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Photography by Louie Fasciolo and Marco Maschiao
Cover: item 1203
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London: The Roger Cline Collection (Books II)
WHITWORTH, Robert; and SHARP, James
A Report and Survey of the Canal, Proposed to be made on one Level, from Waltham-Abbey to Moorfields. Also a report and Survey, of a Line, Which may be continued from Marybone to the said proposed Canal, in ase any future design of Navigation to that Place [with] An Address to the Right Hon.ble the Lord-Mayor, the Worshipful the Aldermen, and Common-council, of the City of London, on the Importance and great Utility of Canals in general; the Advantages which may fairly be expected from the Canal now proposed to be made from Waltham-Abbey; and the necessity of promoting, near the Metropolis, such Improvements as are now carrying on in the more distant Parts of this Kingdom, as being the true means of preserving to the Port of London, that Superiority in foreign as well as country Trade, which it has hiterto enjoyed [and] Queries proposed by the committee of the Common-council of the City of London, about the intended Canal from MOnkey Island to Isleworth, answered.
Publication
London, James Sharp 1773..
Description
Four works bound in one volume. Folio (310 by 200mm). Eight large folding engraved maps, some with contemporary handcolour in part; contemporary half tan calf, marbled paper boards.
Collation
Pages [ii], 8, [ii], 16, 11.
George Rennie’s copy of “Canal Mania”
During the decades spanning the end of the eighteenth and the beginning of the nineteenth centuries, a phenomenon occurred known as “Canal Mania”, a period of intense canal building and accompanying speculative frenzy. An early advocate of the canal was Robert Whitworth, who in 1773 published a report proposing plans for a new canal to ease the Thames traffic in central London. Encircling North London and so altogether bypassing the Thames, his proposed channel would run from the Lee Navigation at Waltham Abbey to a basin at Moorfields. A further waterway would leave this basin for Marylebone to form a connection with another canal to Drayton. Whitworth’s canal would largely follow the natural contour of the land, meaning that locks could be avoided.
Whitworth’s plan never became a reality, although the Regent’s Canal built during the 1810s followed a similar route in part and succeeded in connecting North London with the main canal to Birmingham. Whitworth’s report was accompanied by a forceful letter by James Sharp of the Common Council, urging support for the canal in order to maintain London’s position in world trade. It also contained a map outlining the proposed canal: ‘Plan and Profile of the Navigable Canal from MoorFields into the river Lee,... surveyed ... by Robert Whitford...’ (1773). London’s main roads are outlined and identified, as well as some significant buildings such as the “British Museum”, “Bethlem Hospital” and “Foundling Hospital”. Whitworth represents his proposed canal with a thick dark line running from Paddington to the north of St Pancras and into the City. Along the lower edge is a cross-section showing the depth of the river along the planned route.
This volume of “Canal mania” belonged to George Rennie, the son of renowned builder of bridges, including Waterloo Bridge, Southwark Bridge, and London Bridge, John Rennie (1761-1821). He claimed to have made the original design for the “new” London Bridge, himself, in 1820, although, the honours, including a knighthood for the work, went to his brother John.
The other maps, accompanying the three main reports are: ‘Plan and Profile of the Navigable canal from Mary-Le-Bone to Moorfields,... Surveyed ... by Robert Whitford’ (1773).
‘A Plan of the river Thames from the Kennets Mouth to London, shewing the intended canal from Sunning Lock to Monkey Island Surveyed by Mr. Brindley,...’ (1770). In two sections.
‘A Plan of the River Thames from Boulter’s Lock to Mortlake Surveyed by... James Brindley,... 1771, Revised and Continued to London Bridge in 1774 by Robt. Whitworth’. In three sections.
‘A Correct draught of the River Thames from its Spring in Glocester Shire or its influx into the Sea with a table of all the bridges, locks wear &c,... by Thomas Bowen. 1775’.
‘A Plan of the Intended Canal from Uxbridge to Marybone according to an actual survey taken in 1766 by Robert Erskine’.
‘A plan of the Great Road from Tybourn to Uxbridge and from Brent Bridge to Brentford... by T. Lediard Junr.’ (?1750).
A large broadside featuring ‘A map shewing the intended canal from Uxbridge to London’ (?1766).
[Bound after]: ‘Act for Improving and Completing the Navigation of the Rivers Thames and Isis, from the City of London, to the Town of Cricklade, in the County of Wilts’ (lacking title-page).
Provenance
1. Contemporary engraved armorial bookplate in the inside front cover; 2. With a note on the front free endpaper in George Rennie’s (1799-1866) hand, regarding the purchase of this volume at the Evans sale in June of 1834;
3. The Ampleforth Abbey Library bookplate on the front free endpaper.
BOURNE, John Cooke
A Series of Lithographed Drawings on the London and Birmingham Railway.
Description Collection of 27 (of 33) lithographed plates (590 by 411mm).
A series of lithographed drawings on the London and Birmingham railway
John Cooke Bourne’s lithographs were published in the first series of his ‘Drawings of the London and Birmingham Railway’ (1838-1839). They include images of: the Entrance Portico at Euston Grove Station, Hampstead Road Bridge, Building Retaining Wall &c. near Park Street, Railway Bridge over the Regent’s Canal, Building the Stationary Enginehouse at Camden Town, Locomotive-Engine House, Entrance to Locomotive Engine House, Primrose Hill Tunnel, Watford Embankment, Coldne Viaduct, Nash Mill Bridge, Oblique Bridge, Box-Moor Embankment, Berkhampstead Herts, Tring Cutting, Canal Bridge & Jackdaw-Hill, Blastings Rocks, Making the Embankment, Avon Viaduct, Blisworth Cutting, Weedon Viaduct, Pumps for draining the Wilsby Tunnel, View from above Kilsby Tunnel, Railway Bridge Rugby, Sherbourne Viaduct, Woolverton Viaduct, Viaduct over the River Blythe, and the Entrance to Birmingham Station. Without plates 1, 3, 4, 14, 28, 31, and 32.
A pocket book full of fares
HACKNEY COACHES
Walwyn’s Correct List of Hackney Coach and Cabriolet Fares, Measured from the different Stands, Railway Stations, and Steam Packet Wharfs: also the New Acts relating thereto.
Publication London, Published by R. Walwyn, 37 Laystall Street near Gray’s Inn Lane. [after 1838].
Description
Duodecimo (90 by 65mm). Lithographed frontispiece; original publisher’s tan cloth, gilt, a bit rubbed.
Collation
Pages ii, x, 247, [vi].
Hackney coaches, carriages drawn by a Hackney horse (apparently so-named to distinguish them from warhorses) were first licensed in London and Westminster in 1662. An Act of Parliament in 1694 created the Hackney Coach Office, which regulated the trade until the London Hackney Carriage Act of 1831, followed in August of 1838, when the Home Secretary was empowered to appoint a Registrar of Metropolitan Public Carriages who licensed hackney carriage drivers and conductors. That act is reprinted at the beginning of this pocket guide to fares to and from all major London destinations, including theatres.
Rare: no other example found.
BANKS, Colin
London’s Hand-Writing The Development of Edward Johnston’s Underground Railway Block-Letter.
Publication London, London Transport Museum, 1994.
Description Folio (510 by 380mm). Illustrated throughout; original scarlet cloth, preserved in original black cloth clamshell box.
Twentieth-century style
Limited edition, number 3 of 160 numbered copies. Printed by the Libanus Press in Marlborough, as part of the 60th anniversary celebrations of London Transport. “Johnston’s work for the Underground Group proved seminal in two ways: as the ‘handwriting of London’ recognised the world over as indicative of London Transport’s services and as a precursor of so many of the typefaces which have helped to define 20th century style” (Scott, ‘Publisher’s Introduction’).
PALACES, POLITICS AND PRINCES
WALLIS, Richard
London’s Armory Accurately delineated in a Graphical display of all the Arms Crest Supporters Mantles & Mottos of every distinct Company and Corporate Societie in the Honorable City of London as they truly bear them faithfully Collected from their Severall Patents which have been approved and Confirmed by Divers Kings at Arms in their Visitations. A Work never till now exactly perfected or truly Published by any and will rectify many essentiall Mistakes and maniest Absurdities Committed in Painting & Carving.
Publication
London, Printed for the Author, Rich Wallis Citizen & Arms painter of London & are to be sold by him at hs Shop against y.e Royall Exchange, 1677.
Description
Folio (438 by 345mm). Engraved armorial frontispiece with the arms of John Normansill added in pen, ink and colour wash, engraved title-page, Royal Arms of Charles II, City of London, 25 plates of Arms of the Liveried Companies, one supplied from another example ?at the time of publication, and of the Artillery Company, five leaves of letterpress, extra-illustrated throughout with nineteenth century ephemera related to the London Guilds; nineteenth century half red morocco, marbled paper boards, gilt.
References
ESTC R9805; Wing, ‘Short-title catalogue of books printed in England, Scotland, Ireland, Wales, and British America, and of English books printed in other countries, 16411700’, 1945-51, W620.
“...This little Volume of Variety...” (Wallis)
Richard Wallis has reserved a page each for his laudatory dedications to Charles II, Sir Thomas Davies, Lord Mayor of London, and The Duke of York, and received a Royal Privilege for the publishing of this work for his efforts. In addition to the full-page arms of the John Normansill, the King, and the City of London, Wallis has included the arms of one hundred Liveried Companies of the City of London. That for the Smiths, has been supplied, possibly to amend a printing error. The one hundred and ten current liveried companies of the City of London are descended from medieval craft guilds, which were granted Royal privilege, charters and patents, in an ad hoc fashion from at least the fourteenth century. Wallis is attempting to correct the “Misconception ad Erroneous Tradition, which have so much perverted and corrupted the radical path and order of Primitive Invention, and almost obliterated the true Intentions of Antiquity both in Philosophy and History; have also in this general Infection traduced even Heraldry; witness, the manifold Errors and egregious Mistakes, which by industrious Enquiry ad sedulous Search, I have discovered in divers of the Companies Escutcheons, and Corporations Coast of Arms in this Honourable City of London, since they were first conferred upon them in the gracious Grants of their respective Patents under the Great Seals of several Kings of England, committed through the stupidity and careless performances of divers Artificer, Painters, Plaisterers, Gravers, and Carvers...”.
Provenance
1. Presentation inscription on the recto of the frontispiece, “This book of Joh: n Normansill, Given to him by the Author”, and annotated throughout by him with mottos related to the Liveried Companies;
2. With the ownership inscription, and pencilled annotations of John Gough Nichols (1806-1873), third generation printer, founding member of the Camden Society, editor of the ‘Gentleman’s Magazine’ 1828-1856;
3. Purchased by S.C. Brookes from James Rimmell & Son, 1876, with pages from their catalogue, the bills of sale, and Brookes’s correspondence with Stephen Woods of the British Museum Library, dated 14 February 1876, regarding their example, professionally inset into heavier stock;
4. With Sotheby’s 1993.
KEBLE, Joseph
Reports in the Court of Kings Bench at Westminster from the XII to the XXX Year of the Reign of our Late Sovereign Lord King Charles II.
Publication
London, Printed by W. Rawlins, S. Roycroft and M. Flescher assigns for Richard and Edward Atkins esquires, 1685.
Description
Three volumes. Folio (304 by 192mm). Contemporary calf, rebacked to style, generally a bit worn, author and volume numbers in manuscript on fore-edges.
Chalmers, A history of the colleges, halls and publics buildings attached to the University of Oxford’, page 187; WING, K116.
First edition. Although Joseph Keble (1632-1710) never had a brief to represent a client in a trial, he went to the court of King’s Bench every day from 1661 until his death in 1710 as a barrister. He was regarded as a law reporter of considerable note “and of almost incredible industry. Each volume of Keble ought to have both ‘A table of cases’ and a ‘Table of matters. These are effectively bound at the beginning and at the end of each volume” (Chalmers).
ROYAL PALACES; SANDFORD, Francis, Lancaster Herald of Arms; and KING, Gregory
The History of the Coronation of the Most High, Most Mighty, and Most Excellent James II. By the Grace of God, King of England, Scotland, France and Ireland, Defender of the Faith, &c. And of His Royal Consort Queen Mary: Solemnized in the Collegiate Church of St. Peter in the City of Westminster, on Thursday the 23 of April, being the Festival of St. George, in the Year of Our Lord 1685. With an Exact Account of the several Preparations in Order thereunto, Their Majesties most Splendid Processions, and Their Royal and Magnificent Feast in Westminster-Hall. The Whole Work illustrated with Sculptures.
Publication In the Savoy, Printed by Thomas Newcome, One of His Majesties Printer, 1687.
Description
Folio (444 by 280mm). Letterpress titlepage printed in red and black with engraved arms, 29 double-page engraved plates, including the plate of the fireworks display, one full-page plate, engraved vignette head-pieces and initials; contemporary full speckled panelled calf gilt, rebacked to style, and with minor expert repairs to corners.
Brunet’ Manuel du libraire et de l’amateur de livres...’, V:122, 1860-65 (“magnifique ouvrage”); Julian Hoppit (Gregory King) and W.A. Speck (James II) for ODNB; Watanabe, ‘Festivals and Ceremonies: A Bibliography of Works Relating to Court, Civic and Religious Festivals in Europe, 1500-1800’, 2001, 2593; Wing,’ Short-title catalogue of books printed in England, Scotland, Ireland, Wales, and British America, and of English books printed in other countries, 16411700’, 1994, S652.
From
First edition, with printer Thomas Newcomb’s name printed in red on the title-page, and with the “Imprimatur, Norfolk & Marshall” on the verso of the third blank.
James II’s path to the throne of England, Ireland, and Scotland was an entirely unpredictable one. He was born in St James’s Palace, London, in 1633, as the third surviving child and second surviving son of Charles I (1600–1649), which should have been surety enough against his one day becoming King.
But history tried harder, and did everything in its power to prevent him from being crowned. First there was a Civil War, followed by his father’s execution, then there was an interregnum with a Commonwealth, then his brother’s Restoration as Charles II, who ruled for more than twenty years, as well as James’s own Catholicism, which caused an Exclusion Crisis. However, since his brother... since his brother had failed to produce a legitimate heir, there was nothing else to do but strategically arrange the coronation for a day before Parliament was next set to convene and could throw another spanner into the works. James and Mary’s extravagant coronation took place on the 23rd April, 1685. Everything went well, except that the crown “slipped on the new King’s head” (Speck).
This particular incident was not depicted in these sumptuous engravings, which are: portraits of all who processed to the Coronation, from the “King’s Herb-woman and her 6 Maids”, strewing the way with “Baskets of sweet herbs & Flowers”, to Courtiers, Choristers, Lords and Ladies of the Realm, to the Queen and King themselves, followed by one hundred the “King’s Guard of His Body”; a plan and view of the interior of the Church of St. Peter in Westminster, the Coronation, and “Inthronization”; a seating plan for the Coronation Dinner at Westminster Hall; and the spectacular firework display that ended festivities.
The accompanying text is ‘A Journal of the Preparations In Order to Their Majesties Coronation;...’, ‘A Description of the Sacred and Royal Habits,...’, ‘A Description of the Crowns and Scepters’, ‘A Description of the Their Majesties Royal Robes’. Followed by a blow-by-blow account of the whole Coronation, from the arrival of the First Troop of HorseGuards to the Coronation Dinner, including a list of 144 dishes served, and ‘A Description of the Fireworks’.
Although the work is credited to Francis Sandford (1630-1694), it was actually almost entirely produced by Gregory King (1648-1712). He initially served as a clerk to the herald William Dugdale, whom he accompanied on “visitations to scrutinize pedigrees of the élite, [during which] he acquired a detailed knowledge of local and family circumstances, of the nature of communities, and of the increasingly uncertain interplay
of wealth and status. He spent five years criss-crossing the northern counties of England, finding the time to learn French and develop some skills as an artist” (Hoppit).
By 1672, he had turned his sights on London, and began work as an engraver to John Ogilby, who had obtained a royal warrant for a survey of Britain in 1671. “King helped to map Essex, digested the notes of the other surveyors, and, critically, in 1672 and 1673 joined Christopher Wren, John Aubrey, and Robert Hooke on a small committee with links to the Royal Society to draw up a questionnaire to be circulated to elicit information for Ogilby’s planned ‘Britannia’... Between 1675 and 1680 King spent much of his time as an engraver, often of maps, and was involved in a major survey of the new development of Soho in London—Soho Square initially took his name as King Square. But he remained in touch with his connections at the heralds’ office. In ill health Francis Sandford, Rouge Dragon pursuivant, often turned to King for help, notably for his ‘Genealogical history of the kings of England, and monarchs of Great Britain, &c. from the conquest to the year 1677’ (1677).
And Thomas Lee, Chester herald, began to make use of King. Through Lee’s patronage in May 1677 King took over Sandford’s office when Sandford became Lancaster herald, and until 1694 was very active in heraldic matters, becoming registrar of the College of Arms in 1684 and Lancaster herald himself when Sandford resigned, unable to accept the accession of William and Mary in 1689. Consequently, King went on further visitations to the midland counties and to London, helped organize the coronations of James II and William III and Mary II, and produced with Sandford the luxurious ‘History of the Coronation of … James II’ (1687)” (Hoppitt).
Provenance
1. From “The Great Wardrobe Office”, inscription on the recto of the first blank. The Office of the Great Wardrobe was established in about 1200, and responsible for all manner of garments, and textiles, including furs, and tapestries, of the royal household, including their horses, until it was abolished in 1782;
2. With the engraved armorial bookplate of Barons of Grantham.
KIP, Johannes
Nouveau Théâtre de la Grande Bretagne: ou description exacte des Palais du Roy et des Maisons les plus considerables des Seigneurs & des Gentilshommes du dit Royaume.
Publication
London, Joseph Smith, Marchand Libraire proche d’Exeter Exchange, a l’Enseigne d’Inigo Jones, dans le Strand 1724-1728.
Description
Six volumes in three. Folio, title-pages to volumes one-V printed in red and black, title-page to volume I with engraved vignette of the Royal arms, 394 engraved maps, plans and views, mounted on guards throughout; contemporary mottled calf, spines gilt decorated in nine compartments, green and citron lettering-pieces in two (540 by 330mm).
References Adams, ‘London Illustrated 1643-1851’, 1983, 22; Staatliche Museen zu Berlin, ‘Katalog der Ornamentstich-sammlung der Staatlichen Kunstbibliothek Berlin’, 1939, 2328.
Kip’s monumental work on British topography
A fine copy of this magnificent work. The ‘Nouveau Théâtre’ is justly celebrated for its survey of the country house during the Augustan age, recorded in the series of plates engraved by Kip and including the highly detailed depictions of gardens and parks. Influenced in origin by a series of French publications, this wonderful series of plates, like Buck’s views of towns some years later, is a celebration of a whole range of country houses and English prosperity, and just antedates the great Palladian revival in England.
