr. Richard Hooker, Sir Henry Wolton, Mr. George Herbert, Dr. John Donne 6. Portrait of Edward, First Earl of Sandwich, K.G.* 7. Robert Herrick* 8. Portrait of Sir Henry Wotton (hand-colored)* 9. Portrait of George Herbert* 10. Portrait of Edward Herbert, Lord Herbert of Castle Island and Lord Herbert of Chierbery in England* 11. Portrait of Bp. Taylor* 12. Portrait of Arch Bishop Williams, Lord Keeper* 13. Portrait of Thomas Hearn, M.A. of Edmund Hall Oxon* 14. Portrait of Charlemagne* 15. Portrait of The Most Revd. Dr. Usher, Late Lord Arch Bishop of Armagh* 16. Dovedale (hand-colored)* 17. Uske, Monmouthshire* 18. Untitled B&W Illustration 19. Fitchet [and] Martin 20. The Wild Boar* 21. Portrait of Hierom of Prage* 22. Basking Shark 23. Cuckoo [and] Wryneck* 24. Portrait of John Stow 25. Portrait of Bp. Overall 26. Bittern* 27. Untitled B&W Illustration 28. Portrait of Seneca* 29. Portrait of Sir Walter Ralegh (hand-colored)* 30. Untitled B&W Illustration 31. Untitled B&W Portrait 32. Portrait of Erasmus* 33. Untitled B&W Illustration 34. Arabian Camel* 35. Squirrels* 36. Partridges* 37. Golden Plover & Lapwing* 38. Portrait of Marcellus Malpighius M.D.F.R.S. (hand-colored)* 39. Page of Music 40. Portrait of Tho. Cromwell Earl of Essex 41. Lamprey & Salmon (hand-colored)* 42. Portrait of Ray* 43. Potrait of Michael Drayton 44. Double Page Color Illustration. Illustrations of Marine Animals (hand-colored)* 45. Double Page B&W Illustration. Cyprinus. The Golden Tench. The Gudgeon. The Minnow* 46. Double Page B&W Illustration. Meleagris. The American Wild Turkey. The Common Domestic Turkey* 47. Coniston Water Head* 48. A View of Winander Mere, a Lake in Westmoreland* 49. Portrait of Dr. Gilbert Sheldon, Arch-Bishop of Canterbury 50. Untitled B&W Illustration 51. The Angler's Song 52. Interior View of the Ruins of Ludlow Castle* 53. Portrait of Prince Rupert, When Young (hand-colored)* 54. A View of Shrewsbury Shropshire* 55. Untitled B&W Illustration* 56. Tottenham Cross* 57. Untitled B&W Illustration 58. Portrait of Cardinal Richelieu* 59. Untitled B&W Illustration of Fishing Tools 60. Untitled B&W Illustration of Fishing Line 61. Untitled B&W Illustration of Fishing Bait 62. Portrait of Charles Cotton (hand-colored)* 63. Portrait of Edward Hyde, Earl of Clarendon* 64. Portrait of Sir Kenelm Digby* 65. Ashbourne, Derbyshire* 66. Chepstow Castle, & Bridge Over the Wye (hand-colored)* 67. Matlock Bridge &c.* 68. Portrait of Mary I* 69. Untitled B&W Illustration 70. Untitled B&W Illustration of Fishing Hooks 71. Untitled B&W Illustration 72. Untitled B&W Illustration 73. Untitled B&W Illustration 74. Portrait of Sr. Philip Sidney* 75. Portrait of Queen Elizabeth* 76. Portrait of John Selden (hand-colored)* 77. Woodcock* Coigney, 18. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 04633
USD 8800.00 [Appr.: EURO 7430.75 | £UK 6812.25 | JP„ 920095]
Keywords: BAYNTUN, binder WALTON, Isaac Angling Fine Bindings Cosway-Style Bindings Extra-Illustrated Copies

Tempest, the
London: Freemantle & Co., 1901. Hell is Empty and all the Devils are Here" (The Tempest, William Shakespeare) Illustrated by Robert Anning Bell One of 174 Numbered Copies Signed by the Artist BELL, Robert Anning, illustrator. SHAKESPEARE, William. The Tempest. A Comedy by William Shakespeare. Decorated by Robert Anning Bell. London: Freemantle & Co. 1901. First edition thus. One of 174 copies (this being No 94) signed by the artist. Quarto ( 10 1/16 x 7 1/4 inches; 256 x 184 mm.). [xii], 106, [1], [1, imprint] pp. With a frontispiece, pictorial title-page, twenty-five full-page illustrations, numerous half-page illustrations, head and tailpieces and initial letters all by Robert Anning Bell. Publisher's yap-edged vellum, front cover pictorially stamped in gilt, spine decoratively stamped and lettered in gilt, pictorial end-papers printed in green, top edge gilt, others uncut, three (of four) silk