The contribution by other engravers comprises an outstanding series of plates showing the royal palaces, naval towns (Harwich, Chatham, Rochester, Portsmouth, Plymouth and the Eddystone Lighthouse), cathedrals, the colleges of Oxford and Cambridge, and large panoramic views of London, Westminster, Oxford and Cambridge. The Scottish plates, which include a fine panoramic view of Edinburgh, are largely derived from Slezer’s ‘Theatrum scotiae’.
The genesis of the work however was in the late seventeenthcentury with Kip’s fellow Dutchman Leonard Knyff (1650-1727). It was his initiative to publish a series of engraved views of English country houses when he announced in the Post Man for 10-12th May 1698 that he ‘’hath undertaken, by way of Subscription, the Drawing and Printing of 100 Noblemen and Gentlemens Seats... A hundred Subscribers shall pay Ten pound each; Six pounds thereof at the time of their Subscriptions, and the remaining Four Pounds when half is finished to carry on the rest, and shall then be delivered, That every Subscriber shall have two Prints of each impression, which make in all 200’’. However Knyff encountered financial difficulties so that when the work was finally published the plates, which were engraved by Kip, were owned by David Mortier.
The work was greatly expanded during the 1710s, 1720s, as here, and again in the 1730s, with the result that the content of later copies tends to vary, some plates not being included at the behest of the buyer, as was probably the case with the present work.
Contents:
Volumes I and II: ‘... Description exacte des Palais du Roy...’, John Smith, 1724. 149 double-page engraved plates, including one folding, and one full-page, alphabetical table of the cities and market towns, bound without ‘Preface’, and description and list of plates to volume I.
Volume III: ‘... Description exacte des Archevechez & Evechez d’Angleterre de leur Fondations, Cathedrales,...’, John Smith, 1724. Additional engraved title-page, 10 folding, including large plans of London, Oxford and Cambridge, double-page, and five full-page plates, bound without the ‘Table Genealogique & Chronologique de la Ligne Royale d’Angleterre’, all called for.
Volume IV: ‘... Description exacte des Villes, Palais du Roy, Ports de Mer &c...’, John Smith, 1724. A folding engraved view of Westminster, and 15 further folding, 30 double-page, and 28 full-page plates, bound without plates XLV and XLVII ‘Vue de la Ville de Londres’, plates XIII and XIV of Greenwich have been replaced by a double-page view, and there are extra full-page plates of XXIII Gawthorpe, and LXXIII Thirlestane.
Volume V: ‘Supplement... ou Descriptions exacte ... d’Ecosse’, J. Groenewegen & N. Prevost, 1728. 84 engraved plates, including a large plate of the Edystone Light-House on two folding sheets, two further folding plates, 30 double-page, and 50 full-page, all called for.
Volume VI: ‘Atlas Anglois ou Description Generale de l’Angleterre’, John Smith, 1724. 38 double-page maps by Schenk and Valk (Chubb lxxxi), all called for.
Provenance
With the engraved armorial bookplate of John Rushout, second Baron Northwick (1759-1859), on the inside front cover of each volume. Northwick, renowned collector and connoisseur, particularly of Italian pictures of the fifteenth and early sixteenth centuries. His extensive collection was housed in purpose-built galleries at his estate, Northwick Park, and Thirlestane House in Cheltenham, which contained over 1400 pictures in 1859; in addition to sculpture, bronzes, antique gems and cameos, enamels, coins, carvings, miniatures, and manuscripts. Northwick was a founding subscriber to the British Institution; a member of the Society of Dilettanti; and a fellow of the Society of Antiquaries.
The Middlesex election of 1768
DYSON, Jeremiah
The Case of the Late election for the county of Middlesex considered on the principles of the constitution and the Authorities of Law [with] THORNTON, Bonnell. The Battle of the Wigs an additional Canto to Dr. Garth’s Poem of the dispensary. London, Printed by J. Lister, 1768; [and] [ANONYMOUS] Serious Considerations on a late very important decision of the House of Commons. London, Printed for S. Bladon, 1769.
Publication
London, Printed for T. Cadell, 1769.
Description Three works in one volume. Octavo (265 by 205mm). Half modern calf, marbled paper boards, gilt.
Collation
Pages [2]. 44; iv, 26; 38.
Three works related to the contentious “Middlesex Election”, the General Election of 1768, and the conduct of John Wilkes (1725-1797), who had been expelled from Parliament for writing a seditious pamphlet the ‘North Briton’ (1763) claiming that the Treaty of Paris, which ended the Seven Years’ War, had been far too generous to France, and had “saved England from the certain ruin of success”.
Provenance
George Montagu, Knight of Chawton (second of his three bookplates), and grandson of Jane Austen’s brother, Edward.
HARTLEY, James; ROWLANDSON, Thomas; and GILLRAY, James
History of the Westminster Election, containing every material occurrence, from its commencement on the first of April, to the final close of the Poll, on the 17th of May. To which is prefixed a summary account of the proceedings of the late Parliament, so far as they appear connected with the East India Business, and the Dismission of the Portland administration, with other Select and Interesting Occurrences at the Westminster Meetings, Previous to its Dissolution on the 25th Day of March, 1784. By the Lovers of Truth and Justice.
Publication
London, Printed for the Editors, and sold by J. Debrett, opposite Burlington-house, Piccadilly, and all other Booksellers, 1784.
Description Quarto (255 by 225mm). Frontispiece and 12 other double-page etched plates with contemporary hand-colour in full, three full-page; modern half blue morocco, gilt, all edges gilt.
First edition, with ‘Errata’ leaf, of this satirical commentary on the election of April and May 1784. The Treaty of Paris, signed on September 3, 1783, officially ended the American Revolutionary War. At the time Charles James Fox (1749-1806), stalwart champion of the American cause, recalcitrant radical intent on reducing the powers of the Monarchy (i.e. George III), and longterm MP for Westminster since 1780, and Lord North, led an increasingly strained coalition government. As a result of the Treaty, other British colonies came under strain, and at the end of November of 1783, the coalition presented a Bill to Parliament designed to put the administration of India onto a new footing. It passed the Commons by the comfortable majority of 229 to 120, but on the 15th of December it was “defeated in the Lords by eight votes, but only because the king had intervened decisively in the legislative process. Bishops and lords of the royal household had been threatened and cajoled. Fox was appalled. He warned the Commons that ‘We shall certainly lose our liberty, when the deliberations of Parliament are decided—not by the legal and the usual—but by the illegal and extraordinary exertions of prerogative’ (17 Dec 1783, Speeches, 2.275). When the king nominated William Pitt as prime minister, Fox therefore felt justified in opposing the appointment, and government came to a standstill as he used his majority in the Commons to obstruct the new minister’s measures. The crisis was resolved only in March 1784, when the king dissolved parliament. In the ensuing election Fox lost the argument decisively and Pitt was returned with a substantial majority” (Mitchell).
Though a classically trained artist, Thomas Rowlandson (1757-1827), who contributed fourteen of the illustrations in this work, turned to the art form that would define his career in 1780, as “the ingenious Caricaturist” (‘Morning Herald’). His political and socially satirical works were printed by a variety of publishers, including Hannah and W. Humphrey, as here, and S. W. Fores. The other two, are by his close friend James Gillray (1756-1815). These prints, published between March and April of 1784, lampoon the protagonists in the now infamous Westminster prime ministerial election: George III, as “Themistocles”, Fox as “Demosthenes”, and Pitt as “Judas Escariot”, who are introduced as such in the frontispiece.
Provenance
With ink library stamp at end dated June 26th 1950.
NOBLE, Rev. Mark
A History of the College of Arms, and the Lives of all the Kings, Heralds, and Pursuivants, from the Reign of Richard III. Founder of the College, until the Present Time. With a Preliminary Dissertation relative to the Different Orders in England, particularly the Gentry, since the Norman Conquest.
Publication
London, J. Debrett, Opposite Burlington House, Piccadilly, and T. Egerton, Whitehall, 1804.
Description
Quarto (300 by 235mm). four engraved portraits; Contemporary calf, covers and spine decorated with blind roll tools and gilt fillets.
Collation
Pages: [x], 2, [iv], 449, [i], lxii, [ii].
A noble book
First edition. “It is in vain to search into the records of time for the history of any family much before the eleventh century, especially in England. Previous to that period, the nation had undergone such vast convulsions by Danes, and Normans. We have, indeed, but a few scanty annals of history prior to that time; these are filled with extravagant legends, and the very little which remains, relates to the succession of our sovereigns, their wars, the battles they fought, the places they too, or destroyed” (‘Preliminary Dissertation’).
Provenance
With the engraved armorial bookplate of Hugh Lupus Grosvenor (1825-1829), first Duke of Westminster: landowner, politician, and very successful racehorse owner, dated Eaton 1884, on the inside front cover.
CRUIKSHANK, George; and CRUIKSHANK, Isaac Robert
The Poll Book for electing two Representatives in Parliament for the City and Liberty of Westminster, June 13 to July 1818 before Arthur Morris, Esq High Bailiff.
Publication London, J.J. Stockdale, 1818.
Description Octavo (212 by 128mm). Folding etched frontispiece plate, with contemporary handcolour in full; contemporary half colour calf, title in red-morocco lettering-piece.
The contentious general election of 1818
The 1818 General Election was “the first election to be held after the French and Napoleonic wars, at a time of huge economic distress and uncertainty, 1818 has attracted surprisingly little attention from political historians. In many ways, though, it broke new ground, ushering in a new age of party conflict and new forms of political activism. Far from being the easy victory for the Tories suggested by the final result, the election was intensely fought. Indeed more seats were contested in 1818 than at any time since 1734, with almost a third (120) of all constituencies going to the polls. Given that uncontested or ‘walk over’ elections were by this time a well-established norm – 80% of constituencies on average failed to field rival candidates between 1741 and 1812 – this dramatic upsurge in contests marked a major change, both for politicians and would-be voters” (House of Commons online).
PYNE, William Henry
The History of the Royal Residences of Windsor Castle, St. James’s Palace, Carlton House, Kensington Palace, Hampton Court, Buckingham House, and Frogmore... Illustrated by one hundred highly finished and coloured engravings, fac-similes of original drawings by the most eminent artists.
Publication London, Printed for A. Dry, 1819.
Description
Three volumes. Large quarto (400 by 320mm). 100 aquatint plates with contemporary hand-colour in full, paper watermarked 1817; contemporary cathedral binding of purple morocco, gilt, all edges gilt.
References Abbey ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 396; Tooley, ‘Some English Books’, 1935, 389.
Grand Designs
A superb large-paper, early issue, example of this elegant book illustrating the Royal Residences. William Henry Pyne (1770–1843) was a longtime collaborator of Rudolph Ackermann’s. Their first book together was the ‘Book with Groups of Figures by Pyne for Decorating Landscapes’ (1798). However, the ‘The History of the Royal Residences’, is Pyne’s most significant project, which he attempted to produce himself, very much in the Ackermann mould. He wrote the text, commissioned the artists (C. Wild, J. Stephanoff, W. Westall and R. Cattermole), and engravers (T. Sutherland, D. Havell, R. Reeve, W.J. Bennett and others), for the one hundred sumptuous aquatints. As is so often the case, the costs of such a lavish production spiralled out of control, and although the first part was issued in 1816, Pyne sold the rights to the work at a loss, while retaining editorial control. Eventually Pyne returned to the Ackermann fold, and edited the last four volumes of Ackermann’s ‘The World in Miniature’ (1827).
BOWYER, Robert
An Impartial Historical Narrative of those Momentous Events which have taken place in this Country during the Period from the Year 1816 to 1823. Illustrated with Engravings by the finest artists.
Publication London, Printed by Thomas Bensley,... for Robert Bowyer, 1823.
Description Folio (497 by 365mm). Four engraved plates, one mezzotint printed on India paper and laid down, and three hand-coloured aquatints; contemporary half black calf, marbled paper boards, gilt, black morocco lettering-piece on the front cover, a bit worn.
Collation Pages [ii], [1]-44; A-M2.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 259; Smith for ODNB.
The “trial” of Caroline of
Brunswick
Bowyer’s is a magnificently illustrated tale of Royal woe: it concerns the succession crisis left by the tragic death in childbirth of Princess Charlotte, the only child of the unhappy marriage between the future George IV and Princess Caroline of Brunswick-Wolfenbüttel (1768–1821); and the “trial” of Queen Caroline after the death of George III, in 1820.
Estranged from his wife from four days after the birth of their daughter, Princess Charlotte, as soon as George IV became king he took steps to exclude Caroline from the Royal family for good. The, now nominally, Queen Caroline, living in exile in Europe, became incensed, and immediately tried to return to England to fight for her rights. The whole argument devolved into a political mess: the King supported by the conservative factions, and the Queen by the majority of the public and some radical factions.
A bill of “pains and penalties” was brought to the House of Lords, intended to strip Caroline of her title and to end her marriage by act of parliament. It “was one of the most spectacular and dramatic events of the century. The queen’s progresses to and from Westminster to attend the ‘trial’, as it became known, were attended by cheering crowds; deputations by the dozen visited Brandenburg House to present addresses, the newspapers published verbatim accounts of the Lords’ proceedings, and the caricaturists on both sides had a field day. So, obscene were some of the prints against the king that over £2500 was spent in buying them up and suppressing their publication. Against this proof of public support for the queen the ‘trial’ was doomed to failure. The witnesses were clearly unreliable and were discredited by the cross-examination of her counsel, Henry Brougham and Thomas Denman. Many of the witnesses were believed to have been bribed or intimidated, and the widespread knowledge that George himself had had several mistresses added to the belief that Caroline was a victim, if not an entirely innocent one, of royal and political persecution. In the end, though the circumstantial evidence against her was strong enough to convince many peers of her guilt, many also feared that her condemnation would spark off popular rioting or even revolution. Ministers realized that even if the Lords passed the bill the House of Commons would almost certainly reject it under intense pressure from their constituents. The bill passed its third reading in the Lords by only nine votes and Liverpool, the prime minister, announced on 10 November that it would proceed no further. Caroline had not, strictly speaking, been acquitted of the charges against her, but the public verdict was in her favour as a wronged woman unjustly persecuted by a husband no better than she was. A great crowd turned out to witness her procession to a thanksgiving service organized by her supporters in St Paul’s Cathedral on 29 November 1820, when the psalm ordered for the service was no. 140—’Deliver
me, O Lord, from the evil man’. Nevertheless, attempts to exploit her victory were unsuccessful. The cabinet rejected her demand for a palace and the king refused to let her be crowned with him. He was supported by the privy council who declared that a queen had no inherent right to coronation, which was at her husband’s discretion. When she tried to force her way into the abbey on coronation day, 20 July 1821, she was humiliated by being refused entry and she was jeered by the crowd that had so recently acclaimed her. The king spent most of his coronation service ogling Lady Conyngham, his current mistress” (Smith). Less than two weeks after the coronation, Caroline conveniently died suddenly of a short but painful illness.
COX, David, Jnr.
To her Majesty the Queen, These Views of Hampton Court are most respectfully Dedicated with permission by Her Majesty’s most obedient and humble Servant, David Cox Jnr.
Publication London, Privately Printed, c1840.
Description Folio (580 by 380mm). Six tinted lithographs, some occasionally heavy spotting; original red roan backed green cloth, red morocco lettering-piece on the front cover, a bit worn, stained.
Hampton Court through the ages
Exceptionally rare suite of lithographs of six scenes in Hampton Court, populated by figures in period costume relevant to their background architecture, and including a family portrait of the young Queen Victoria, Albert and seven of her children, before the “East Front from the Park”. The other images are of: “Principal Entrance Gate”, “West Front”, “Welsey’s Entrance”, “East Front”, and “Flower Pot Gate”.
David Cox junior (1809–1885), and his father David Cox (17831859), both were successful and prolific landscape painters. In 1841, Cox was elected an associate member of the New Society of Painters in Water Colours in 1841, the same year that he took over his father’s drawing classes, and publishing at least two books on the subject.
Rare: only known in one institutional example, as part of the Royal Collection.
Provenance
With the bookseller’s ticket of J. Dickinson, 114 New Bond Street on the inside front cover.
ROYAL PALACES; GRUNER, Wilhelm Heinrich Ludwig; and JAMESON, Mrs. Anna Brownell
The Decorations of the GardenPavilion in the Grounds of Buckingham Palace.
Publication London, Imprinted by Iohn Wolfe, Printer to London, John Murray; Longman & Co.; P & D. Colnaghi; F.G. Moon; and L. Gruner, 1846.
Description
Folio (450 by 340mm). 15 lithographed plates, including six with contemporary hand-colour in full, and four tinted, edges a bit frayed; modern scarlet cloth.
References Johnston for ODNB.
The introduction of Italian fresco to Britain
The old Houses of Parliament were destroyed by fire in October 1834, three years before Queen Victoria was crowned in 1837. Work on the re-building of Westminster Palace began shortly thereafter, and Prince Albert was appointed Chairman of the Royal Commission on the Fine Arts, briefed with the task of decorating the new Palace of Westminster. One of the ideas he came up with was to use the Italian art of fresco.
Rather than take a risk with such a large-scale project first, it “it occurred to Her Majesty and His Royal Highness Prince Albert, that it would be well to have the experiment made on a small scale, yet under circumstances which might lend it a more than common interest, and at the same time offer to some of our first artists at once a high motive and a fair opportunity to try their power in this new old method” (Jameson).
The Garden Pavilion at Buckingham Palace, was a small cottage intended as “a place of Refuge” for Victoria and Albert, but its decoration “turned into a major project and was [Albert’s] personal laboratory, in which he, Charles Eastlake and Ludwig Gruner oversaw the experimental work of eight British artists. The Prince saw it as a step towards the introduction of the Italian technique of fresco to Britain, and commissioned artists to decorate rooms dedicated to the works of native authors, such as Comus by John Milton” (Royal Collections online).
Anna Jameson (1794–1860), “the celebrated Mrs. Jamieson (sic)” (Carlyle), renowned art critic, travel writer, historian, and biographer, mostly for and about women, is probably best remembered now, as the author of the book ‘Characteristics of Women, Moral, Poetical and Historical’ (1832), called ‘Shakespeare’s Heroines’; and for her friendship with both Elizabeth Barrett and Robert Browning, who affectionately called her “Mona Nina” or “Aunt Nina”. As a warning to us all, Anna Jameson died of bronchial pneumonia contracted as a result of “long hours in the British Library and walking home in a snowstorm” (Johnston).
BASSANO, Alexander
“England”.
Publication London, 1882.