ties missing. A near fine copy housed in a custom made black cloth clamshell case. Robert Anning BELL, R.A. R.W.S. (1863-1933) was educated at University College School in London. At the age of fifteen he was articled for two years to an architect uncle before studying at the Royal Academy Schools, the Westminster School of Art (under Fred Brown), in Paris (under Aimé Morot) and, later, in Italy. On his return from Paris, he shared a studio with portrait sculptor George Frampton and together they developed a line in hand-colored plaster reliefs, in imitation of Della Robbia. His early architectural training and his close friendship with architects and sculptors made him the ideal artist for decorative schemes, and by the eighteen-nineties he had become an important figure in the Arts and Crafts Movement. His early illustrative work, in pen and ink and watercolor, includes a number of Shakespeare-related volumes: Lamb's Tales from Shakespeare (1899), A Midsummer Night's Dream (1895), The Tempest (1901) and Shakespeare's Heroines (1901). These display a concern for the page as a whole of flatness and lightness similar to those found in Walter Crane and Charles Ricketts. From 1894, he was on the staff of the School of Architecture, University College, Liverpool, later becoming a Professor of both University College, Liverpool, later becoming a Professor of both Glasgow School of Art (1918-24). He was also an honorary associate of the Royal Institute of British Architects (1916), and Master of the Art Workers' Guild (1921).ß He began to exhibit at the Royal Academy in 1885 (ARA 1914, RA 1922) and at the New English Art Club in 1888 (NEAC 1892), while his solo shows included one at the Fine Art Society in 1907. He was also organized a number of international exhibitions of arts and crafts. His paintings were worked in both oil and tempera, but with an increasing preference for watercolor he became an active member of the Royal Society of Painters in Water-Color (ARWS 1901, RWS 1904) and, in 1925, wrote an essay in praise of the medium (Old Water-Color Society's Club, Volume 11). His death on 27 November 1933 was followed in March 1934 by a memorial exhibition at the Fine Art Society. .
David Brass Rare Books (ABAA/ILAB)Professional seller
Book number: 03731
USD 950.00 [Appr.: EURO 802.25 | £UK 735.5 | JP„ 99328]
Keywords: SHAKESPEARE, William Illustrated Books Fine Printing Plays Signed Limited Edition

Vicissitudes Abroad;
London: Printed at the Minerva Press, for Lane, Newman, and Co. 1806. Vivid Sexual Comedy and Strong Handling of Sexual Exploitation" By One of the Most Popular Female Writers of Her Generation Issued by the Most Successful Publisher of Novels of His Era BENNETT, MRS. [Anna aka Agnes Maria]. Vicissitudes Abroad; or, The Ghost of my Father. London: Printed at the Minerva Press, for Lane, Newman, and Co. 1806. First (only) edition, complete as issued, of the authoress's last novel. "Her first, anonymous novel, Anna..(1785)..was said to have proved her notoriety by selling out in a day..[Her] The Beggar Girl and Her Benefactors, 1797..made her a Minerva [Press] best-seller. Her best work (featuring a whole gallery of female intellectuals ands outcast children) bridges that of Fielding and Dickens in its verbal irony, robust satire and free range of low-life, high life and the economic interactions between. But her fame (high with Scott and Coleridge) was brief: her vivid sexual comedy and strong handling of sexual exploitation quickly became equally unacceptable" (Feminist Companion to Literature). But, until that time, her works were wildly popular; the novel under notice is said to have sold 2,000 copies on its first day of publication. It is now, however, exceedingly scarce with no copies found in ABPC auction records, OCLC locating only eight copies in U.S. institutions (AN#, ZNS, CLU, YUS, UIU, NOC, VA@ and BLSTP), and KVK locating only one