Description
Folio (445 by 310mm). Album of 191 albumen prints laid down on 97 pages, each captioned in manuscript; contemporary half maroon morocco, maroon cloth, gilt, maroon morocco gilt lettering-piece on the front cover.
Royal portraits
Including portraits of Queen Victoria, Prince Edward and his wife Princess Alexandra, and Princess Beatrice, Victoria’s youngest daughter. Photographed by renowned photographer Alexander Bassano in May of 1882. Other images are of landmarks in London, including many interiors of the Palace of Westminster, St. Paul’s Cathedral, and the Crystal Palace, many dated 1882; Royal palaces; paintings from the National Gallery; panoramic view of Oxford; views in Berwick on Tweed and Durham; the Lake District; Brighton; Arundel; Chichester; Portsmouth; Isle of Wight; portraits of Nelson and H.M.S. ‘Victory’.
Alexander Bassano (1829–1913), opened his first photographic studio in the 1850s, in Regent Street. Between then and 1876, he operated from various addresses, until he opened his flagship studio in Bond Street. “Bassano’s studio and gallery at 25 Bond Street was grand and well equipped. Spread over three floors, it included a series of drawing rooms, where visitors waited for their sittings while admiring the carbon prints on the walls—three-quarter length portraits taken on large glass plates (48 by 36 inches), which included the duke of Connaught and the duchess of Marino. Three sculpture busts by Bassano, of the duke of Connaught, the prince imperial, and John Evelyn of Wotton, stood in the corner of one room. A broad staircase passed the spacious dressing rooms, before reaching the two large studios, both lit by daylight from north-east and south-east, so that both ends of the rooms could be made use of. When electric light superseded gas in the 1880s Bassano was able to keep the studio open through the night during court receptions, capturing London society in its finery... Influential Londoners flocked to Bassano’s studio. He photographed many stars of the arts, such as Herbert Beerbohm Tree, Ellen Terry, Marie Tempest, Lawrence Alma-Tadema, and Frederic Leighton. Among the politicians who sat for him were William Gladstone, Robert Gascoyne-Cecil, Henry Campbell-Bannerman, and Arthur Balfour. One of his early triumphs, in the 1870s, was a sitting with the prince of Wales. Bassano subsequently captured the family of Queen Victoria and Prince Albert on many occasions, and he was invited to Marlborough House to photograph the future Queen Alexandra. He received a royal warrant in 1890” (Brown).
PARKS AND PROMENADES
BIRCH, William
Delices de la Grande Bretagne. Engraved and Published by William Birch, Enamel Painter, Hampstead-Heath.
Publication London, Sold by Edwards, Pall-Mall; and Dilly, in the Poultry, 1791.
Description
Oblong quarto (210 by 250mm). 37 stipple-engraved plates with tissue guards, interleaved with text; half tan calf, marbled paper boards, hinges starting, a bit scuffed.
Collation
Pages [i]-x; [iii], [42] (interleaved with plates).
An early view of Golders Green
With four pages of subscribers, who included some interesting individuals, such as George Stubbs, and Horace Walpole. Images of London are: Wilson’s ‘A View of Kew Gardens’. Robson’s ‘A Meadow Scene at Hampstead’, Birch’s own ‘View of Ken Wood’, Barrow’s ‘Strawberry Hill’, Hodge’s ‘A View of the Park from a Room in Pall Mall’, Samuel’s ‘A View of the Thames during the Frost in 1789’, Russel’s view of ‘Golders Green’, which by the early nineteenth-century had been encircled by housing.
Provenance
Engraved armorial bookplate.
BAYNES, Thomas Mann; and HULLMANDEL, Charles Joseph
Twenty Views in the Environs of London. Sketch from Nature, and drawn on stone.
Publication London, D. Walther, 1823.
Description Folio (475 by 350mm). Letterpress titlepage and contents leaf, with a short tear; 20 lithographed views on India paper, laid down on heavy stock; contemporary half red morocco, marbled paper boards, gilt.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 222.
Days out in early-nineteenth century London
Thomas Baynes’s (1794-1877) pastoral views of places around London that would all too soon become suburbia, are of: Hampstead, Muswell Hill, Highgate, the Highgate Archway, Greenwich, Blackheath, Woolwich, Clapham Common, Norwood, Richmond Bridge, Richmond Hill, Twickenham, and Chiswick.
The plates were printed by Charles Joseph Hullmandel (1789–1850), who would become the finest, and most prolific, lithographic printer in Britain of his day, having met Alois Senefelder, the inventor of the technique, in Paris in 1818. Most of the major improvements made to lithography in Britain in the 1820s and 1830s can be attributed to him. In 1835, he printed the colour plates for Hoskins’s ‘Travels in Ethiopia’ (1835), the first of their kind to be published in Britain.
Rare: no examples appear in commerce, in available records since the 1960s.
POWELL, Joseph; and HULLMANDEL, Charles Joseph
Six Views on Clapham Common. Drawn from Nature & on Stone.
Publication Marylebone, 14 Allsop’s Buildings, New Road [Jan.y 31st, 1825].
Description
Oblong folio (330 by 490mm). Six lithographed plates, a few pale stains, some occasionally heavy spotting, corners creased; original publisher’s grey paper wrappers, stabbed and sewn as issued, printed paper label on the front cover.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 224.
Clapham Common just before the Omnibus
Powell captures the pastoral idyll that is Clapham Common at the beginning of the nineteenth century, just as the London metropolis began to encroach on its landscape: the Stage Coach stopped around the Common in 1825, and the famous Omnibus service arrived in 1830. The views are: a ‘View from the Mount Pond, on Clapham Common, Looking N.E.’, ‘View of the N.E. End of Clapham Common’, ‘View from the S.E. Corner of Clapham Common’, ‘View of the S.E. End of Clapham Common’, ‘View from the Mount Pond on Clapham Common, Looking S.E.’, and ‘View from the Nine-Elms on Clapham Common, Looking S.W.’.
The large and ancient tree, possibly a black poplar, that appears on the label on the front cover, may be the ancient “seat tree”, or, “Captain Cook’s tree”, planted by his son, also James Cook, in-memoriam. Captain Cook’s widow lived to a very great age, in Clapham, after his death.
Joseph Powell (1780–1834), sometimes mistakenly referred to as John Powell, was a fine British watercolour artist. Rumoured to have argued with William Turner of Oxford (not to be confused with The William Turner), and rejected by the Society of Painters in Water Colours, he helped to found the alternative New Society of Painters in Water Colours, of which he was first president, in 1831.
The plates were lithographed by Charles Joseph Hullmandel (1789–1850).
POWELL, Joseph; and HULLMANDEL, Charles Joseph
Six Views on Clapham Common. Drawn from Nature & on Stone.
Publication Marylebone, 14 Allsop’s Buildings, New Road [Jan.y 31st, 1825].
Description
Six lithographed plates (330 by 490mm), matted, some edges frayed, a bit browned; preserved in a modern green cloth clamshell box.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 224.
Clapham Common just before the Omnibus
Powell captures the pastoral idyll that is Clapham Common at the beginning of the nineteenth century, just as the London metropolis began to encroach on its landscape: the Stage Coach stopped around the Common in 1825, and the famous Omnibus service arrived in 1830. The views are: a ‘View from the Mount Pond, on Clapham Common, Looking N.E.’, ‘View of the N.E. End of Clapham Common’, ‘View from the S.E. Corner of Clapham Common’, ‘View of the S.E. End of Clapham Common’, ‘View from the Mount Pond on Clapham Common, Looking S.E.’, and ‘View from the Nine-Elms on Clapham Common, Looking S.W.’.
The large and ancient tree, possibly a black poplar, that appears on the label on the front cover, may be the ancient “seat tree”, or, “Captain Cook’s tree”, planted by his son, also James Cook, in-memoriam. Captain Cook’s widow lived to a very great age, in Clapham, after his death.
CHURCHES AND CHAPELS
LONDON’S CHURCHES; DART, John
Westmonasterium: or The History and Antiquities of The Abbey Church of St Peters Westminster. Containing an Account of its ancient and modern Building, Endowments, Chapels, Altars, Reliques, Customs, Privileges, Forms of Government &c. with y.e Copies of ancient Saxon Charters &c and other Writings relating to it....
Publication
London, Printed & Sold by James Cole Engraver in Hatton Garden, Joseph Smith Print Seller near Exeter Exchange, Tho. Bowles Print Seller in St. Paul’s Church Yard, Jer: Batley Book Seller in Pater Noster Row. Tho. Taylor Print Seller in Fleet Street, John Bowles Print-Seller over against Stocks-Market, and by Andrew Johnstone in Round Court y.e. Strand, 1723-[1727].
Description
Two volumes. Folio (450 by 345mm). Frontispiece and engraved title-page to each volume, three double-page and 132 engraved plates, numerous head-pieces and initials. Contemporary full crimson calf, gilt to volume one, detached, volume II disbound, all edges gilt.
John Dart’s posthumous, exhaustive, but inaccurate history of Westminster Abbey, is best remembered for the magnificent engravings by its publisher James Cole. Also, for its long list of interesting subscribers, which included not only “the noble or gentle relatives or descendants of the deceased together with the clergy, university dons and librarians, City merchants, country gentlemen and booksellers. However the following had a professional interest in the production of the work: the architects Colen Campbell, J. Leoni, simon Schynvoet and John Talman; Edward Strong, master mason, and Robert Taylor the mason and monument carver; the painters Sir James Thornhill and John Dowling; Richard Archer and Andrew Johannot, paper makers; with the engravers forming the largest category, namely Bernard Baron, John Clark, Benjamin Cole of London and Benjamin Cole of Oxford, Claude Du Bosc, John Faber, Sutton Nicholls, John Pine, William Toms and Gerard and John van der Gucht” (Adams).
Provenance
From the library of the earls of Bathurst, with their cypher on the verso of the front free endpaper, and the engraved book label of Henry (1762-1834), the third earl, and Knight of the Garter, on the inside front cover.
LONDON’S CHURCHES; WEST, Robert; and TOMS, William Henry
Perspective Views of all the Ancient Churches, and other Buildings, in the Cities of London, and Westminster, and Parts adjacent, within the Bills of Mortality.
Publication London, For the Proprietors, Robert West, at the Blue Spike in Compton-Street, Soho, Painter; and William Henry Toms, in UnionCourt, opposite to ST. Andrew’s Church, in Holbourn, Engraver; and Published, March 16, 1736 - March 18, 1739.
Description
Two parts in one volume. Oblong folio (380 by 545mm). List of Subscribers in each volume; 24 engraved plates; original publisher’s half tan calf, grey paper boards rebacked.
“An indispensable record of the appearance of London churches mostly now vanished without trace or demolished and rebuilt” (Adams)
Exceptionally rare first edition of the only parts of this survey of pre-1666 London Fire churches to be originally published. In spite of each volume garnering about two hundred subscriptions, including from many wellknown people, such as William Hogarth, Thomas Bowles, Nathaniel Buck, James Cole, John Pine, the engraver Hubert François Gravelot, and the architect James Gibbs, the work appears not to have been a success. The series was discontinued, and complete examples are very hard to find. Nevertheless, the work is still considered a “an indispensable record of the appearance of London churches mostly now vanished without trace or demolished and rebuilt” (Adams). Two supplemental plates of St. Leonard’s in Shoreditch when a selection was subsequently re-issued by Robert Sayer in 1775.
The engraver of the views, William Henry Toms (died 1765), is probably best known for engraving Henry Popple’s large wall-map of North America, ‘A Map of the British Empire in America’ (1733). The 1730s were his most prolific and most desperate period, as in addition to the Popple map and this series, he was engraving another two, both from 1735: for Francis Blomefield, ‘An Essay towards a Topographical History of the County of Norfolk’; William Maitland’s monumental ‘History of London’. All to pay the medical bills for his ailing wife. Not much more is known of Robert West.
Part I. “Containing Twelve Parish Churches within the City of London, being all that are now standing, which escaped the Fire in 1000, Viz: Alhallows Barking, Alhallows Staining, Alshallows London-Wall, St. Alphage, St. Andrew Under-Shaft, St. Ethelburgh, St. Helen, St. Katherine Coleman, St. Martin Outwich, St. Olave Hart-Street, St. Peter Le Poor”.
Part II. “Containing Twelve Ancient Churches and Chapels within the Liberty of London, &c. Viz: St. Bartholomew the Great, St. Bartholomew the Less, St. Botolph without Aldersgate, St. Botolph without Aldgate, St. Dunstan in the West, St. Giles without Crippelgate, St. Olave in Southwark, St. Saviour in Southwark, St. Sepulchre, The Temple Church, The Chapel Royal in the Tower, K. Henry VII’s Chapel at Westminster”.
Rare: no complete set of the initial series has been offered in available records; the British Library has two examples of the first two parts, as does the Royal Collection, and UCL, the Wellcome Institute, the second part only.
Provenance
With the bookplate of the Royal Borough of Kensington Public Libraries on the inside front cover, and the ink library stamps of Kensington Public Libraries on the verso of the title-page, and each plate.
SAYER, Robert; CANALETTO, Antonio; and others
One Hundred and Sixteen Perspective Views in Great Britain and Ireland: Containing The most remarkable Buildings, Streets, and Squares, in the Cities of London and Westminster, Edinburgh and Dublin; The Royal Palaces, Hospitals, Villages, Noblemen and Gentlemen’s Seats and Gardens, on the Borders of the River Thames; with others of Castles and Romantic Spots in England, Scotland, and Ireland.
Publication London, Robert Sayer, 1774.
Description
Oblong folio (350 by 515mm). Letterpress title-page printed in English and French, torn with loss and renewed in manuscript facsimile, 113 engraved plates, one torn with loss and renewed; modern half tan calf, marbled paper boards, original printed paper label on the front cover.
“A unique composite picture of Georgian London and a reconstitution of the portfolios which the prospective purchaser of London views would be shown at Sayer’s shop in the 1760s” (Adams)
An interesting and rare series of plates, only known in one other example, and not known to Adams.
Robert Sayer has gathered together a selection of plates from his own, and his colleagues’ (Henry Overton, John, Thomas and Carrington Bowles) previously published series of views, originally published from the 1730s to the 1750s. Sayer has added a new title-page, and contents leaf (not present). The current collection includes: nineteen engravings of drawings by Canaletto, engraved variously by Grignion, N. Parr, E. Rooker, John Stevens, J.S. Muller, and Thomas Bowles, although, according to Constable, the original drawings are currently not known; Sayer’s edition of the suite of ‘Fourteen Perspective Views of antient Churches and other Buildings’; eight plates of Scotland; six of Dublin; three of Oxford and one of Cambridge. The majority of the rest are of London.
In the context of a reissue of seventy-one of the plates by Laurie in 1840, Adams writes: “The collection is therefore invaluable since it incorporates in a single volume a number of mid-eighteenth century prints usually only to be found in topographical collections scattered throughout many portfolios... moreover they afford a unique composite picture of Georgian London and a reconstitution of the portfolios which the prospective purchaser of London views would be shown at Sayer’s shop in the 1760s”.
In January 1747, Robert Sayer’s (1725-1794) elder brother James married Mary Overton, widow of the print- and mapseller and publisher Philip Overton, and by the 20th December 1748, he had taken over the firm and continued to run it until his health broke down in about 1792. This gave him a substantial stock to which he added selectively, at first working in partnership with other publishers, notably Thomas Bowles (II) and John Bowles, but also William Herbert. As a result, Sayer became very wealthy, but by about 1790 he was suffering from ill-health; in about 1792 he took on Robert Laurie and James Whittle as junior partners and sold them the business, again on favourable terms, with them taking control on 12th May 1794, after Sayer’s death.
Rare: only one other example known, sold at Christie’s, 1995, with 115 plates.
Bells are ringing
BARROW, J.C. [after] G.J. PARKYNS
Picturesque Views of Churches and other buildings.
Publication [the author], 1790-1793.
Description
Four volumes. Folio (515 by 365mm). 16 etched plates with aquatint, all with original tissue guards; original publisher’s blue paper wrappers, sewn as issued, black cloth clamshell box.
Barrow and Parkyns’ ‘Picturesque Views of Churches and other buildings.’ It was intended to be issued in six parts, with each part containing four views, together with explanatory text. Only four out of the six parts were ever issued. It is unclear why this was the case, either the projected ran out of capital, or Parkyns’ move to America, in 1794, led to the projects early end.
Vol. 1: Twickenham church, Hanworth church, Lee church, and Lewisham church.
Vol 2: Place House, Kent; Gateway of the ancient palace on Richmond Green; Old School-House, Marylebone; Alban’s Abbey. Vol. 3: Kidwelly Church, Caermarthenshire; Debden Church, Essex; Mickleham Church, Surrey; Waltham Cross, Herts.
Vol. 4: Upminster church, Essex; Beckenham church, Kent; Villa at Chertsey, Surrey; Newstead Abbey, Nottinghamshire.
Joseph Charles Barrow (fl 1789-1804), didn’t go into his father’s linseed oil business, and instead pursued a career as a painter. He is noted as exhibiting at the Royal Academy between 1789 and 1802. In 1792, he set up a painting school at 12 Furnival Court, Holborn, were he gave evening classes twice a week. John Varley (1787-1842) was a noted pupil. George Isham Parkyns (1750- c1820), artist and engraver, began his career painting local scenes of the Nottinghamshire countryside. Moving to London in the 1780s, he contributed to the current work, and Sir John Soane’s ‘Sketches in Architetcure’. In 1794, he sailed to America, where he had been commissioned to paint 24 views of America’, however only four where completed.
LONDON’S CHURCHES; BRAYLEY, Edward Wedlake; HOLLAR, Wenceslaus; and others
A Concise Account, Historical and Descriptive, of Lambeth Palace.
Publication
London, Printed by S. Gosnell, Little Queen Street, for E. W. Brayley, Wildnerness Row, Goswell Street; W. Herbert, Globe Place, Lambeth, 1806 [- c1820].
Description
Folio (475 by 300mm). Additional engraved vignette title-page, engraved mezzotint frontispiece, and 18 views and portraits, the frontispiece and five others with contemporary hand-colour heightened in gold, bound with 95 extra blank leaves especially for extra-illustrating with numerous engraved views and portraits, some hand-coloured, an additional 20 engraved plates bound in; contemporary red morocco, gilt.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 209; Freeman for ‘A New Dictionary of Eponyms’, 2002.
Lambeth
Palace: extra-illustrated with engravings by Hollar and De Passe et al
One of a handful of large-paper examples especially bound for extraillustrating, with, in this case, one original watercolour, numerous engraved views, portraits, and maps, from the sixteenth to the nineteenth century, mostly tipped-in, some inset into the heavier stock, and others boundin in their entirety.