other, at the British Library. Not in Wolff or Sadleir. Six large twelvemo volumes (6 1/2 x 3 7/8 in; 160 x 97 mm) with all half-titles present, one ad to rear of volume three, and five pages of ads to rear of volume four. [2, blank], [4], vi, 7-308, [2, blank]; [2, blank], [4], 340; [2, blank], [4], 323, [1, adv.], [2, blank]; [4], 355, [5, adv.], [2, blank]; [[2, blank], [4], 316, [2, blank]; [4], 384, [2, blank] pp. Full contemporary mottled calf with crimson and black morocco spine labels. Gilt rules to spine. Minor tear at pp. 191-192 of volume five with no loss. Small chip to upper fore-margin of volume five just touching page number. Completely unsophisticated, with small loss to spine head of volumes one and four, some occasional spotting, and expected wear. With the armorial bookplate of George M. Knipe to the front pastedowns. Overall, an excellent set of the author's last, and now extremely rare, book. Housed in two quarter brown morocco clamshell cases. In this novel, the heroine, Julia, unsuspectingly marries a gambler, who soon abandons her in London. Alone and penniless, she finds that she cannot even pay for a hired carriage, and when the driver abuses her and a crowd gathers, presuming her to be a prostitute, she goes mad and is delivered to a charity hospital. As final insult to injury, the hospital's doctor offers to waive her hospital care costs if she will become his mistress. Of Anna Bennett (c.1750-1808), the European Magazine, 1790, said her father and husband were customs officers. But other sources claim that her father was a grocer and her husband a tanner with whom she moved to London. She left her husband and began work as a shopkeeper, workhouse matron, and then mistress ("housekeeper") to Admiral Sir Thomas Pye, whose name she gave to two of her children. He died in 1785, the year her first novel, Anna, or Memoirs of a Welsh Heiress, was published. In 1763, William Lane decided to cash in on the novel reading craze. He opened a circulating library in Whitechapel. Around 1790, the operation moved to Leadenhall Street in London where he established Minerva Press, a publishing house noted for creating a lucrative market in sentimental and Gothic fiction in the late 18th century and early 19th century. Over the next fifteen years, Lane dominated the novel publishing industry and made a fortune. In addition to Mrs. Bennett, his stable of writers included many other female authors including Regina Maria Roche; Mrs. Eliza Parsons; and Eleanor Sleath whose Gothic fiction is included in the list of the seven Northanger Horrid Novels, recommended by the character Isabella Thorpe in Jane Austen's novel of similar name. Six of the Northanger Seven were published by Minerva. However many titles were anonymous, including such novels as Count Roderic's Castle (1794), The Haunted Castle (1794), The Animated Skeleton (1798) and The New Monk (1798). Authors who wrote for Minerva Press are obscure today, and its market became negligible after the death of its charismatic founder who, according to the poet, Samuel Rogers, was often seen tooling around London in a splendid carriage, attended by footmen with cockades and gold-headed canes. In 1804, he took on Anthony K. Newman as his partner. And while Minerva's market share fell to about 39% between 1805 and 1819, it continued to crank out copious amounts of the types of novels that became synonymous with its name. Few authors who wrote for Lane and Newman are critically acclaimed today. And after its founder died in 1814, Minerva Press' share of the print market became negligible, giving evidence to the fragmentation and diffusion occurring within the industry at the time. Garside, et al. English Novel, 1806.18. Blakey, Minerva Press, p. 221. Bloch, The English Novel 1740-1850, pp. 19, 344. Cardiff University, Center for Editorial and Intertexual Research, British Fiction 1800-1829. NSTC B1579. .
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Book number: 01475
USD 7500.00 [Appr.: EURO 6333 | £UK 5805.75 | JP„ 784172]
Keywords: BENNETT, Anna Maria Gothic Literature Nineteenth-Century Literature Women

 BOSWELL, JAMES; JOHNSON, SAMUEL; [LIMITED EDITIONS CLUB], Journal of a Tour to the Hebrides with Samuel Johnson. Lld. , the
Journal of a Tour to the Hebrides with Samuel Johnson. Lld. , the
Bloomfield, Connecticut: The Limited Editions Club, 1974. Sam and Jim's Classic Schlep Through Scotland BOSWELL, James. [JOHNSON, Samuel]. The Journal of a Tour to the Hebrides with Samuel Johnson. LlD. With Marginal Comments and Markings from a Copy Annotated by Hester Lynch Thrale Piozzi. Illustrated with Reproductions of Contemporary Prints by Thomas Rowlandson. (Bloomfield, Connecticut): Printed for the Members of The Limited Editions Club at the Sign of the Stone Book, 1974. Limited to 2000 numbered copies, this being copy no. 1403. Octavo (9 3/4 x 6 1/4 inches; 247 x 160 mm). xxi, [1, blank], [1], [1, blank], 327, [1, blank], [1, colophon], [1, blank] pp. Ten double page color illustrations repoduced from the original engravings made by Thomas Rowlandson for his two-volume portfolio entitled The Picturesque Beauties of Boswell, published in 1786. Half crimson morocco over marbled boards. Four raised bands. Gilt lettering compartments. Top edge gilt. Maps as endpapers. Publisher's slipcase. Very fine. This edition of The Journal of a Tour of the Hebrides follows the text of the third edition, published in 1786, and reproduces notes made by Hester Thrale Piozzi in the margins of her copy of the second edition. Eight of the illustrations are reproduced from extremely rare prints that had been colored for Rowlandson's original portfolios. As no colored versions of the other two plates could be located, monochrome impressions of them have been colored for this edition to match the rest of the set. .
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Book number: 00903
USD 150.00 [Appr.: EURO 126.75 | £UK 116.25 | JP„ 15683]
Keywords: JOHNSON, Samuel [LIMITED EDITIONS CLUB] Voyages and Travels English Literature Eighteenth-Century Literature Fine Printing Literature Voyages and Travels

 BOSWELL, JAMES; JOHNSON, SAMUEL, Life of Samuel Johnson, LL. D. Including a Journal of His Tour to the Hebrides... , the
Life of Samuel Johnson, LL. D. Including a Journal of His Tour to the Hebrides... , the
London: John Murray, 1835. The Greatest Biography Written in English" With all Twenty of the Engraved Plates Colored by Hand Extra-Illustrated with an Additional Nineteen Hand-Colored Engraved Plates Superbly Bound ca. 1920 by Bayntun of Bath BOSWELL, James. The Life of Samuel Johnson, LL.D. Including a Journal of His Tour to the Hebrides.. To which are added, Anecdotes by Hawkins, Piozzi, Murphy, Tyers, Reynolds, Steevens, &c. And notes by various hands. London: John Murray, 1835. First Illustrated Edition, Croker's Second Edition. Ten small octavo volumes (6 3/8 x 4 inches; 163 x 101 mm.), including two volumes of Johnsoniana. xxiv, 325, [1, imprint]; viii, 344; ix, [1, blank], 323, [1, imprint]; xii, 343, [1, imprint], [1, title-page], [1, blank]; viii, 341, [1, imprint]; viii, 342, [1, title-page], [1, blank]; viii, 381, [1, imprint]; xi, [1, blank], 431, [1, imprint], [1, title-page], [1, blank]; xv, [1, blank], 335, [1, imprint]; xii, 376 pp. Each volume with a hand-colored engraved frontispiece and an additional hand-colored