Highlights, in order of approximate date of publication, include:
Woodcuts from an early edition of John Foxe’s ‘Acts and Monuments’ (1563 or later), showing the fate of Richard Hunne, Lollard (two versions); Thomas Whittle sitting in the stocks; and Latimer preaching before King Edward VI.
An early anonymous woodcut of the ‘Insurrection of the Apprentices at Lambeth’, early-seventeenth century Robert Vaughan’s engraving of the shrine of St. Thomas of Canterbury, 1622 or later Wenceslaus Hollar’s: ‘[Th]e Manner and Forme of the Arch-bishop’s Tryal in the House of Pe[eres]’ frontispiece for ‘A Breviate of the Life of William Laud’ by William Prynne, published by Michael Sparke, London, 1644; ‘Palatium achiepiscopi Canurariensis propae Londinum Lambeth House’ (’Prospects’, 1647) [Pennington 1038 iii/iii, New Hollstein (German) 951 iii/iii (Hollar)], one of Hollar’s views of London, with the serial number “3” engraved in the bottom right corner; and two plates from William Dugdale’s ‘Monisticum Anglicanum’ (1655 and later) by Richard Newcourt and Thomas Johnson, engraved by Hollar.
Two further engravings from William Dugdale’s ‘Monisticum Anglicanum’ (1655 and later) by Richard Newcourt and Thomas Johnson and engraved by Daniel King.
Simon de Passe’s portrait of Francis Bacon, engraved shortly after his death in 1626; another of George Abbot, Archbishop of Canterbury (1616); and also a previously unrecorded portrait of William Sancroft, possibly by De Passe; another portrait of William Sancroft, this time by Robert White, after Edward Lutterell, late-seventeenth century.
A portrait of Thomas Cranmer after Hans Holbein, the younger (1679).
Pierce Tempest’s engraved view of Lambeth House from the River Thames, “taken at the Revolution”, after William Lodge (c1690).
Leonard Knyff’s ‘Lambeth, His Grace the Lord Archbishop of Canterburys Pallace / Lambeth la Maison de l’Archevesque de Canterbury’ (dated 1697) engraved by Johannes Kip.
Johannes Kip’s ‘Tower of London’ from John Stow’s ‘A Survey of the Cities of London and Westminster’ (c1720 or later).
Samuel and Nathaniel Buck’s view of St. Austin’s Abbey in Canterbury (1735); and another of Lambeth-Palace.
A series of impressive plates from George Vertue’s ‘Vetusta Monumenta’ (1755), including the double-page and folding plan of Canterbury Cathedral.
Benjamin Cole’s engraving, ‘The Arch-Bishop of Canterbury’s Palace at Lambeth’, from the second edition of Maitland’s ‘History of London’ (1756).
A series of portraits and accompanying text from ‘Portraits of Illustrious Personages of Great Britain ... with Biographical and Historical Memoirs of Their Lives and Actions’ (from 1821).
An original watercolour drawing of a medieval Archbishop of Canterbury being crowned, possibly Thomas Beckett, nineteenth century.
And other engravings by Henry Overton, Robert Sayer, and many, many more. The popular late-eighteenth, early-nineteenth century fashion for first cutting out from one book, and then pasting into another, various related portraits and views, now known as “grangerising”, was established in 1769, when James Granger (1723-1776) published a ‘Biographical History of England from Egbert the Great to the Revolution, Consisting of Characters Dispersed in Different Classes, and Adapted to a Methodical Catalogue of Engraved British Heads’, in six volumes. “He had collected some fourteen thousand engraved portraits cut from books to serve as illustrations in his book. In addition, his book contained a number of blank pages for illustrations, prints, newspaper cuttings, or anything else he might filch later” (Freeman).
Edward Wedlake Brayley (1773–1854), is most famous for publishing the legitimately illustrated ‘Beauties of England and Wales’ (1801-1816) in 25 volumes, and for a popular ballad called ‘The Powder Tax, or, A Puff at the Guinea Pigs’. He died in Soho of the cholera outbreak of 1854, that led to John Snow’s groundbreaking epidemiological survey that established that the Broad Street pump was the main source of the deadly infection.
Provenance
1. With the engraved armorial bookplate of Arthur Wellesley, Viscount Peel (1829-1912), on the inside front cover, and further inscribed by him, “Arthur Peel, Sandy 1891”, on the recto of the first blank. Peel was the youngest son of Robert Peel, prime minister of the United Kingdom, named for his godfather, the military hero, the Duke of Wellington. He rose through parliamentary rank to be a formidable speaker of the House of Commons, and upon retirement chaired the royal commission on the licensing laws (1896–9). He was chairman of the trustees of the National Portrait Gallery (1898–1908), and an active trustee of the British Museum from 1898 until 1908;
2. With the library label of David Arthur Peel (1910-1944) on the inside front cover.
LONDON’S CHURCHES; BRAYLEY, Edward Wedlake; and HERBERT, William
Lambeth Palace Illustrated by a Series of Views Representing its most Interesting Antiquities in Buildings, Portraits, Stained Glass &c.
Publication London, Published by Ja.s Carpenter, Old Bond Street, for E.W. Brayley, Wilderness Row & W. Herbert, Globe Place, May 1, 1806.
Description Folio (495 by 320mm). Engraved vignette title-page, mezzotint frontispiece, and 18 views and portraits, the frontispiece and five others with contemporary handcolour heightened in gold, bound without letterpress title-page; original publisher’s drab paper boards, backed with parchment, a bit scuffed.
Collation: pages[i]-iv, [1]-87; A-Z2.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 209; Freeman for ‘A New Dictionary of Eponyms’, 2002; Nurse for ODNB.
Lambeth Palace
William Herbert, born William Herbert Wilderspin (1772–1851), first worked with Edward Wedlake Brayley, on their compilation ‘Syr Reginalde, or, The Black Tower’ (1803). In the ‘Advertisement’ to this, their book on Lambeth Palace, Herbert is “credited” with supervising “every drawing,... in company with the artist compared on the spot, and the engravings in their progress watched with similar attention. This has occasioned a delay neither agreeable to their wishes nor their interest; but as the publication has most certainly benefited by it, they on that ground their claim to the indulgence of their subscribers”.
Herbert’s interest in prints led him to capitalize on the vogue for extra-illustrating, or grangerising, popular topographical works, and this work was also published in a handful of large-paper examples, especially bound for extra-illustrating. Taking that thought one step further, in 1808 Herbert published his own series of engraved copies of old illustrations of London under the title ‘Londina illustrata’.
In 1828, Herbert was appointed the first librarian of the City of London’s Guildhall Library. During the course of his tenure, he increased the library’s stock from about 1700 books to over 10,000, “adding numerous prints and drawings, some miscellaneous antiquities, and manuscripts including one of the most notable purchases, the deed signed by William Shakespeare” (Nurse).
ROYAL PALACES; SMITH, John Thomas
Antiquities of Westminster; the Old Palace; St. Stephen’s Chapel, (now the House of Commons) &c. &c. [and] Sixty-two additional plates to Smith’s Antiquities of Westminster most respectfully dedicated to the King,...
Publication
London, T. Bensley, [and] J.T. Smith, June 9, 1807.
Description
Quarto (330 by 270mm). 14 engraved and or etched plates, some with aquatint, with contemporary hand-colour, 24 uncoloured, and 62 supplemental plates; modern brown morocco backed blue boards.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 210.
Possibly the first lithograph included
in an English book
John Thomas Smith (1766–1833), began work on the illustrations for this work as early as 1800, when restorations at St. Stephen’s Chapel uncovered fourteenth-century paintings. “Having completed the sketches in six weeks of solid work, Smith planned to publish a volume including an account written by the antiquary John Sidney Hawkins. A setback arose when the authorities transferred the rights to reproduce these paintings to the Society of Antiquaries. Although Smith eventually went ahead with ‘The Antiquities of Westminster’ (1807), the project was evidently fated, as a fire in Mr Bensley’s printing office resulted in the destruction of 400 remaining copies of the work, and Smith lost over £3000 of potential revenue” (Abbey).
By chance, the work may contain the first lithograph published in an English book: the untitled thirteenth plate, of the painted chamber. “Courtney Lewis, in his ‘Picture Printing in England’, page 121, claims that this is the first lithograph published in an English book. The art was, however, practised in England as early as 1801, and it is possible that other examples in books of a more ephemeral nature may be found” (Abbey). Apparently, only 300 examples of the book include this plate, as the stone dried with the artist’s drawing stuck to it.
ROYAL PALACES; SMITH, John Thomas
Antiquities of Westminster; the Old Palace; St. Stephen’s Chapel, (now the House of Commons) &c. &c. [and] Sixty-two additional plates to Smith’s Antiquities of Westminster most respectfully dedicated to the King...
Publication
London, T. Bensley, [and] J.T. Smith, June 9, 1807.
Description
Two volumes. Quarto (320 by 280mm). 14 engraved and or etched plates, some with aquatint, with contemporary hand-colour, 24 uncoloured; and 62 supplemental plates in volume II; modern designer binding of full vellum, each cover with original watercolour drawing in pen and ink and colour wash, and a fore-edge painting, after Smith, by Wendy Taylor, preserved in a modern cloth, morocco-lipped slipcase.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 210.
Possibly the first lithograph included in an English book; in designer binding by Wendy Taylor
This example of Smith’s work bears beautiful watercolours after Smith’s engravings by the artist and sculpture Wendy Taylor (b 1945).
The first volume bears a watercolour of an exterior view of Henry VII Chapel, Westminster Abbey, with a view of the Old Horse Ferry to the lower cover; the second volume a view of Old Whitehall Palace from the Thames, with a view of Old Whitehall Stairs to the lower cover. The first volume’s fore-edge painting is after Thomas Sandby’s ‘A View of Westminster, taken from the garden of Old Somerset House’ in 1754; the second fore edge painting is of Westminster from the Thames, which closely resembles Canaletto’s work.
HUNTER, Henry; and DAYES, Edward
The History of London, and its Environs: Containing an account of the Origin of the City; its state under the Romans, Saxons, Danes, and Normans; its Rise; and Progress to its Present State of Commercial Greatness. Including an historical record of every important and interesting public event, from the landing of Julius Caesar to the present period; also, a description of its antiquities, public buildings and establishments; of the revolutions in its government; and of the calamities to which its inhabitants have been subject by fire, famine, pestilence, &c. Likewise an account of all the Towns, Villages, and Country within twenty-five miles of London.
Publication
London, Printed for John Stockdale, Piccadilly. By S. Gosnell, Little QueenStreet, Holborn, 1811.
Description
Two volumes. Quarto (295 by 230mm).
Large folding engraved ‘A New Map of the Country Round London’ with contemporary hand-colour, six other folding maps, including one with contemporary hand-colour, 4 fullpage maps, one folding panoramic ‘Index to the View of London’, 24 full-page plates of views, many with pale stains; contemporary tree calf, rebacked to style.
All the calamities that have befallen London,...well nearly
Originally issued in parts, from 1796, but unfinished when Hunter, a preacher from Perthshire, died in 1802. The engraved views are by Edward Dayes (1763-1804), who is best remembered for his watercolours of the Lake District.
Bound without the panorama of London by John Swertner, although the engraved panoramic ‘Index to the View of London’, designed for framing beneath the panorama proper remains. The folding maps are ‘A New Map of the Country Round London’, and of Middlesex, Surrey, Kent, Essex, Hertfordshire, the River Thames, “John Stockdale, the topographical publisher whose premises in Piccadilly were described as a ‘fashionable lounging place’, then engaged other hacks to complete the work. But it was available in its entirety only by 1811, with all but two of the plates originally published between 1796 and 1799” (Adams).
ACKERMANN, Rudolph
The History of the Abbey Church of St Peter’s Westminster, its Antiquities and Monuments.
Publication
London, Printed for R. Ackermann, 1812.
Description
Two volumes. Quarto (340 by 267mm). Engraved portrait, 83 aquatint plates, one folding plan; contemporary brown diced calf, gilt, rebacked.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 213.
St. Peter’s Westminster
This is the second issue, with the first plate in volume II marked “Pugin delt”. rather than “Mackenzie delt”.
Rudolf Ackermann (1764-1834) gained his reputation as great publisher of colour-plate books with the publication of ‘The Microcosm of London’ in 1808-1810. The text of ‘A History of The University of Oxford’ was written by William Combe (1742-1823), and Frederic Schoberl (1775-1853) in twenty monthly parts. They were illustrated with these magnificent views in aquatint. As often, the 33 portraits of founders are lacking in this copy.
Provenance
Frederick James Higginbottom bookplate.
LONDON’S CHURCHES; DUGDALE, Sir William
Monasticon Anglicum: A History of the Abbies and other Monasteries, Hospitals, Frieries, and Cathedral and Collegiate Churches, with their dependencies, in England and Wales; also of all such Scotch, Irish, and French Monasteries as were in an manner connected with religious houses in England... A New Edition.
Six volumes bound in eight. Folio (375 by 240mm). Six letterpress title-pages printed in red and black, additional engraved titlepages, and 246 engraved plates, including many double-page, some occasional spotting; contemporary half black morocco, marbled paper boards, gilt, all edges gilt, extremities a little scuffed.
A monumental record of Britain’s ecclesiastical architecture
William Dugdale’s ‘Monasticon Anglicum,...’ was first published in three volumes between 1655 and 1673, and then abridged by John Stevens between 1718 and 1723. “Almost a century elapsed before a new edition was undertaken [as here]: by the Rev. Bulkeley Bandinel, Keeper of the Bodleian Library, to be published in 54 Parts, of which the first appeared on 1 June 1813. On completion of part 4 two other editors came to his assistance, John Caley of the Augmentation Office and Henry Ellis, Keeper of Manuscripts at the British Museum, who soon became chief editor and transcribed much additional manuscript material. Seventeen years went by before all the Parts had been issued but by 1830 they were ready with their plates for binding, nominally into six magnificent folios but actually into eight, since the sixth volume was so extensive as to require division by the binder into three separate portions” (Adams).
The illustrations of religious houses in London appear in volumes one and six. The original work was illustrated by Wenceslaus Hollar, Daniel King, Thomas Johnson, Richard Newcourt and others. This new edition included re-engravings of some of these by William Finden, but “the crowning glory of this edition are the fine plates of cathedral and monastery interiors and exteriors which were both drawn and etched by John Coney” (Adams).
Provenance
With the engraved armorial bookplate of Charles Travis Clay (1885-1978) on the inside front cover of each volume, and presented to him as “Librarian of the House of Lords, by the Trustees of the Complete Peerage, in gratitude for the valuable and voluntary assistance which he has given to the Editors for many years. May 1942”.
LONDON’S CHURCHES; BRAYLEY, Edward Wedlake; and NEALE, John Preston
The History and Antiquities of the Abbey Church of St. Peter, Westminster: including Politics and Bibliographical Memoirs of the Abbots and Deans of that foundation.
Publication London, J.P. Neale, 1818.
Description
Three volumes. Folio (364 by 253mm). Engraved frontispiece, title-page and 61 plates; mottled calf, elaborately decorated in blind, with gilt fillets, all edges gilt, a bit worn.
Large paper copy. There is no edifice in the United Kingdom which presents a more extensive field for historical research, and graphic illustration, than the Abbey Church of Westminster. Its dignified gothic structures are well-connected with the seat of Government.
Provenance
1. William Carr (bookplates);
2. Joseph Turner (bookplates).
ELMES, James
Memoirs of the Life and Works of Sir Christopher Wren, with a brief view of the Progress of Architecture in England, from the Beginning of the Reign of Charles the First to the end of the Seventeenth Century; and an Appendix of Authentic Documents.
Publication London, Priestley and Weale, 1823.
Description Quarto (280 by 251mm). Mezzotint frontispiece, five folding engraved plates, and five full-page, a bit browned; nineteenth century full tan calf gilt, by Lewis.
From the library of the “head of all female collectors in Europe” (Dibdin)
First edition of this biography of Sir Christopher Wren (1623-1723), whom Elmes describes as “the man from whose comprehensive mind arose the majestic cathedral of St. Paul, and the fifty parochial churches of London - the royal and magnificent hospital of Greenwich - the no less appropriate and useful one at Chelsea - the most splendid ornaments of our metropolis - the most useful structures of our two universities, - he, who was at once our greatest architect, mathematician, and philosopher; the most learned man of his day, who may be most justly named the British Archimedes...” (page vii).
James Elmes (1782–1862) had successful careers as both architect and author. Educated at the Royal Academy Schools from 1805, he exhibited thirty-six designs at the Royal Academy between 1801 and 1842, built up an architectural practice in London and Sussex, was vice-president of the Royal Architectural Society, and surveyor to the Port of London from 1809 to 1848.
Meanwhile, in 1816, he edited and published the ‘Annals of Fine Arts’, in which several of John Keats’s poems first appeared, including his ‘Ode to a Nightingale’, ‘Ode on a Grecian Urn’, and ‘On Seeing the Elgin Marbles’. His ‘Memoirs of the Life and Works of Sir Christopher Wren’ (1823), as here, is the first life of Wren to be written, and later he sold a manuscript volume of Wren’s papers, known as “Court orders”, to Sir John Soane.
Provenance
With the engraved armorial bookplate of Frances Mary Richardson Currer (1785-1861) on the inside front cover. Currer, renowned bibliophile of Eshton Hall in Yorkshire, with a vast and distinguished library, is now best remembered for inspiring the nom-de-plume of Charlotte Bronte, “Currer Bell”. Her library was dispersed, against her will, firstly by her half-brother, at auctions in 1862, with the remaining books being sold at auctions in 1916, 1979 and 1994.
STEVENSON, Simon, as “S.S.”
Representations of the Embossed, Chased, & Engraved Subjects and Inscriptions, which decorate the Tobacco Box and Cases, belonging to the past Overseers of Society, of the Parishes of St. Margaret and St. John the Evangelist, in the City of Westminster.
Publication London, Printed & Published by I. Clark, 27 Dartmouth Street, Westminster, 1824.
Description Folio (365 by 275mm). Engraved vignette title-page, 32 aquatint plates, including two double-page, numbered 1-34; later half black morocco, green marbled cloth, gilt.
Collation: Pages [1]-11, [1]-2; B-D2, [-].
“...An object of antiquarian curiousity, and an article of considerable intrinsic value,...”
“The Past Overseers’ Society, consists of persons who have either been Overseers of the Poor in the joint parishes, or have paid the fine to be excused from serving that office; and the Overseers for the time being; the Clerk to the Governors of the Poor, from his intimate connexion with parochial concerns is also a member, and acts as secretary. Honorary members have been admitted for services done to the Society, but such occurrences are very rare. The average number of members is about forty, and their meetings are now held at the Swan Tavern, in BridgeStreet, on the second Thursday of the month, in the evening; except upon the appointment of new overseers, when they dine together...” (page [1]).
The tobacco box, from which the Society communally took its puff, was originally brought to the Swan Tavern, by Mr. Henry Monckton. When he presented it to the society in 1713 they had a silver rim applied to it in commemoration,... and the tradition stuck,... “with little interruption for a period of 111 years, a new outer case being always prepared whenever further space was required for ornament, the box has increased to its present bulk, and assumed a consequent importance” (page 2).
As of 1824, the tobacco box was adorned with engraved commemorative images that include: the Arms of Westminster, a bust of His Royal Highness the Duke of Cumberland, the fireworks display in St. James’s Park on the “occasion of peace of Aix la Chapelle”, the Battle of the Nile, the Battle of Trafalgar, the Battle of Waterloo, portraits of Princess Charlotte and Queen Charlotte, and the interior of the House of Peers during the trial of Queen Caroline, amongst others.
LONDON’S CHURCHES; ALLEN, Thomas
The History and Antiquities of the Parish of Lambeth and the Archiepiscopal Palace, in the County of Surrey. Including biographical sketches of the most eminent and remarkable persons who have been born, or have resided there from the earliest period.
Publication London, J. Allen, 1826.
Description
Six volumes. Quarto (345 by 250mm). New title-pages printed in red and black; extraillustrated with 664 engraved maps, views and portraits, some coloured, including 14 aquatints with contemporary hand-colour, three in sepia, and one uncoloured, heraldic shields illuminated throughout, sometimes heightened in gold and silver; all text leaves and plates professionally inset into heavier stock, loose in six green cloth backed marbled paper chemises, in three half green calf, cloth clamshell boxes, gilt.
Encyclopaedic compedium of engravings related to the history of Lambeth Palace
First edition, originally published in octavo, with three maps and thirtyseven plates. This example has been augmented in every way, largely with the plates from Brayley and Herbert’s ‘Lambeth Palace Illustrated by a Series of Views’ (1806), but also notably with aquatints from: eight from Ackermann’s ‘Microcosm’ (1808-1810); one from Boydell’s ‘An History of the River Thames’ (1794-1796); Pugin and Rowlandson’s “Doctors Commons”; and one of Samuel Ireland’s sepia aquatints from the ‘Picturesque Views on the River Thames’ (1792-99). The larger portraits are from George Vertue’s works, but include a small portrait of Robert Abbot by Francis Delarum (1617-18).
Engravings of landmarks and monuments are mostly by Benjamin Cole from Maitland’s second edition of the ‘History of London’ (1756); but with later states of Wenceslaus Hollar’s engravings of St. Paul’s cathedral, by Robert Wilkinson, and his ‘Palace of Whitehall’, by William Herbert.
Provenance
From the library of Ron Fiske of Morningthorpe Manor.
LONDON’S CHURCHES; POLEY, Arthur Frederick Edward
St Paul’s Cathedral, London, Measured, Drawn and Described.
Publication
London, Printed for the Author: Willowbank, Hampton Hill, Middlesex, 1927.
Description
Folio (560 by 395mm). Title-page printed in red and black; 32 collotype prints; original publisher’s half brown morocco, gilt, by Zaehnsdorf.
St. Paul’s Cathedral - “the finest example of neoclassical architecture in existence” (Blomfield)
Poley’s grand portrait of St. Paul’s Cathedral, including elevations, plans, and architectural flourishes, was the first comprehensive record of the building. It includes Poley’s own extensive history of St. Paul’s, an account of Christopher Wren’s life, and a discussion of the cathedral’s architectural details.
Printed by the Chiswick Press, in a limited edition of 100 examples, with a list of subscribers, and an ‘Introduction’ by Sir Reginald Blomfield: “Mr. Poley’s beautiful drawings of St. Paul’s represent several years of devoted labour and the result is worthy of the splendid building which forms their subject. For the first time there will be available for students of Architecture an accurate and complete record of what is on the whole, the finest example of neo-classical Architecture in existence. Colin Campbell, who only devoted two plates to St. Paul’s, stated that he was prevented from publishing a section by the Architect who proposed to publish it himself, and with characteristic malice praised Strong the Mason, rather than Wren the Architect”.
Arthur Frederick Edward Poley (1886-1968), illustrator and engraver, was a member of the RIBA.
VICTORIA, Queen
The Communion and other Services according to the Use of the United Church of England and Ireland.
Publication
Oxford, Printed at the University Press. Sold by E. Gardner and Son, Oxford Bible Warehouse,... 1843.
Description
Quarto (310 by 240mm). Text printed in red and black, each leave ruled in red; contemporary presentation binding from Queen Victoria or red morocco, gilt, all edges gilt, free endpapers excised.
A gift from Queen Victoria
Presented by Queen Victoria to the Queen’s Chapel of the Savoy, in October 1843. The Savoy Chapel is an early sixteenth-century chapel of the old Hospital of St John-the-Baptist, which was dissolved in 1702, and then demolished in the early-nineteenth century, although the chapel survived. It was restored in 1723, and the bell turret and south wall were rebuilt by Robert Smirke (1781-1867) in the 1820s.The chapel was restored by Robert’s brother Sydney after a fire in 1843, which the presentation by Queen Victoria of this “Book of Common Prayer”, probably commemorates.
Provenance
1. Presented by Queen Victoria to the Savoy Chapel, October 1843.
LONDON’S CHURCHES; PUGIN, August Welby Northmore
Glossary of Ecclesiastical Ornament and Costume, Compiled and Illustrated from Antient Authorities and Examples,... with extracts from the works of Durandus, Georgius, Bona, Catalani, Gerbert, martene, Molanus, Thiers, Mabillon, Ducange, etc. Faithfully translated by the Rev. Bernard Smith, of St. Maries College, Orcott.
Publication London, Henry G. Bohn, 1844.
Description Quarto (317 by 250mm). Additional chromolithographed title-page and 73 plates, including two double-page, and one uncoloured lithograph, with a few pale stains and some edges frayed; original publisher’s red cloth covers, gilt, inset into red morocco, rebacked in red cloth, worn.
Augustus Pugin (1812–1852) was a leading architect in England for new Roman Catholic Churches from the 1830s onwards. He had a “great influence on the course of the Gothic revival throughout northern Europe and the English-speaking world was great, spread principally by his writing. His central idea, the equation of Christianity with Gothic, triumphed, so that the visible symbol of church architecture for the rest of the nineteenth century became the pointed arch” (Wedgewood). Pugin’s career as an independent architect began in 1837, when he received an introduction to St. Mary’s College, Oscott, Warwickshire, the Roman Catholic school and seminary, which would “became a centre for his influence in the Roman Catholic church. He provided the college, particularly the chapel, with fittings and furnishings, established a museum for medieval religious artefacts, and gave lectures to students on the history of medieval architecture” (Wedgewood). Inspired by this work, Pugin published his ‘Glossary of Ecclesiastical Ornament and Costume’, in which he explains the symbolism and use of vestments, and church furnishings. Although many of the objects which Pugin described were no longer in common use, after the publication of his book they were revived.
First published, as here, in 1844, the work was revised and expanded over several further editions.
Provenance
With the contemporary ownership inscription “Bib. Theol. Coll. S. Edmunds. 1844”, possibly St. Edmund’s, Ware. Bishop Thomas Griffiths commissioned Pugin to draw up the plans for a Chapel for the college. Although, the building work began in 1846, but both Bishop Griffiths and Pugin died before it could be completed, in 1853.
RADCLYFFE, Charles Walter; and MOORE, James
Memorials of Westminster School [with] Memorials of Charterhouse.
Publication
Westminster, and London, G.W. Ginger, School Bookseller; James Moore, 4 Carthusian Street, Charterhouse Square [c1844].
Description
Two works in one volume. Folio (420 by 300mm). ‘Westminster’ tinted lithographed title-page and 12 plates, some spotting; ‘Charterhouse’ with tinted lithographed title-page and 14 plates; contemporary half tan calf, green cloth moiree, gilt, rebacked and a bit chipped at the head and foot of the spine.
Collation: pages [vi], [1]-6.
References
Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 449 and 443; Adams, ‘London Illustrated 1643-1851’, 1983, 202 and 201.
Two of London’s oldest schools for boys
First edition of each work, which are accompanied by descriptive text by James Moore, list of subscribers, etc.. Charles Walter Radclyffe (1817-1903), landscape painter, followed in his father, William Radclyffe’s, footsteps, although he wasn’t nearly so prolific. He also provided the illustrations for a work on Rugby School.
The plates are lithographed by Day & Haghe. The founder of the firm, William Day (1797-1845), set up in business in 1824, and from about 1831, worked with L. Haghe and traded as Day & Haghe, responsible for the plates for David Roberts’s ‘The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia’ (1842–9). When Haghe left to become an artist, the firm continued as Day & Son. The son, being William Day the younger (1823-1906), also referred to as “WJ Day”. “WJ Day experienced financial difficulties around 1861 related to his printing of banknotes for Louis Kossuth, who was reportedly planning a revolution against the King of Hungary, and was taken to court; he was forced from the firm c1865, it failed in 1867 and was later amalgamated with Vincent Brooks” (British Museum Collections online).
Provenance
1. With the engraved armorial bookplate of Patrick M. Smythe on the inside front cover;
2. Inscribed by P.C. Smythe (”an old Carthusian”) to “I.E.H.D”.
The parish of Lambeth
LONDON’S CHURCHES; TANSWELL, John
The History and Antiquities of the Parish of Lambeth and the Archiepiscopal Palace, in the County of Surrey.
Publication London, Frederick Pickton, 1858.
Description
One volume bound in four. Quarto (340 by 250mm). New title-pages printed in red and black; extra-illustrated with a modern original watercolour drawing, 363 engraved maps, views and portraits, some coloured, some later images from photographs, some heraldic shields illuminated; all text leaves and plates professionally inset into heavier stock, loose in four green cloth backed marbled paper chemises, in two half green calf, cloth clamshell boxes, gilt.
First edition, originally published in octavo, with ten engraved plates. The current example has been extensively extra-illustrated, largely with nineteenth century engraved views and portraits, but with others by Robert Sayer, George Vertue, Brayley and Herbert, and with a later state of Wenceslaus Hollar’s ‘S. Mariae Overie...’, there are three aquatints from Ackermann’s ‘Microcosm’ (1808-1810). The maps include an example of John Stow’s ‘Lambeth and Christ Church Parish, Southwark...’ (1720).
Provenance
From the library of Ron Fiske of Morningthorpe Manor.
LONDON’S CHURCHES; POLEY, Arthur Frederick Edward
[St Paul’s Cathedral, Measured, Drawn and Described].
Publication
London, Barracuda Books Ltd., c1984.
Description Folio (560 by 395mm). 32 photolithographic plates, bound without any preliminaries or addenda; original publisher’s brown cloth, front cover with large gilt stamp of St. Paul’s Cathedral in the centre.
Poley’s St. Paul’s, plates only
First published by the Chiswick Press, in a limited edition of 100 examples, then again as an “Archive Edition” of no more than 250 examples with the plates in facsimile, bound in half or full leather. The current example was probably issued subsequently, as it bound in cloth and consists of the plates only.
Arthur Frederick Edward Poley (1886-1968), illustrator and engraver, was a member of the RIBA. These photolithographic plates, produced from original collotypes, create a grand portrait of St. Paul’s Cathedral, including elevations, plans, and architectural flourishes.
LONDON’S CHURCHES; POLEY, Arthur Frederick Edward
St Paul’s Cathedral, Measured, Drawn and Described.
Publication
London, Barracuda Books Ltd., c1984.
Description Folio (560 by 395mm). 32 photolithographic plates, bound without any preliminaries or addenda; original publisher’s brown cloth, front cover with large gilt stamp of St. Paul’s Cathedral in the centre.
Poley’s St. Paul’s, plates only
First published by the Chiswick Press, in a limited edition of 100 examples, then again as an “Archive Edition” of no more than 250 examples with the plates in facsimile, bound in half or full leather. The current example was probably issued subsequently, as it bound in cloth and consists of the plates only.
These photolithographic plates, produced from original collotypes, create a grand portrait of St. Paul’s Cathedral, including elevations, plans, and architectural flourishes.
Provenance
With the early ownership inscriptions of “Jn.o England” on the title-page and Dedication leaf.
LONDON’S CHURCHES; POLEY, Arthur Frederick Edward
St Paul’s Cathedral, London, Measured, Drawn and Described.
Publication
Buckingham, Archive Facsimile Edition by Barracuda Books Limited 1984.
Description Folio (560 by 395mm). Title-page printed in red and black; 32 collotype prints; original publisher’s half ochre morocco, gilt.
St. Paul’s Cathedral - “the finest example of neoclassical architecture in existence” (Blomfield)
First published by the Chiswick Press, in a limited edition of 100 examples, then again as an “Archive Edition”, as here, of no more than 250 examples with the plates in facsimile, bound in half or full leather. The current example is numbered 99.
INDUSTRY, EDUCATION AND AMUSEMENT
HARE, Francis, as “A Citizen”
A Letter to the Right Honourable Sir Richard Brocas, Lord Mayor of London.
Publication
London, Printed by Thomas Reynolds, and sold by the Booksellers of London and Westminster, 1730.
Description Small quarto. Disbound from a sammelband.
Collation: Pages [1]-32; A-D4.
References
ESTC T66125; Whelan, ‘The Goodman’s Field Theatre, Great Alie Street, Whitechapel’, online.
The new playhouse in Goodman’s Fields
“The Evil I complain of, and which may be thought proper for your Lordship’s Attention, is, the erecting a New Play-House in Goodman’s Fields” (page 1).
Although the first theatre in Goodman’s Fields had opened as early as 1702, when in 1729, the playwright Thomas Odell announced that he had “been given permission to raise a subscription to open a Theatre in Ayliffe Street (now Alie Street) in Goodman’s Fields, Whitechapel, there was considerable local opposition to having a theatre in the area and applications were made to the justices of the peace to stop it [as here]. Nevertheless it opened on 31 October 1729 with a performance of ‘The Recruiting Officer’ by George Farquhar. It was not a new building but a converted warehouse and it represented the fourth Theatre in London, joining Drury Lane, Lincoln’s Inn Fields and the King’s Opera House in the Haymarket. For the first time since Charles II had issued theatrical patents at the Restoration of the monarchy in 1660, there were now three regular companies performing plays in London. The Theatre was small, with pit, boxes and a single gallery but it was profitable. The objections continued however, and there was a petition to the King to close it down. It ceased operations on 28 April 1730, but then, by some means we don’t understand, it started up again on 11 May” (Whelan).
Pocket almanacks
THE COMPANY OF STATIONERS
Collection of Six Almanacks.
Publication
London, Printed for the Company of Stationers, 1793-1830.
Description
Six pocket alamanacs (each 60 by 40mm), each with engraved title, engraved view over two or three leaves, and a further nine or ten leaves of engraved text, original straight grained (four in red and two in blue) morocco portmanteau bindings.
References Gilpin, ‘The Stationers’ Company and its Almanacks’, 2020.
In 1603, James I granted to the Stationers’ Company the right to enjoy all profits from the sale of almanacks and prognostications. The “1603 Grant became the legal basis for what soon came to be known as the English Stock, a book-producing and book-wholesaling organisation run from Stationers’ Hall by a paid Treasurer under the general control of the Court but under the immediate supervision of six Stock-keepers elected annually” (Gilpin). This monopoly was, mostly, unchallenged until 1773, when one Thomas Carnan won an influential court case which ruled that the Crown had no right to grant a perpetual monopoly on the sale of almanacks to the Stationers’ Company. Thenceforth, the competition in almanacks was fierce, until Carnan’s death in 1788, when the Stationers’ Company purchased his interests. All was again well until “Stamp Duty”, i.e. the need for each almanack to be ink stamped [as here] was removed, in 1834, and less established printers could publish alamanacks with impunity. By 1895, the Stationers’ Company effectively bowed out of the game, in favour of John Letts, who eventually sold his interests to Cassell in 1929.
Provenance
Each with ink tax stamps to the first page.
BARKER, Henry Aston
... Series of Eight Views, forming a Panorama of the City of Constantinople and its Environs, taken from the Tower of Galata.
Publication
London, Tho.s Palser; Surry[sic] side Westminster Bridge, and H.A. Barker, West Square, Jan.ry 1, 1813.
Description
Etched “Key”, eight uncoloured etched plates, joined to make 4 double-page and folding panels (540 by 1100mm) of the panorama, paper watermarked “J Whatman 1808”; modern brown cloth.
Proofs, etched by C. Tompkins after drawings by Barker, before the application of aquatint, and numbering.
References
Not in Abbey; Atabey, ‘The Sefik E. Atabey Collection. Books, Manuscripts and Maps. The Ottoman World’, 1998, 60 (one plate in facsimile); Blackmer, ‘Greece and the Levant : the catalogue of the Henry Myron Blackmer collection of books and manuscripts’, 1989, 76; Hyde, ‘Panoramania!’, 1988.
The first “foreign” city to be presented as a panorama
Henry Aston Barker’s (1774–1856) father, Robert (1738-1806) is best known for being the first to create a “panorama”, i.e. a 360-degree painting of London, taken from drawings made by Henry on the roof of the Albion Mills. On the 25th of May, 1793 Robert Barker, opened a purpose-built “Panorama” building in Leicester Square, where he displayed panoramas of cities and celebrated military and naval battles. The young Henry was responsible for making the drawings for most of these, and so travelled widely. In 1799, he travelled to Turkey to make drawings for this and another panorama of Constantinople. On the way, he visited Palermo and met Sir William Hamilton, and Admiral Nelson. He met Napoleon twice during his lifetime, first on a mission to Paris, and then at Elba.
‘Constantinople from the Tower of Galatea’, as here, was exhibited in Leicester Square, between 1801 and 1802, followed by ‘Constantinople from the Tower of Leander’, between 1801 and 1803. Both panorama are very rare, and no other examples of proofs are known.
The playing fields of England
ACKERMANN, Raph
The History of the Colleges of Winchester, Eton, and Westminster; with the CharterHouse, the Schools of St. Paul’s Merchant Taylors, Harrow, and Rugby, and the Free-School of Christ’s Hospital.
Publication London, Printed for and Published by R. Ackermann, 1816.
Description
Large quarto (340 by 275mm). Frontispiece and 47 aquatints with contemporary hand-colour in full, watermarked 1812; contemporary full tan calf, gilt, rebacked preserving the original spines, all edges gilt.
References Abbey ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 438; Adams, ‘London Illustrated 1643-1851’, 1983, 116; Ford for ODNB.