vignette title, all engraved by Edward Francis Finden (1791-1857). In addition there are nineteen hand-colored plates, (portraits and views), a folding map of "The Tour through Scotland and the Hebrides.. in 1773" (volume IV), a folding facsimile "Round Robin" (volume VI), and six folding facsimile letters. Bound ca. 1920 by Bayntun of Bath (stamp-signed in gilt on front turn-ins). Full purple morocco, covers elaborately tooled in gilt in a geometric pattern. Spines with five raised bands, elaborately tooled in gilt in compartments, decorative gilt board edges and turn-ins, marbled endpapers all edges gilt. A superb set. "This was the first illustrated edition. Each volume has at the beginning two excellent steel engravings (a frontispiece and an extra [vignette] title-page). The first volume also has another [double-page hand-colored] engraving [Remarkable Characters who were at Tunbridge Wells..] at p.218." (Pottle). The additional hand-colored portraits include: Edward Cave; Henry Thrale; James Oglethorpe; Samuel Johnson; Flora McDonald; Michael Johnson; Revd. Owen Cambridge; Thomas Warton; Warren Hastings; Topham Beauclerk. The additional hand-colored views include: Lichfield; Grammar School, Litchfield; Edial Hall, Near Litchfield; Residence of the Rev. Francis Wise at Ellsfield near Oxford; Residence of Thomas Davies, Covent Garden; Residence of George Steevens, Hampstead Heath; Dr. S. Johnson's House, Bolt Court, Fleet Street; Kettel Hall, Oxford; Residence of Catherine Clive, Twickenham; The Life of Samuel Johnson, LL.D. (first published in 1791) is a biography of Dr. Samuel Johnson written by James Boswell. The work was a popular and critical success when first published. It is regarded as an important stage in the development of the modern genre of biography; many have claimed it as the greatest biography written in English, but some modern critics object that the work cannot be considered a proper biography. While Boswell's personal acquaintance with his subject only began in 1763, when Johnson was 54 years old, Boswell covered the entirety of Johnson's life by means of additional research. The biography takes many critical liberties with Johnson's life, as Boswell makes various changes to Johnson's quotations and even censors many comments. Nonetheless, modern biographers have found Boswell's biography an important source of information on Johnson and his times. Pottle 92. .
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Book number: 04385
USD 5500.00 [Appr.: EURO 4644.25 | £UK 4257.75 | JP„ 575059]
Keywords: JOHNSON, Samuel Color-Plate Books Fine Bindings and Sets Extra-Illustrated Copies

Sonnets from the Portuguese
London: The Folio Society, 1962. Sonnets from the Portuguese BROWNING, Elizabeth Barrett. Sonnets from the Portuguese. Introduction by Dorothy Hewlett. Decorations by Reynolds Stone. London: The Folio Society, 1962. Octavo ( 7 7/8 x 5 1/8 inches; 200 x 130 mm.). xiv, [2], 44, [4, index] pp. Publisher's embroidered silk in a floral design over boards. Pale green end-papers. A fine copy in the original gold card slipcase with paper label on spine. Sonnets from the Portuguese, written ca. 1845-1846 and first published in 1850, is a collection of 44 love sonnets written by Elizabeth Barrett Browning (1806-1881). The poems largely chronicle the period leading up to her 1846 marriage to Robert Browning. The collection was acclaimed and popular in the poet's lifetime and it remains equally so today. .
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Book number: 04667
USD 100.00 [Appr.: EURO 84.5 | £UK 77.5 | JP„ 10456]
Keywords: STONE, Reynols, illustrator FOLIO SOCIETY, The Poetry

 BUNBURY, HENRY; GAMBADO, GEOFFREY, Annals of Horsemanship
Annals of Horsemanship
London: W. Dickinson, 1791. The Classic Lampoon Of Idiots On Horseback [BUNBURY, Henry]. Gambado, Geofrey (pseud.). Annals of Horsemanship: Containing Accounts of Accidental Experiments and Experimental Accidents, Both Successful and Unsuccessful: Communicated by Various Correspondents to Geoffrey Gambado, Esq..Together with Most Instructive Remarks Thereon, and Answers Thereto, by that Accomplished Genius. And Now First Published, by the Editor of the Academy for Grown Horsemen. Illustrated with Cuts by the Most Eminent Artists. London: Printed for W. Dickinson, 1791. First edition. Folio (123/4 8 3/4 in; 323 x 222 mm). xvii, 81, [1, adv.] pp. Frontispiece and sixteen line- and stipple-engraved plates, plain as issued without color option. Engraved by W.P. Carey after Bunbury's designs. Early twentieth century half crimson hard-grained morocco over red cloth boards ruled in gilt. Spine with five raised bands decorated with gilt dots. Gilt-ruled compartments. An excellent copy. A "singulier ouvrage" (Brunet) and wildly popular, Annals of Horsemanship was reprinted in the same year in Dublin, again in 1796, 1811, and once more in 1812 collected with Bunbury's other satire, The Academy For Grown Horsemen. The engraved plates were designed by Henry William Bunbury (1750-1811). "Bunbury owed much during his lifetime to the charm of a genial nature, and to his position as a man of family and education. West flattered him, and Walpole enthusiastically compared him to Hogarth. He was the friend of Goldsmith, Garrick, and Reynolds, and the favourite of the Duke and Duchess of York, to whom in 1787 he was appointed equerry. All this, coupled with the facts that he was seldom, if ever, personal, and wholly abstained from political subjects, greatly aided his popularity with the printsellers and the public of his day, and secured his admission, as an honorary exhibitor, to the walls of the Academy, where between 1780 and 1808 his works frequently appeared.. [They] are not without a good deal of grotesque drollery of the rough-and-ready kind in vogue towards the end of the last century¾that is to say, drollery depending in a great measure for its laughable qualities upon absurd contrasts, ludicrous distortions, horseplay, and personal misadventure." (DNB). "'The lovers of humor were inconsolable for the loss of Hogarth, but from his ashes a number of sportive geniuses have sprung up, and the works of Bunbury [et al] have entertained us' (Walker's Hibernian Magazine, May 1790). Just at this time, one of these 'sportive geniuses' was at the height of his popularity. Of the many amateur caricaturists who flourished during the second half of the eighteenth century, Bunbury was undoubtedly the most famous. His talents for depicting humorous incidents of everyday life and manners established him as a master of the burlesque, and his reputation in social caricature rivaled that of Thomas Rowlandson or James Gillray." ((Riely, John C. Horace Walpole and 'the Second Hogarth', in Eighteenth Century Studies, Vol. 9, No. 1, Autumn, 1975, p. 28). The Plates: 1. The Apotheosis of Geoffrey Gambado 2. Mr. Gambado Seeing the World in a Six Mile Tour Famed in History 3. Dr. Cassock F.R.S. T.P.Q. Inventor of the Noble Puzzle for Tumble Down Horses 4. The Puzzle for the Dog, The Puzzle for the Horse, The Puzzle for Turk, Frenchman, or, Christian 5.How to Make the Most of a Horse 6. How to Make the Least of Him 7. How to Do Things by Halves 8. Tricks Upon Travellers 9. Love and Wind 10. Me & My Wife and Daughter 11. How to Make the Mare to Go 12. How to Prevent the Horse Slipping his Girths 13. How to Ride Without a Bridle 14. A Daisy Cutter with his Varieties 15. The Tumbler, or its Affinities 16. A Horse with a Nose 17. How to Travel Upon Two Legs in a Frost ESTCT12226, Brunet II, 1474. .
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Book number: 02549
USD 1250.00 [Appr.: EURO 1055.5 | £UK 967.75 | JP„ 130695]
Keywords: GAMBADO, Geoffrey Nineteenth-Century Literature Sports

 BUNYAN, JOHN; BAYNTUN, Pilgrim's Progress, the
Pilgrim's Progress, the
London: Arthur L. Humphreys, 1906. An Elegantly Printed Edition of One of the Most Significant Works of Religious English Literature BUNYAN, John. The Pilgrim's Progress. [The Royal Library Chef D'Oeuvre Series]. London, Arthur L. Humphreys, 1906. Octavo. (9 1/8 x 6 5/8 inches; 233 x 166 mm). [4], 327, [1 blank] pp. Title-page printed in red and black. Bound by Bayntun in early twentieth-century three-quarter dark blue polished calf ruled in gilt over blue cloth boards. Spine with five raised bands and red and green morocco gilt lettering labels, marbled endpapers. Printed on handmade watermark rag paper. Top of spine a little rubbed otherwise near fine. An elegantly printed modern edition of Bunyan's The Pilgrim's Progress from This World to That Which Is to Come; Delivered under the Similitude of a Dream, originally published in February, 1678. A celebrated allegorical tale of Christian the pilgrim on his journey to the Celestial City, the Christian encounters both worthy companions and dreadful adversaries. .