A handsome example, and an early issue with discernable watermarks dated 1812, however with the later state of plate 23 (Master’s wearing mortar boards), and 26 in the third state (boys playing cricket). The beautiful aquatint plates are by Daniel Havell, Joseph Stadler, J. Bluck and others, after William Westall, Frederick Mackenzie, and Augustus Pugin. Originally issued in parts, and with limited issues on large-paper and India paper. The text for Winchester, Eton, and Harrow is by Pyne, that for the other six schools by William Combe. Rudolph Ackermann (1764–1834), better known as the publisher of some of the finest colour-plate books of the nineteenth century, was originally a coach-maker, for the great and the good, including George Washington, Pope Pius VII’s carriage for Napoleon’s self-coronation, and the funeral carriage of Admiral Lord Nelson. Between 1791 and 1820 Ackermann published thirteen books of designs for carriages. As a publisher, “he was both creative and efficient, bringing to the commercial production of colour plate books innovative techniques and an uncompromising attention to detail which ensured uniform high quality” (Ford).
Provenance
With the engraved bookplate of L.C. Berger on the inside front cover.
ACCUM, Frederick Christian
Description of the process of Manufacturing coal gas, for the lightening of street houses and public buildings &c.
Publication
London, Printed for Thomas Boyle, 1819.
Description
Quarto (228 by 140mm). Engraved titlepage, six folding aquatint plates after W. Read, with contemporary hand-colour in full; original red paper publisher’s boards, rebacked, with title to white label.
The gasman cometh
Friedrich Christian Accum (1769–1838), arrived in London in 1793, and delivered a course of lectures on chemistry and physics in 1803 at the Surrey Institute, followed by several treatises on chemistry and mineralogy, including a ‘System of Chemistry’ (1803), an ‘Essay on the Analysis of Minerals’ (1804), and a ‘Manual of Analytical Mineralogy’ (1808). In a canny move he approached Rudolph Ackermann, “to introduce into England the lighting of towns by gas; and in 1810, when the London Chartered Gaslight and Coke Company was formed, Accum was nominated one of its engineers. It is said that the prompt adoption of this mode of lighting in London and other large cities was greatly due to his ‘Practical Treatise on Gas Light,’ which was published in London in 1815, and speedily translated into German, French, and Italian. A second work by Accum on the same subject, entitled ‘Description of the Process of manufacturing Coal Gas,’ appeared in 1819 [as here]. He was made librarian of the Royal Institution in Albemarle Street, but a charge of embezzlement was brought against him shortly afterwards, and he was dismissed. On being brought to trial, he was acquitted; but he immediately left England for Berlin” (Rodwell for ODNB).
Later in life, Accum turned his attention to the far more import science and chemistry of ‘Brewing’ (1820), the ‘Art of making Wine’ (1820), ‘Culinary Chemistry’ (1821); and on the ‘Art of making wholesome Bread’ (1821).
Provenance
William [Ce]dicale 21 Sept 1820 (manuscript note).
BRAYLEY, Edward Wedlake; and HAVELL, Daniel
Historical and Descriptive Accounts of the Theatres of London.
Publication London, J. Taylor, Architectural Library, High Holborn, 1826.
Description Quarto (315 by 250mm). 14 aquatint views with contemporary hand-colour in full, two uncoloured aquatint plates of plans, all professionally inset into heavier stock, text leaf margins conserved; modern half scarlet morocco, marbled paper boards, gilt.
Edward Gordon Craig’s copy of one of the earliest works on the theatres of London
Edward Gordon Craig, son of Ellen Terry, actor, woodcut artist, theatrical director and producer, wrote a number of books on the theatre. He founded a magazine devoted to the theatre, ‘The Mask’, which ran from 1908 until 1929, and founded the School for the Art of the Theatre in 1913. His highly influential book ‘On the Art of the Theatre’, was published in 1911. Craig’s annotations, in this copy of Brayley’s own account of London’s theatres, appear to date from about 1920-1922.
The beautiful aquatints are by Daniel Havell who died before they were published. A member of the Havell family of artists and printers, he was father and grandfather of the Roberts Havell, who famously published John James Audubon’s ‘Birds of America’ (1826-1827).
Edward Wedlake Brayley (1773–1854), is most famous for publishing the illustrated ‘Beauties of England and Wales’ (1801-1816) in 25 volumes, and for a popular ballad called ‘The Powder Tax, or, A Puff at the Guinea Pigs’. He died in Soho of the cholera outbreak of 1854, that led to John Snow’s groundbreaking epidemiological survey that established that the Broad Street pump was the main source of the deadly infection.
Provenance
Edward Gordon Craig’s (1872-1966) working copy, with his annotations throughout, and ephemera related to London theatre ownership in a wallet in the inside back cover.
The
first book on urban climate, from the man who named the clouds
HOWARD, Luke
The Climate of London deduced from Meteorological observations, made in the Metropolis and various places around it.
Publication London, Harvey and Darton, 1833.
Description
Three volumes. Octavo (215 by 135mm), two folding engraved plates with contemporary hand-colour, six full-page plates, all by Lowry after Luke Howard; modern half black calf, green cloth, gilt.
Collation: Volume I: pages VIII, LXXII, 348; volume II: IV, 408; volume III: IV, 384.
Second, enlarged edition, first published in a limited edition in 1818, this is the first book on urban climate, and its opening is all too familiar for the current audience: “I had feared that a harsh unsocial feeling, the result of Religious and Civil discord, had come over us; in which all that was ingenuous, all that served to soften and refine our manners, was in danger to be lost - a prospect for every friend of his country to shudder at! But some late evidences of an increased attention to these pursuits, and of solicitude to promote them, induce me to hope that I have been mistaken; and that even for the coming generation I shall not have written in vain. That men will yet be found, not so wholly sunk in the vortex of business and strife, as not to pay some regard to that wonderful system of cause and effect in nature, which is ever in play around them” (Dedication). Luke Howard (1772–1864), manufacturing chemist and meteorologist, with a side interest in botany and geology, who presented a paper on pollens to the Linnean Society in 1800, and began a register of meteorological observations in 1801, which were first published in ‘The Athenaeum’, (1807–1809). However, his most inventive work was his classification of clouds, published as ‘On the modification of clouds, and on the principles of their production, suspension and destruction’ (1803), now the basis of the current international system. In about “1810 Howard made a series of watercolour sketches of clouds, a series which later came into the ownership of the Royal Meteorological Society. His classification scheme may have become known to more famous artists. Claims that he influenced Constable and Turner are controversial, but the former’s study of skyscapes in the 1820s followed soon after publication of ‘The Climate of London’, which included a description of the scheme, and there is evidence that Constable was aware of Howard’s work” (Jim Burton for ODNB).
SCHARF; George Johannl and HULLMANDEL, Charles Joseph
Six Views in the Zoological Gardens, Regent’s Park. Drawn from Nature and on Stone by G.
Publication
London, Published 1835 by the Artist, 14, Francis Street, Tottenham Court Road, 1835.
Description
Oblong quarto (260 by 370mm).
Lithographed title-page, six lithographed plates with contemporary hand-colour in full; original publisher’s red morocco backed, red cloth, gilt.
References Adams, ‘London Illustrated 1643-1851’, 1983, 230; Jackson for ODNB.
The newly opened London Zoo
This little album of the relatively recently-opened (1828) London Zoo, includes both charming images of well-caged birds and monkeys, and more alarming ones of dangerous animals almost free-range, and in too close proximity to polite society. It was the most successful of Scharf’s publications, and his most rare. The imprint on the title-page leaves the exact year of issue open-ended and is supplied in manuscript. Here, the date is given as 1835, the year in which the album was first issued, and the date of the imprints on each plate. The final plate is of the infamous Chimps’ Tea Party. A seventh plate was issued a year later, showing ‘The Giraffes, with the Arabs who brought them over to this county’.
Originally from Bavaria, George Johann Scharf (1788–1860), was caught up in the turmoil of the Napoleonic wars in Europe, and even saw action at Waterloo. By 1816, he was in London, and one of a very few artists with any knowledge of lithography. “He was befriended by the lithographic printer Charles Hullmandel, who gave him one of his first commissions, a view of the coronation procession of George IV in 1821. However, his main source of income was as an illustrator for scientific journals, for example, the ‘Transactions of the Zoological Society of London’ and the ‘Transactions of the Geological Society’, and he was employed by Sir Richard Owen and Charles Darwin, who appreciated his meticulous attention to detail and his painstaking accuracy” (Jackson).
The plates were lithographed by Charles Joseph Hullmandel (1789–1850), who would become the finest, and most prolific, lithographic printer in Britain of his day, having met Alois Senefelder, the inventor of the technique, in Paris in 1818. Most of the major improvements made to lithography in Britain in the 1820s and 1830s can be attributed to him. In 1835, he printed the colour plates for Hoskins’s ‘Travels in Ethiopia’ (1835), the first of their kind to be published in Britain.
Rare: Only one other example has appeared in commerce in the last fifty years; institutional examples found only at the Royal Society, and Northwestern University, USA.
Provenance
Inscribed on the inside front cover by Sir George Chetynd, 3rd Baronet (1809-1869), to “Arabella & Mary Harmen,... August 20th 1856”, and with his engraved armorial bookplate beneath.
THE GREAT EXHIBITION; DAY, William, the younger
Recollections of the Great Exhibition 1851.
Publication
London, Published by Lloyd Brothers & Co., ...& Simpkin Marshall & Co.,... September 1st, 1851.
Description
Tinted lithographed title-page, margins strengthened, and 24 plates, all with contemporary hand-colour in full, heightened with gum arabic, mounted on heavy stock, margins of contents leaf strengthened; preserved in original publisher’s blue cloth, gilt, portfolio, rebacked in blue morocco (600 by 440mm).
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 246.
Magnificent highlights from the Great Exhibition, 1851, hand-coloured in original portfolio
An exceptionally fine example of Day & Son’s magnificent portfolio of illustrations, after various artists, of the true highlights of Prince Albert’s “Great Exhibition of the Works of Industry of All Nations,” 1851, held in Hyde Park, and housed in the so-called Crystal Palace.
About 100,000 objects were displayed by more than 15,000 contributors. Half of the ten miles of exhibition space show-cased the genius of British industry and manufacture, from both home and the colonies abroad. These included: a hydraulic press that had lifted the metal tubes for the bridge at Bangor invented by Stevenson; a steamhammer that could forge the main bearing of a steamship, or gently crack an egg; there were carpets from Axminster; ribbons from Coventry; a printing machine that could turn out 5,000 copies of the ‘Illustrated London News’ an hour; a machine for rolling cigarettes; an expanding hearse; folding pianos; a church pulpit connected to pews by rubber tubes, so that the deaf could hear the sermons; “tangible ink” for the blind; luxurious carriages; velocipedes, the predecessor of the bicycles; and lots and lots of steam engines.
The famous Koh-i-Noor diamond, now part of the Crown Jewels, was on display, although the crowds who flocked to see it, were disappointed by its lace of sparkle. This was made up for by the upstairs galleries, which were walled with stained glass, that sent coloured streams of light to the lower floors.
The views are printed by Day & Son, whose founder, William Day (1797-1845) set up in business in 1824. From about 1831, he worked with L. Haghe and traded as Day & Haghe, responsible for the plates for David Roberts’s ‘The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia’ (1842–9). When Haghe left to become an artist, the firm continued as Day & Son. The son, being William Day the younger (1823-1906), also referred to as “WJ Day”. “WJ Day experienced financial difficulties around 1861 related to his printing of banknotes for Louis Kossuth, who was reportedly planning a revolution against the King of Hungary, and was taken to court; he was forced from the firm c1865, it failed in 1867 and was later amalgamated with Vincent Brooks” (British Museum Collections online).
Rare: complete sets, with all the plates coloured in a contemporary hand, are scarce.
Provenance
With the early ownership inscriptions of “Jn.o England” on the title-page and Dedication leaf.
THE GREAT EXHIBITION; DAY, William, the younger
Recollections of the Great Exhibition 1851.
Publication
London, Published by Lloyd Brothers & Co., ...& Simpkin Marshall & Co.,... September 1st, 1851.
Description
Tinted lithographed title-page and 24 tinted plates with captions, some margins frayed; contemporary half tan calf, blue cloth, gilt, rebacked to style (600 by 440mm).
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 246.
Highlights from the Great Exhibition, 1851
Issue with uncoloured plates, with captions, of the highlights of Prince Albert’s “Great Exhibition of the Works of Industry of All Nations,” 1851, held in Hyde Park, and housed in the so-called Crystal Palace.
Rare series of views of the Crystal Palace in Hyde Park
THE GREAT EXHIBITION; LE BEHIN, P., D.L., or Alexandre
Four View of the Crystal Palace.
Publication
London, Ackermann & Co., April 10th, 1851.
Description
Four tinted lithographed plates, matted, some edges frayed; preserved in modern green cloth, clamshell box with red morocco lettering-piece on the front cover (300 by 570mm).
The artist of this series of views of the Crystal Palace during the Great Exhibition of 1851, who has signed each print lower left “Le Behin”, remains a bit of a mystery. ‘Benezit Dictionary of Artists’ identifies the original painter of the these views as “D.L. Bihan”, The British Museum, as “Alexandre Le Bihan”, and the London Picture Archive as “P. Le Bihan”. All agree that the painter was probably a Frenchman working in London in the early 1850s. They include: ‘View Across the Serpentine During Winter’, ‘View from the North West’, ‘View from the Cascade’, and ‘View from the Bridge Hyde Park’.
The views were printed by lithographers Day & Son, who were to publish their own more extensive series of views of the Great Exhibition, ’Recollections of the Great Exhibition 1851’, in September of the same year.
The Crystal Palace, as it was christened by ‘Punch’ magazine, was designed by Sir Joseph Paxton to house the Great Exhibition in Hyde Park in 1851. The brainchild of Prince Albert, the Great Exhibition, was the largest trade show conceived, and yet of all the wonders of the new industrialised world on display, the greatest exhibit was the Palace itself. Essentially a monumental glass conservatory, Paxton based his design on the lily house he had been commissioned to build for the Duke of Devonshire at Chatsworth. In 1852 the building was removed to Sydenham, where it was destroyed by fire in November 1936.
A
comprehensive guide, in French, to the Great Exhibition of 1851
THE GREAT EXHIBITION; BOURDIN, Ernest
Guide Illustre de Voyageur a Londres et aux Environs,... [and] Le Palais de Cristal: Journal Illustre de l’Exposition de 1851.
Publication Paris and London, Ernest Bourdin, ... W. Thomas et Churchill 7th May - 8th October 1851.
Description
24 parts in one volume: “Numero Specimen”, and 23 further numbered weekly journals. Quarto. Folding lithographed map ‘A Nouveau Plan de la Ville de Londres et de ses Environs’, illustrated throughout with woodengravings; near contemporary black calf backed cloth, gilt.
Containing everything that the discerning French tourist could possibly need to know in order to plan their successful visit to the ‘Great Exhibition of the Works of Industry of All Nations’ of 1851 in London, starting with whose idea it was in the first place: “Les expositions industrielles sont considerees comme invention francaise...” (page 32). Everything else is also covered in short order, including all the means of getting there, which French towns to visit along the way, a brief history of London, places to stay, and other monuments to visit. Bourdin has supplied a detailed map of greater London, and on the verso, a complete floor plan of the Crystal Palace.
The French, who traditionally detested “la perfide albion”, were grudging in their admiration of the Crystal Palace and the Great Exhibition. France had contributed about two thousand of ten thousand plus items on display, all of which compared well, in terms of design and flair, against the home-grown wares. Having previously denounced international exhibitions, in favour of national ones, France opened its own ‘Exposition Universelle des produits de l’Agriculture, de l’Industrie et des Beaux-Arts de Paris’ in 1855.
A magnificent complete set of the official Great Exhibition reports and catalogue
THE GREAT EXHIBITION; ROYAL COMMISSIONERS
Great Exhibition of the Works of Industry of All Nations. Reports by the Juries on the Subjects in the Thirty Classes into which the Exhibition was Divided [and] Official Descriptive and Illustrated Catalogue [and] First Report of the Commissioners for the Exhibition of 1851, to the Right Hon. Spencer Horatio Walpole [and] Supplement to the First Report of the Commissioners. Containing Engravings of the Medals and Certificates, prepared too late for insertion in their proper places [with] Medals.
Publication London, Spicer Brothers, Wholesale Stationers; W. Clowes and Sons, Printers; Contractors to the Royal Commission.
Description
Nine volumes and one medal case. Folio (350 by 250mm). Consisting of: four volumes ‘Reports of the Juries...’, 154 mounted calotypes, with captions in the mounts, three chromolithographed plates by Day & Son; three volumes ‘... Catalogue’, large folding lithographed map with contemporary hand-colouring in part, numerous wood-engraved plates and illustrations; ‘First Report...’, two folding engraved plans with contemporary handcolour in part, one chromolithographed coloured diagrammatic plate, eight plates, including two folding, and five of Medals; ‘Supplement...’, two folding engravings, and five full-page of medals; uniformly bound in original red morocco by Riviere, lettered in gilt on upper covers and spines, imperial blue silk doublures with royal arms in gilt and the initials for Victoria and Albert entwined, all edges gilt; [with] five medals loose mounted in velveteen in a silk lined red morocco clamshell case, uniform with the above volumes, with brass clasps and catches, with the presentation printed in gilt on the case doublure.
One of approximately 130 sets of this lavish catalogue and account of the Great Exhibition, specially bound for presentation to VIPs from the Royal Commissioners and Queen Victoria, published just as the Exhibition opened.
The more than 150 calotypes, other illustrations, maps and plans, showcase the incredible diversity and splendour of the Great Exhibition, but in spite of all, barely scratch the surface: the Crystal Palace and grounds of Hyde Park included 17,000 exhibitors, with approximately one hundred thousand exhibits, for which the judges presented 2,918 medals. More than six million visitors attended the Exhibition during the five months that it was open, and generated a profit of nearly 200 thousand pounds (now nearly 22 million pounds), which the Royal Commissioners, headed by Prince Albert, invested in land in South Kensington where Imperial College, the Natural History Museum, the Royal Albert Hall, the Royal College of Art, the Royal College of Music, the Science Museum, and the Victoria and Albert Museum, now stand. The Royal Commission, now headed by Princess Anne, still exists as a permanent body that administers further profits for industrial educational, and the influence of science and art on industry.
This, the limited edition of the ‘Reports’ and ‘Catalogue’, included 15 examples that were reserved for official photographer and inventor of the calotypes that illustrate the work, William Henry Fox Talbot, in lieu of his copyright to the images.