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Book number: 00852
USD 400.00 [Appr.: EURO 338 | £UK 309.75 | JP„ 41823]
Keywords: Bayntun Bindings Fine Printing Seventeenth-Century Literature Fine Printing Literature Seventeenth-Century Literature

Pilgrim's Progress, the
London: John Murray, 1830. The First Appearance of Southey's Life of Bunyan A Fine Extra-Illustrated Example in a Wonderful Contemporary Gauffered Edge Binding BUNYAN, John. The Pilgrim's Progress. With a life of John Bunyan by Robert Southey, Esq.. Illustrated with engravings. London: John Murray, [&] John Major, 1830. First 'John Major' edition. Extra-illustrated with an additional fifteen engraved plates including two by John Martin. Octavo (8 9/16 x 5 3/8 inches; 218 x 137 mm.). civ, 411, [1, imprint] pp. Engraved portrait of John Bunyan, two engraved plates by John Martin and thirty illustrations in the text by Charles Nesbit, John Jackson, and others. Finely bound in contemporary crimson morocco, covers with triple line gilt border surrounding a triple line border in blind in turn surrounding a decorative ornamental gilt panel. Spine with five shallow raised bands decoratively tooled and lettered in gilt in compartments, gilt ruled board edges, elaborate wide gilt turn-ins light blue watered silk liners and end-leaves decorated in gilt, all edges gilt and elaborately gauffered. Small rectangular red leather bookplate "Miss Percy" on front liner. Minimal fading to spine, still a very fine example of an early-to-mid nineteenth century 'Gauffered' binding. This is a very substantial edition of John Bunyan's monumental work, offered here with fifteen extra-illustrations and in an extremely attractive contemporary binding. This edition is the first (and only) to be issued by the prominent publisher and bookseller John Major, whose edition of Izaac Walton's Compleat Angler is so famous. It also contains the first appearance of Southey's life of John Bunyan. Gauffered edges are first gilded and then further decorated by impressing finishing tools into the textblock edge surface. The technique has been used for expensive bindings over many centuries. Almost all gauffering was done with pointillé tools, or, as in many examples, the designs were built up with repeated impressions of a large dot. Pointillé tools, as well as those cut in outline, produce delicate effects and are more easily impressed on a hard paper surface than are solid tools. The term comes from the French word for honeycomb, and also applies to the practice of crimping or fluting cloth with heated gauffering irons. .