Provenance
1. The ‘Reports of the Juries’, the ‘Catalogue’, the ‘First Report’ all with Manuscript “Presentation by Her Majesty’s Commissioners for the Exhibition of MDCCCLI to Edw. Wolstenholme Ward, Captain Royal Engineers” (1823-1890);
2. Subsequently donated by Miss S. J. Ward to the Chelsea Public Libraries in 1926;
3. With the discreet blind library stamps of the Chelsea Public Libraries in one or two places; The ‘Supplement’ presented to Sir William Cubitt (1788-1855), ex officio member of the Royal Commission for the Great Exhibition, greatly involved in the construction of the Crystal Palace, he was knighted by Queen Victoria for his services on the 23rd of December, 1851; The Medals presented to the Right Hon. Henry Labouchere, President of the Board of Trade, and early proponent of the Great Exhibition.
Comprehensive guide to London during the Great Exhibition
THE GREAT EXHIBITION
London as it is To-Day: Where to Go, and What to See, during the Great Exhibition [and] The Crystal Palace, and the Great Exhibition; an historical account of the building, together with a descriptive synopsis of its contents.
Publication
London, H.G. Clarke, [and] H.G. Clarke and Co., 1851.
Description
Two works in one volume. Octavo (180 by 120mm). Wood-engraved frontispiece with printed colour in each volume, additional wood-engraved title-page to the first work, illustrated throughout with woodcuts, some full-page, and including 12 with printed colour, and three folding maps; contemporary full red morocco, gilt, a little scuffed.
An apparently very rare and beautifully illustrated pair of guidebooks to London, “the metropolis of the civilised world”, and the Great Exhibition, “the cynosure of all eyes” (page 1 of each volume).
‘London as it is To-Day’ appears to be known in only one example, a later edition (1854), in the British Library; no other examples of ‘The Crystal Palace’ have been found.
Provenance
1. Contemporary marginal annotations throughout; 2. With the gift inscription of “H.G.J. Barlow 1870 to A.C. Baily”, on the recto of the first blank; with the engraved armorial bookplate of Nathan of Churt on the inside of each cover.
“A sunny view of the nature and tendency of the Great Exhibition” (Advertisement)
THE
GREAT EXHIBITION; STOUGHTON, the Rev. John
The Palace of Glass and the Gathering of the People. A Book for the Exhibition.
Publication London, The Religious Tract Society, 1851.
Description Octavo (170 by 110mm). Original cream cloth, gilt.
A Christian interpretation of the effects of the Great Exhibition, extolling all the good and wonderful things about how it brought diverse people together in one spirit, but ending on a sobering note, reminding the reader that there is “only one thing imperishable”...
THE GREAT EXHIBITION
Plan of the Building Great Exhibition. 1851.
Publication London, Day & Son, Lith.rs to the Queen, [1851].
Description
Folding chromolithographed map, laid down on linen, printed paper label on verso (260 by 400mm).
“Plan of the building”
Pocket map guide to the Crystal Palace. Issue with heading “Plan of Building” and extensive notes regarding the exhibitions.
Lithographed by Day & Son.
Provenance
Inscribed on the verso: “Prince of Wales Station. M.P.no vii. Gate”.
THE GREAT EXHIBITION
Plan of the Building Great Exhibition. 1851.
Publication
London, Day & Son, Lith.rs to the Queen, [1851].
Description
Folding chromolithographed map, laid down on linen, printed paper label on verso (248 by 410mm).
Possible proof “Plan of Gallery”
Pocket map guide to the Crystal Palace. Possibly proof issue with heading “Plan of Gallery” and without the extensive notes of other issues. With many blank spaces in the stands spaces for the North Galleries.
Lithographed by Day & Son.
THE GREAT EXHIBITION; NEWCOMBE, Stuart Prout
Fireside Facts from the Great Exhibition. ... being an amusing series of Object Lessons on the Food and Clothing of All Nations in the Year 1851.
Publication London, Houlston & Stoneman, [1851].
Description Octavo (165 by 100mm). Tinted lithographed frontispiece and title-page, and 16 full-page plates, illustrations in the text, occasional heavy spotting; original publisher’s buff cloth, blue glazed endpapers, gilt and blind, all edges gilt.
“P. I have been to that exhibition ten times, and - don’t you see how tired I am?” (Page 1)
The narrative of this guide to the Great Exhibition takes the form of a “Fireside Chat”, between innocent children and an informed adult, the stated “aim of the Author, not only to convey in an amusing manner a mass of information, but to cultivate in the reader the powers of observation, comparison, induction, and memory, by the exercise of which the mind is trained to investigate and acquire knowledge for itself” (Preface).
Provenance
1. With the bookseller’s ticket of G.L. Beeforth of Scarborough on the inside front cover;
2. The ownership inscription of M.S. Rowntree, 1851 on the front free endpaper.
A parody of ‘The House that Jack Built’
THE GREAT EXHIBITION; GILBERT, John
The Crystal Palace that Fox Built. A Pyramid of Rhyme, with nine illustrations.
Publication London, David Bogue, 1851.
Description Small quarto (170 by 135mm). Frontispiece and seven wood-engraved plates; original publisher’s illustrated grey paper wrappers, sewn as issued.
“These are the goods, - a most infinite store Of ebony, jewels, gold, silver, and ore; Statues of marble and bronze as of yore; An ivory throne, and a malachite door; The jewels of Spain, and the famed Koh-i-noor” (etc.)
Season ticket to the Great Exhibition
THE GREAT EXHIBITION; CROOKES, Mary
Season Ticket of Admission to the Exhibition of the Works of Industry of All Nations 1851.
Publication London, 1851.
Description Engraved ticket, printed on heavy pink stock (50 by 83mm).
Ticket number 1325 entitles Mary Crookes, who has signed the ticket as required, to admission to the Great Exhibition, for the its duration. It is possible that Mary Crookes was wife of Charles Crookes, of the Coalbrookdale Company, which designed and cast the gates for the “Queen’s Entrance” to the Great Exhibition. The gates were moved in 1852 to the entrance to Lancaster Walk that leads to the Albert Memorial.
The “RULES” for use of the season ticket were stringent: “This Ticket must be produced on every occasion when the Proprietor enters the Exhibition & the Proprietor must write his Name & Number in a book. If the Ticket be presented by any other person than the registered Proprietor it will be forfeited. Tickets lost cannot be replaced. A special entrance will be provided for Season Tickets at the South ____ The autograph signature of the Proprietor must be written on the face of it immediately after the number it bears”.
No record of any formal schooling for Stow survives, suggesting that he was self-taught. The son of a tallow-chandler, in later life would move in society with the likes of John Dee, William Camden, Ben Jonson, and Henry Savile; and count the earl of Leicester, Archbishops Parker and Whitgift, and several mayors of London, as his patrons. He was the only fellow of the Society of Antiquaries who was not a gentleman by birth.
The smallest souvenir?
THE GREAT EXHIBITION
London, Rock & Co., [1851.
Publication London, Rock & Co., [1851].
Description
Miniature octavo (31 by 27mm). Engraved vignette title-page and 31 engraved plates; contemporary full red morocco, decorated in gilt, all edges gilt.
A tiny souvenir of the Great Exhibition with views of the opening ceremony, elevations of Crystal Palace, and various courts and national displays.
“Mary and Johnny had heard a great deal about the Crystal Palace”
THE GREAT EXHIBITION; SHERWOOD, Mary Martha
Mamma’s Visit, with her Little Ones, to the Great Exhibition.
Publication London, Darton and Co., 1852.
Description
Small quarto (180 by 135mm).
Lithographed frontispiece and six plates; publisher’s red cloth, gilt, worn at the extremities with loss to the backstrip.
A children’s guide to the Great Exhibition, told in the form of a bedtime story.
Provenance
The ownership inscriptions of L. Gilkes on the front free endpaper.
All the pomp and splendour of the Great Exhibition of 1851
THE GREAT EXHIBITION; DICKINSON, John
Dickinsons’ Comprehensive Pictures of the Great Exhibition of 1851, from the Originals Painted for H.R.H. Prince Albert, by Messrs. Nash, Haghe, and Roberts, R.A. Published under Express Sanction of His Royal Highness Prince Albert, President of the Royal Commission, to whom the Work is, by Permission, Dedicated.
Publication London, Dickinson, Brothers, Her Majesty’s Publishers, 1854.
Description
Two volumes in one. Folio (580 by 425mm).
Title-pages printed in red and black, two pages of “List of Subjects, interleaved with descriptive text; 55 chromolithographed plates with contemporary hand-colour in full, heightened in gum arabic, paper guards throughout; contemporary half red morocco, gilt.
References Abbey, ‘Scenery of Great Britain and Ireland in aquatint and lithography, 1770-1860’, 1972, 251.
Prince Albert commissioned forty-nine watercolours of the “Great Exhibition of the Works of Industry of All Nations 1851”, held in Hyde Park, and housed in the so-called Crystal Palace. Forty-three were by Joseph Nash (1808-78), the rest were by the Belgian artist Louis Haghe (1806-85) and David Roberts (1796-1864), who are best known for ‘The Holy Land, Syria, Idumea, Arabia, Egypt & Nubia’ (1842–9). The paintings were then reproduced by publisher John Dickinson and his associates using the relatively new mechanical colour-printing process of chromolithography, in keeping with the aims of the exhibition itself. The result superbly captures the spectacular audacity of the occasion, including the inauguration by Queen Victoria and the closing ceremony.
THE GREAT EXHIBITION; JONES, Owen; and SCHARF, George
The Greek Court Erected in the Crystal Palace.
Publication
London, Crystal Palace Library, 1854.
Description
Octavo (170 by 120mm). Folding lithographed frontispiece map, and illustrated throughout; original publisher’s cream limp buckskin, gilt, all edges gilt.
The Greek court at Sydenham
Deluxe issue of this guide book to the Greek Court in the Crystal Palace at its new location at Sydenham. “No adequate idea can be formed of the vast Collection of Sculpture brought together in the Greek and Roman Courts of the Crystal Palace, until it is remembered that at one glance we behold objects which under ordinary circumstances, would require years to have seen. I am not aware of any other collection in Europe of this nature equally extensive, and equally accessible to the public” (Scharf).
The Great Exhibition closed in 1851, the iconic Crystal Palace eventually bought by the Crystal Palace Company, and rebuilt at Sydenham. It opened to the public in June of 1854. The contents and layout were quite different from that of the Great Exhibition, with half dedicated to Industry and Manufacture, the other to the Fine Arts Courts, including the Greek court, where plaster casts and scale reproductions were on display.
A range of guidebooks to the Palace were published, as here. In this instance the text is by George Scharf, director of the National Gallery from 1857, and active member of the Society of Antiquaries; while the illustrations are by Owen Jones, who with Matthew Digby Wyatt was given responsibility for the new layout and decoration of the Crystal Palace at Sydenham.
THE GREAT EXHIBITION; ORMEROD, Oliver, as “O Felly Fro Rachde”
”O Ful, Tru, Un Pertikler Okeawnt o bwoth wat aw Seed un wat aw Yerd, we gooin too Th’ Greyt Eggshibishun e Lunden, Un o greyt deyle o hinfurmashun besoide, wele kalkilatud fur to giv thoose foke o gradely hinseet hinto things, us hassent ad nothur toime nur brass fur to goo un see fur therseis; kontaining loikewoise o Dikshunayre, manefakturt fare o purpos fur thoose us ur oan fur larn’t.
Publication
Rachde [i.e. Rochdale], Printud bee Wrigley un Son; sowd be Hamilton, Adams un Ko., un Routledge un Ko., Lundun; Abel Heywood, un Kelley un Slater, Manchester; G. Philip un Son; Liverpule; un o Bukesellus, “Desembur, Eightene hundurth un fifte-six” [i.e. 1856].
Description
Octavo (165 by 105mm). Wood-engraved frontispiece, and illustrated throughout with vignettes; original publisher’s printed paper wrappers, backstrip worn away.
A
Lancashire lad’s visit to the Great
Exhibition
“Thurd Edition” [i.e. third edition], the first to be illustrated: “This toime, yo sin, aw’v getten yo sum pokters dun, un pratty uns, too, us evver ony mon clapt his een on, un sum gloppent yo’l be, aw dar say, wen yo’ne sin um”. First published in December 1851, and reprinted in January of 1852. Oliver Ormerod (1811-1879), a tanner from Rochdale, gives a humorous account in phonetic Lancastrian dialect, of a visit to the Great Exhibition. He was the editor of the radical ‘Rochdale Spectator’.
Provenance
Author’s name in manuscript on the title-page.
The Great London Exposition of 1862, exhibited
THE GREAT EXHIBITION; WARING, John Burnley
Masterpieces of Industrial Art & Sculpture at the International Exhibition, 1862.
Publication
London, Day & Son, Lithographers to the Queen and to H.R.H. The Prince of Wales, 1863.
Description
Three volumes. Folio (423 by 300mm). Text in English and French; dedication leaves, and 301 numbered chromolithographed plates (1-300, 300A); publisher’s deluxe binding of brown bevelled morocco elaborately gilt and black, silk ties, moireed endpapers, all edges gilt.
First edition, and a superb example. The International Exhibition of 1862, otherwise known as the Great London Exposition, was held from the 1st May to the 1st November, 1862, next to the Royal Horticultural Society, South Kensington, where the Natural History Museum, and the Science Museum, now are.
Sponsored by the Royal Society of Arts, Manufactures and Trade, there were 28,000 exhibitors from 36 countries, representing a wide range of industry, technology, and the arts. The magnificent plates, recording the objects d’art presented at the Great Exhibition, are “by and under the direction of W.R. Tymms, A. Warren, and G. MacCulloch from photographs supplied by the London Photographic and Stereoscopic Company, taken exclusively for this work by Stephen Thompson” (title-page).
Robson & Sons, of Newcastle-on-Tyne, were cabinet makers “of the highest standards; they were originally based in a small house at 42 Northumberland Street in Newcastle-on-Tyne. Robert Robson started the business in the William IV period of 1835 after serving his apprenticeship as a cabinet maker and upholsterer. His two sons followed in his footsteps to continue creating fine quality furniture along with working at hotels, churches to large ocean liners that were being built on the Tyne. After Robert’s death the sons opened a large factory where over 200 people were employed. Robson and Sons business carried on for four generations of their family before it was finally taken over by the Maple Group in 1953” (Antiques World online). However, they do not appear in Cassell’s ‘Illustrated Exhibitor, 1862’, which lists all exhibitors at the Great Exposition of 1862.
Provenance
With the original pen and ink, colour wash, bookplates of Robsons [sic] & Sons Ltd 42 Northumberland Street Newcastle-on-Tyne, dated 1920, on the inside front cover of each volume.
BOORD, Sir William “Boord & Son”.
Publication London, 1903.
Description
Oblong folio (295 by 385mm). Album of 56 chromolithographed advertisments and labels, laid down on 19 pages of heavy stock; original limp maroon morocco, gilt, rebacked to style.
References Clarke, ‘Boord & Sons Distillery Offices’, 1999.
A distillery distilled
Boord & son was established in 1726, and “had a history of moving with the times as far as changing public demand for alcoholic beverages was concerned. By the mid-nineteenth century under the direction of Joseph Boord, it was specializing largely in the wines of the Medoc. Alongside this, it had an established hold on the Scotch spirit and gin trade, and by the 1870s it began production of whisky, then coming increasingly into vogue” (Clarke).
At the time this album was compiled, Boord & Son’s Distillery had only recently moved into their new distillery, built in 1899-1901, to provide a consolidated, riverside location for the two previously separated branches of the firm’s business, and largely designed by Aston Webb. It extended northwards to “Allhallows Wharf”, South Thames.
Provenance
Annotated and compiled in March of 1903 by Sir William Boord (1838-1912), then chairman of Boord & Son, distillery.
THE GREAT EXHIBITION; FRANK, Howard; and LANCASTER, John Roy
The Crystal Palace, Sydenham. To Be Sold by Auction Pursuant to an Order of the High Court of Justice, chancery Division, with the approbation of the Judge, on Tuesday 28th day of November, 1911 at the Estate Room, 20 Hanover Square, London, W. at Two o’clock precisely.
Publication
London, Messrs. Knight, Frank & Rutley, 20 Hanover Sq., London, W., and Messrs. Horne & Co., 85 Gresham Street, E.C. 1911.
Description Folio (Catalogue 430 by 290mm; map 1000 x 1260mm). 30 plates of photogravures, 20 of sepia etchings, all with tissue guards; original publisher’s printed grey paper wrappers with inset vignette photogravure on the front cover; accompanied by folding chromolithographed ‘Plan of the Crystal Palace 1851-1911’, short tear affecting the image, in original printed grey paper envelope; preserved in original manila box.
Collation: pages [1]-68.
The Crystal Palace goes under the hammer
“Final Edition”, of the auction catalogue for the original “Crystal Palace”, as it was christened by ‘Punch’ magazine, originally designed by Sir Joseph Paxton to house the Great Exhibition in Hyde Park in 1851. In 1852 the building was removed to Sydenham, and offered at auction, as here, in 1911, as “one lot, as a going concern, with everything appertaining thereunto belonging to the Vendors”. The penultimate buyer was Robert Windsor-Clive, Lord Plymouth and Lord Lieutenant of Glamorgan, who paid a deposit of £20,000.
Following a settlement with the Court of Chancery, and an agreement with the Lord Mayor of London that he would be reimbursed, he paid the rest of the sale price of £230,000, which would be nearly ten times that amount today.
The sumptuous catalogue includes a full account of the Palace itself and surrounding property, accompanied by its “Story”, and photographs and etchings, by the printers Hudson & Kearns Ltd, that depict the “most prominent events of which it has been the scene; but some of the buildings and courts have been altered or removed” (’Memorandum’ page 4).
Accompanied by a large folding chromolithographed ‘Plan of the Crystal Palace Sydenham for sale by Auction’ prepared by Knight, Frank & Rutley in conjunction with Horne & Co., and printed by Martin, Hood & Larkin Lith, Trafalgar House.
DRISCOLL, R.A.
“Displays”.
Publication 1913 - Christmas 1916.
Description
Oblong folio (360 by 445mm). 25 leaves of black and white photographs, some colourised, mounted on grey card; later full black morocco gilt.
Window and shop displays for Whiteley’s Emporium
William Whiteley (1831–1907) became one of the most prominent department store owners of his day, founding Whiteleys in Westbourne Grove in 1863, inspired by a visit to the Great Exhibition of 1851 as a child. The emporium he built moved to Queensway in 1911, after Whiteley was shot dead by someone purporting to be his illegitimate son. The photographs showing the window and shop displays created by R. A. Driscoll, date from 1913, when Whiteley’s celebrated their Silver Jubilee and 1916, when they were involved in the ‘Daily News’ Christmas Pudding Appeal. Whiteley’s was bought by Harry Gordon Selfridge in 1927, and since the Second World War was owned by a variety of companies. It closed its doors for the final time in 1981.
ANONYMOUS
“Shops (London Area) One”.
Publication
“Estates Department”, [1948].
Description
Oblong folio (325 by 410mm). 60 large-scale black and white photographs mounted on 35 leaves of heavy blue stock, captioned in white ink, some leaves excised; original “Super-Fosis Binder” of green leatherette, a little worn at the extremities.
Rocking down to Electric Avenue
Extensive property portfolio, illustrating a breadth of commercial interests from properties in Mayfair to the Electric Mansions in Brixton, creating an eclectic snapshot of the post-war London high street in the process:
W.H. Cullen, 305 Uxbridge Road, Acton, W3
3 images of: 1 - 6, Bingham Corner, Addiscombe: “Neill’s Corner” (i.e. Norman Neill), also “The Elite Restaurant”, “Angela Morley Ladies’ Hairdressing Salon”, “Burbarry’s Office Equipment Ltd”, “Belle-Vue Fisheries”, “Ingsley’s”
11/13, Edwards Parade, Barkingside: “The Fifty Shilling Tailors”, “Lush & Cook Londons Leading Cleaners”, “John Ward”
13/10, Station Parade, Belmont: 12 shop fronts, including “Clark’s” shoes
1/6, Warwick Parade, Belmont: eight shop fronts, including “Ellingtons”
132/136, Kilburn High Road, NW6: “Saqui & Lawrence - Londons Largest Jewellers”
270/272, Kilburn High Road, NW6: “Lilley & Skinner Ltd”
Two images of: 1-21, Castle Street, Kingston: multiple shop fronts
Two images of: 22-30, Castle Street, Kingston: multiple shop fronts
Victory House, Leicester Square, W1: NSPCC and “Cote de l’Europe” restaurant
5/7, Lewis Grove, Lewisham, SE13: “Maloneys Ltd”, butcher
411, Lea Bridge Road, Leyton: “Oddy’s General Dealers”
189/199, Lower Clapton Road, E5: five shop fronts
644, Lea Bridge Road, Leyton: “Gordons Shops”
338/332, West Barnes Lane, Motspur Park, Malden: “Progressive Libraries”
53/53 [sic], London Road, Morden Surrey: “Burton”
31, New Bond Street: “Garlands”
52, Notting Hill Gate: “Post Office”
SUBURBAN SPRAWL
LYSONS, Daniel
The Environs of London: being an historical account of the Towns, Villages, and Hamlets, within Twelve Miles of that Capital; interspersed with biographical anecdotes.
Publication London, A. Strahan, for T. Cadell in the Strand, 1792.
Description Folio (320 by 240mm). Five volumes. Three engraved frontispiece maps, five engraved title-pages, engraved dedication leaf to volume one, six folding engraved plates, 70 full-page plates, some with aquatint, some with contemporary hand-colour, some occasionally heavy offsetting, marginal waterstains to volume V, one leaf torn with loss not affecting the text; contemporary half gilt and blind decorated calf, marbled paper boards, a little scuffed at the extremities, silk markers.
Not in Adams; Fleming, ‘Memoir and select letters of Samuel Lysons’, 1934.
To Horace Walpole, from “Stumpety Stump”
Daniel Lysons (1762–1834) began work, with his brother Samuel (died 1819), on his ‘Environs of London’ while curate of Putney (1789 – 1800), apparently spending “seven hours up to his knees in water in the vaults of Stepney Church copying epitaphs” (Fleming). The work is dedicated to Horace Walpole, who was a close friend, and nicknamed Lysons “Stumpity” or “Stumpety Stump”.
Provenance
With the engraved armorial bookplate of Sir Edmund Anthony Harley Lechmere, 3rd Baronet (1826-1894) on the inside front cover of each volume.
LYSONS, Daniel
The Environs of London: being an historical account of the Towns, Villages, and Hamlets, within Twelve Miles of that Capital; interspersed with biographical anecdotes.
Publication London, A. Strahan, for T. Cadell in the Strand, 1792.
Description Folio (320 by 240mm). Five volumes bound in ten. Three engraved frontispiece maps, five engraved title-pages, engraved dedication leaf to volume one, six folding engraved plates, 70 full-page plates, some with aquatint, some with contemporary hand-colour; extra-illustrated with 13 watercolour drawings after engravings and 323 mostly eighteenth and nineteenth century engraved views and portraits, professionally tipped-in to heavier stock; contemporary full red morocco, gilt, all edges gilt, by L. Staggemeier & Welcher, many volumes recased.
References
Not in Adams; Fleming, ‘Memoir and select letters of Samuel Lysons’, 1934.
From
the library at Knowsley Hall, and extra-illustrated
Large-paper example, extended to ten volumes, from five.
Provenance
With an engraved armorial bookplate of the earls of Derby at Knowsley Hall on the inside front cover of each volume, and early annotations to the endleaves regarding their purchase in Dublin in 1842.
NELSON, John
The History, Topography, and Antiquities of the Parish of St. Mary Islington.
Publication
London, John Nichols and Son, 1811 [but with additions from c1650-1840].
Description
Eight volumes. Folio (270 by 210mm and 290 by 225mm). Copiously illustrated with pasted engravings, lithographs, aquatints, manuscript watercolours, red letterpress sheets, maps, views, and plans, of which several folding, manuscript annotations throughout; contemporary red morocco with gilt borders, ornate roll tool to inside covers, spine in six compartments, gilt, minor staining to front covers.
References Freeman for ODNB.
“A very extensive, most interesting and valuable collection” (Huth Catalogue)
All together, a compendium of eight volumes of fascinating material related to all aspects of life in Islington from the middle of the seventeenth to the middle of the nineteenth century. Most of the watercolour drawings were clearly commissioned for the project, probably by Upcott, and are after other well-known drawings and engravings. They include, not only local views and landmarks, but also record inscriptions in churches and graveyard, as well as the coats-of-arms of local families. These seem likely to have been done by Henry Gough, whose trade card appears at the beginning of eighth volume.
The folding maps are mostly nineteenth-century, but include Ogilby’s road map, and his map of ‘Middlesex’.
By far and away the most interesting material is the wealth of ephemera: printed broadsides, trade cards, bills of sale etc., most of which is found in the seventh volume.
Most of the engraved views are also from the nineteenth century, but include Thomas Bakewell’s large folding ‘A new and Exact Prospect of the North Side of the City of London taken from the upper Pond near Islington’ (1730), laid down on linen; Robert Pollard’s complementary views, ‘A West view of Highbury Place’, and ‘This North View of Highbury & Cannonbury Places’ (1787). The engraved portraits include all of Islington’s most famous residents, such as Dick Whittington, who needs no introduction, but also Richard Brothers (1757-1824), a religious fanatic who was confined in Fisher House. The collection includes a long ALS from him.
William Upcott (1779–1845) was an obsessive collector of autographs, coins, trade tokens, and engravings, many of which found their way into this compendium, which he created for Richard Percival.
Upcott arrived in London in 1797 and worked as an apprentice for bookseller John Wright in Piccadilly. By 1813, Upcott was cataloguing the library at Wotton, the family home of John Evelyn in Surrey, where he and William Bray discovered Evelyn’s ‘Kalendarium’, or diary. Luckily, that was not one of the many items that Upcott liberated and which the family were only able to repatriate at the sale of Upcott’s estate in 1845.
Eventually established at “Autograph Cottage”, his home at 102 Upper Street, Islington, Upcott tried in vain to sell his vast collections to the Guildhall Library, which he had helped to found, the state paper office, the British Museum, the duke of Sussex, Sir Thomas Phillipps, and the Library of Congress in Washington, DC. Although he experienced some success, the bulk of his autographs, prints, and books were sold after his death in “three London sales of June 1846, making just under £4100 in all... Upcott’s extensive collections relating to the topography of Great Britain were purchased for the British Museum” (Freeman).
Provenance
1. Compiled by William Upcott for Richard Percival (1775-1851), banker of Highbury Park, with an inscription in volume IV, beneath an engraving entitled ‘A Collector’ depicting a gentleman holding a book on topography, which reads: “Presented, January 26th 1883, to his much-valued friend, Richard Percival Junr. Esq. by the collector William Upcott of the London Institution”. This engraving is followed by a watercolour of the drawing room at Upcott’s home, ‘Autograph Cottage, no.102 Upper Street Islington’, dated March 4th 1840. Further manuscript material included in the four additional volumes points to Percival as their collector. Two letters from the publisher K.J. Ford, whose business premises were in Islington’s Upper Street, offer his work for inclusion in Percival’s project, together two pages, 8vo, dated 1840 and December 27, [18]39: ‘K.J. Ford presents his compliments to Mr Percival being aware that Mr Percival is collecting any thing in the way of engraved and or prospectuses pertaining to Islington -- he begs to send one he has just done in Zinc which may not disgrace his collection’. Henry Stevens prepared a catalogue of books from the Percival Library, in 1873, much of which was purchased by the British Museum;
2. Alfred Henry Huth (1850-1910) with his bookplate, his sale, Sotheby, Wilkinson, and Hodge, 11 July 1917 lot 5248;
3. To J. Bumpus for £126;
4. Sir Sweetman Dickinson Pearson, Baronet, Viscount Cowdray of Cowdray, Paddockhurst, with his bookplate on the front free endpaper.;
5. All volumes with “Ex Musaeo Huthii” oval label on the inside front covers.
NELSON, John
The History, Topography, and Antiquities of the Parish of St. Mary Islington, in the County of Middlesex. Including Biographical Sketches of the most eminent and remarkable persons who have been born, or have resided there.
Publication
London, Printed for the Author by John Nichols and Son, Red Lion Passage, Fleet Street; and sold by C. Russell, at the Circulating Library, Upper Street, Islington; Messrs. Black, Parry, and Kingsbury, Leadenhall Street; Vernor, Hood, and Sharpe, Poultry; Greenland, Finsbury Place; and Setchel and Son, King Street, Covent Garden, 1811.
Description
Quarto (255 by 205mm). Double-page engraved map of Islington, and 12 engraved plates, a bit browned, fore-edges frayed, upper margin of title-page renewed; early twentieth century half blue morocco, gilt by J. Larkins, worn at extremities.
Collation
Pages [viii], [1]-416; [A]-3G4.
Copy of a local historian
First edition of Nelson’s comprehensive history of Islington. From the library of local church historian A.W. Norton, who compiled a list of Church Wardens of the Church of St. Mary on the occasion of its reopening after major renovations in April of 1904.
Provenance
With the library label of A.W. Norton, and extra-illustrated by him with a few letters and pieces of ephemera related to the church and Parish of St. Mary Islington.
NELSON, John; and BULLOCK, John
The History, Topography, and Antiquities of the Parish of St. Mary Islington.
Publication
London, John Nichols and Son, 1811 [but with additions from c1634-1840].
Description
One volume bound in four. Quarto (270 by 210mm). four-page list of subscribers, extra-illustrated with three watercolour drawing title-pages, 17 original watercolour drawings, 555 pages of engraved plates, 26 manuscript documents plus 6 pages listing the number of portraits in volume III, 23 engraved maps, including some folding and a couple with contemporary hand-colour, and 133 pages of ephemera, all professionally tipped-in to heavier stock; uniformly bound in half brown morocco, gilt, marbled paper boards.
References Freeman for ODNB .
Nelson Grangerised
Compiled by John Bullock, who has inserted the following two-page note after page 300 of Nelson’s text in volume III: “Note. The great difficulty in finding a page at this part of the work, at which to end this volume without dividing a chapter, has induced me instead of so doing, to insert in this volume only, paper sufficient to make it uniform in thickness with the other 3 Vols, this will be found valuable, and useful, for the manuscript notes, and additions, of any future historian of the parish, or for scarce cuttings, relating to the same. John Bullock”. True to his word, Bullock has included about 100 extra blank pages. At the end of volume IV, after the last page of Nelson’s text, Bullock has added the following sectional manuscript title-page: “Addenda to Nelson’s History of Islington, consisting of Portraits of Residents, Views of Buildings, in the Parish, Events and occurrences not mentioned in the work, 1725-1779”.
The manuscript documents include: a fragment of a document signed by Miles Corbett (1595-1662), Regicide; George Strahan who was Dr. Samuel Johnson’s executor; an autograph letter, signed by George Vertue about St. Mary’s Church in Islington; an autograph letter, signed from Sir George Colebrooke, chairman of the East India Company, and famous bankrupt.
Original watercolour drawings are mostly by “Schnebellie, Gosden, & Matthews” (note loosely inserted in Bullock’s hand) tbut there is also one by Thomas Hosmer Shepherd (1793 – 1864), who came to prominence when in 1826, when Jones & Co. commissioned a series of views of London’s newest buildings, streets, and squares from him for inclusion in ‘Metropolitan Improvements’ (1827).
The most interesting engravings include: George Glover’s ‘Q: Elizabeth...’, from ‘The Nine Woemen Worthys’ (c1634); Thomas Cecill’s portrait of Henry VIII, ‘Regem dedi iratus eis’ (1630); P.S. Lamborn’s etching of ‘Dr. Samuel Johnson’ (c1780); a number of John Thane’s engravings, including one of Queen Elizabeth I; Robert Mylne II’s design for the new “Black Fryar’s” Bridge (1760); caricatures by Rowlandson, including his image of an all-women cricket match, ‘Rural Sports or a Cricket Match Extraordinary’ (1811); and a couple by Cruikshank.
The folding maps are mostly nineteenth century, but include Strype’s ‘Shoreditch Norton Folgate’ (1720).
By far and away the most interesting material is the wealth of ephemera: printed broadsides, advertisements, trade cards, bills of sale, an engraved promissory note, for the Islington to Brighton Recherche, an account of the execution of Islington Highwayman Claude DuVal in ‘The London Gazette’, and much more.
Provenance
With the engraved armorial bookplate of Josiah Hutchinson [sic] on the inside front cover of each volume.
FAULKNER, Thomas
The History and Antiquities of Brentford, Ealing, & Chiswick, interspersed with biographical notices of illustrious and eminent persons, who have been born, or have resided there during the three preceding centuries.
Publication London, Payne and Foss; et al, 1845.
Description Octavo (160 by 250mm). Lithographed frontispiece and 13 plates, extra-illustrated with ‘Plan of the City of London & Richmond Railway’, one original watercolour drawing, and 107 engraved plates tipped-in or mounted on heavier stock, original folding prospectus bound it end; nineteenth century half dark green morocco, gilt.
Original prospectus signed by the author
Thomas Faulkner (1777–1855) owned a small bookseller’s and stationer’s shop at 1 Paradise Row, and was a frequent contributor to the ‘Gentleman’s Magazine’, and the ‘New Monthly Magazine and Universal Register’. His first book about local history was ‘A Short Account of Chelsea Hospital’ (1805), which was followed by ‘A historical and topographical account of Chelsea and its environs’ (1810), books about Fulham (1813), Kensington (1820), Hammersmith (1839), and the current work in 1845. The original prospectus for the work is bound in at the end, signed by the author.
TOMLINS, Thomas Edlyne
Yseldon. A Perambulation of Islington.
Publication London, James S. Hodson, 1858.
Description Folio (325 by 265mm). Title-page printed in red and black. Manuscript contents leaf, extra-illustrated with 45 engraved plates, and pages from the ‘Table-Book’, text and plates professionally mounted in heavier stock; contemporary half green morocco, green cloth, worn at the extremities with loss.
Islington, extra-illustrated
First edition, of this step-by-step walk in and around Islington.
MILLER, Frederick; COOK, Frederick A.; and CRUIKSHANK, George
Saint Pancras Past and Present: being Historical, Traditional and General Notes of the Parish, including Biographical Notices of Inhabitants associated with its Topgraphical and General History.
Publication London, Abel Heywood & Son,... and may be had of all booksellers in St. Pancras, 1874 [but after 1905].
Description
One volume in two. Quarto (265 by 210mm). Extra-illustrated with 16 watercolour drawings by Cook, two pencil drawings, one Autograph letter, signed by George Cruikshank, four early photographs, three engraved maps, and more than 280 engraved portraits and views, text and plates all professionally mounted in heavier stock; contemporary tan diced calf, gilt by Wallis, all edges gilt. Provenance: with the bookplate of Frederick Cook, dated 1905, on the inside front cover of each volume.
St. Pancras, King’s Cross, Camden and Kentish Town
First edition of this comprehensive history of the area, centered on the current King’s Cross in northwest London, written twenty years after the arrival of the first passenger trains there. Augmented by the addition of watercolours by Frederick Cook after engravings, a little apologetic note from the dedicatee of the book, George Cruikshank, making his excuses to “Capt. Chambers”, and hundreds of engraved portraits and views, mostly from the nineteenth century.
WHITE, Caroline A.
Sweet Hampstead and its Associations.
Publication London, Elliot Stock, 1900.
Description
One volume bound in two. Small quarto (235 by 160mm). Illustrated throughout and with 23 plates after watercolours, engraved views and portraits, extraillustrated with a folding lithographed map of Hampstead, three original pen and ink and colour wash drawings, and 257 plates of engraved views and portraits, and from photographs, all professionally inset into paper; modern half green morocco, gilt.
Hampstead from the time of Queen Anne to the turn of the twentieth century
First edition of White’s comprehensive topographical and social history of Hampstead, “recalling forgotten incidents connected with it, and memories of some of the celebrated men and women who, from the days of Queen Anne till our own”. Extra-illustrated with “the materials for the history of which lie scattered through many books not often read, and in the correspondence of dead men and women”, from mostly nineteenthcentury sources. Including a ‘Map of The Parish of St. John, Hampstead’, by Sprague & Co., for the ‘Records of Hampstead’, March 1890.
Provenance
With the bookplate of Frederick Cook, dated 1903, on each inside front cover.
BARRATT, Thomas
The Annals of Hampstead.
Publication
London, Adam and Charles Black, 1912.
Description
Three volumes. Folio (280 by 260mm). Six maps including four large and folding, 30 colour plates tipped-in on heavy stock, 36 half-tone plates, illustrated throughout; exceptionally fine original publisher’s blue decorated cloth, gilt, all edges gilt, preserved in modern blue morocco-backed slipcases.
Blowing bubbles in Hampstead
First edition, one of 500 examples, signed by the author. Thomas J. Barratt (1842-1914), started as a bookkeeper at the Pears soap manufactory at a young age. After marrying the daughter of F. Pears, he rose to become chairman and became responsible for commission the iconic Bubbles image for a Pears advertising campaign, and so launched the art of modern advertising.
Provenance
With the early ownership inscriptions of “Jn.o England” on the title-page and Dedication leaf.
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