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Book number: 04271
USD 2250.00 [Appr.: EURO 1900 | £UK 1741.75 | JP„ 235252]
Keywords: SOUTHEY, Robert MARTIN, John, illustrator Fine Bindings Extra-Illustrated Copies Religion

 BYRON, LORD GEORGE GORDON, Childe Harold's Pilgrimage
Childe Harold's Pilgrimage
London: Printed for John Murray, 1812. A Beautifully Bound Copy of the Book that Established Byron's Career "Then stirs the feeling infinite, so felt In solitude, where we are least alone" BYRON, Lord. Childe Harold's Pilgrimage. A Romaunt. London: Printed for John Murray; William Blackwood, Edinburgh; and John Cumming, Dublin. By Thomas Davison, White-Friars, 1812. First edition (issued in an edition of 500 copies). Quarto (10 7/8 x 8 5/16 inches; 276 x 210 mm.). viii, 226 pp. Facsimile of a Romaic letter bound in as frontispiece. Issued without a half-title. Bound without the leaf of advertisements. A highly elaborate American binding ca. 1900. Covers richly decorated in gilt, each cover with eight inlaid green morocco panels, the four corner-pieces with a gilt "B" and an elaborate gilt crown, the four inside inlays decorated in gilt in a fan design within very fine gilt pointille. Spine with five raised bands, elaborately tooled and lettered in gilt, four of the panels also inlaid in green morocco with the central "B" surmounted by a crown. Green morocco doublures with decorative gilt corner-pieces, red watered silk end-leaves, all edges gilt. The binding is unsigned, but most certainly by an American master craftsman, possibly from the Club Bindery, Monastery Hill Bindery, or the Roycroft Bindery. Housed in the original fleece-lined, morocco-edged cloth slipcase. The green morocco spine inlays very slightly faded, otherwise fine. Housed in the original fleece-lined red morocco tipped, red cloth slipcase. According to a pencil note on a front blank leaf this superb binding appeared at the Parke-Bernet New York, Saul Cohn auction on October 18th, 1955. George Gordon Byron, 6th Baron Byron FRS (1788-1824), known simply as Lord Byron, was a British poet, peer, politician, satirist and leading figure in the Romantic movement. He is regarded as one of the greatest British poets and remains widely read and influential. Renowned as the "gloomy egoist" for his autobiographical poem Childe Harold's Pilgrimage, he is now more generally esteemed for the satiric realism of Don Juan (1819-24). Childe Harold's Pilgrimage is a lengthy narrative poem in four parts. It was published between 1812 and 1818 and is dedicated to "Ianthe". The poem describes the travels and reflections of a world-weary young man who, disillusioned with a life of pleasure and revelry, looks for distraction in foreign lands. In a wider sense, it is an expression of the melancholy and disillusionment felt by a generation weary of the wars of the post-Revolutionary and Napoleonic eras. The title comes from the term childe, a medieval title for a young man who was a candidate for knighthood. The poem contains elements thought to be autobiographical, as Byron generated some of the storyline from experience gained during his travels through Portugal, the Mediterranean and Aegean Sea between 1809 and 1811. The "Ianthe" of the dedication was the term of endearment he used for Lady Charlotte Harley, about eleven years old when Childe Harold was first published. Charlotte Bacon, née Harley, was the second daughter of 5th Earl of Oxford and Lady Oxford, Jane Elizabeth Scott. Throughout the poem, Byron, in character of Childe Harold, regretted his wasted early youth, hence re-evaluating his life choices and re-designing himself through going on the pilgrimage, during which he lamented various historical events including the Iberian Peninsular War among others. Despite Byron's initial hesitation at having the first two cantos of the poem published because he felt it revealed too much of himself, it was published, at the urging of friends, by John Murray in 1812, and brought both the poem and its author to immediate and unexpected public attention. Byron later wrote, "I awoke one morning and found myself famous". The first two cantos in John Murray's edition were illustrated by Richard Westall, well-known painter and illustrator who was then commissioned to paint portraits of Byron. Published in March, 1812, the first run of 500 quarto copies sold out in three days. There were ten editions of the work within three years. Byron deemed the work "my best" in 1817. Byron chose for the epigraph for the 1812 edition title page a passage from Le Cosmopolite, ou, le Citoyen du Monde (1753), by Louis-Charles Fougeret de Monbron, in the original French. Translated into English, the quote emphasizes how the travels have resulted in a greater appreciation of Byron's own country. Francis Lewis Randolph. Studies for a Byron Bibliography, p. 19. Saul Cohn (1886-1954) of East Orange, N.J. was president of the City Stores Mercantile Company. His books, manuscripts, and drawings were dispersed in three sales by Parke-Bernet in 1955, and some of his correspondence is at the Historical Society of Pennsylvania. (An obituary of Cohn appeared in the New York Times, 6 June 1954, p. 86.). .
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Book number: 04622
USD 7500.00 [Appr.: EURO 6333 | £UK 5805.75 | JP„ 784172]
Keywords: Fine Bindings Nineteenth-Century Literature Poetry

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