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Catalogue: Books
The History Of The Free-School of Harrow. Dedicated, By Permission, To The Governors Of That Foundation.
London: Printed For And Published By R. Ackermann, 101, Strand.. L. Harrison, Printer, 373, Strand. M.DCCC.XVI [1816].
First edition book, large 4to (345 x 285mm), illustrated with five finely hand-coloured aquatint plates c.250 x 300mm. Later blue half morocco gilt binding. Edges of binding scuffed, generally good condition, with no offsetting from plates to text. A handsome copy.
The finest pictorial record of one of the most famous schools in England, as depicted by artists including Pugin and Westall. The engraving was executed by those masters of aquatint Stadler and Havell.
Abbey Scenery: 440.
[Ref: 7429] £580.00
London: Printed For And Published By R. Ackermann, 101, Strand.. L. Harrison, Printer, 373, Strand. M.DCCC.XVI [1816].
First edition book, large 4to (345 x 285mm), illustrated with five finely hand-coloured aquatint plates c.250 x 300mm. Later blue half morocco gilt binding. Edges of binding scuffed, generally good condition, with no offsetting from plates to text. A handsome copy.
The finest pictorial record of one of the most famous schools in England, as depicted by artists including Pugin and Westall. The engraving was executed by those masters of aquatint Stadler and Havell.
Abbey Scenery: 440.
[Ref: 7429] £580.00
A History of the University of Oxford, Its Colleges, Hall, and Public Buildings.
London: R.Ackermann, 1814.
2 vols, folio, original calf rebacked with new spines; uncoloured portrait of Grenville, 70 coloured views after Pugin, and 22 costumes, as called for. No Founders. Some faint offset, mainly in the text text.
A fine binding by Matthews of Oxford.
[Ref: 13] £2,500.00
London: R.Ackermann, 1814.
2 vols, folio, original calf rebacked with new spines; uncoloured portrait of Grenville, 70 coloured views after Pugin, and 22 costumes, as called for. No Founders. Some faint offset, mainly in the text text.
A fine binding by Matthews of Oxford.
[Ref: 13] £2,500.00
![(Ireland, William Henry.) [Something concerning Nobody.]](jpegs/12610.jpg)
(Ireland, William Henry.) [Something concerning Nobody.] [Edited by Somebody. Embellished with fourteen characteristic etchings.]
[Plates etched by G. M. Woodward.]
[London: Robert Scholey, 1814.]
Fourteen sepia etchings (complete, including frontispiece) attributed to George Moutard Woodward (c.1760 - 1809), glued into green paper pamphlet, front wrapper annotated in ink. Only edition, 8vo (210 x 135mm, 8¼ x 5¼"). Etchings trimmed within platemarks (lacking text and original binding).
Each captioned plate shows the 'Nobody' character - a large head on small shoulders placed on his legs so that he has no body - in different everyday situations.
A real curiosity.
British Library: 010250214.
[Ref: 12610] £230.00 view all images for this item
[Plates etched by G. M. Woodward.]
[London: Robert Scholey, 1814.]
Fourteen sepia etchings (complete, including frontispiece) attributed to George Moutard Woodward (c.1760 - 1809), glued into green paper pamphlet, front wrapper annotated in ink. Only edition, 8vo (210 x 135mm, 8¼ x 5¼"). Etchings trimmed within platemarks (lacking text and original binding).
Each captioned plate shows the 'Nobody' character - a large head on small shoulders placed on his legs so that he has no body - in different everyday situations.
A real curiosity.
British Library: 010250214.
[Ref: 12610] £230.00 view all images for this item
The Anatomy Of The Horse. Including A Particular Description of the Bones, Cartilages, Muscles, Fascias, Ligaments, Nerves, Arteries, Veins, and Glands. In Eighteen Tables, all done from Nature. By George Stubbs, Painter.
[Designed and etched by George Stubbs.]
London, Printed by J. Purser, for the Author. 1766.
24 etched plates with title page, preface and explanatory letterpress bound to style into c.1804 quarter binding with hand produced Spanish marble boards, large oblong folio. Sheets 440 x 564mm, plates c.375 x 480mm. Presented in attractive specially designed box. Binding generally scuffed and rubbed (unrestored), spine rebound. Spots of residue from expertly removed mould visible in upper margin of several plates. This residue particularly prominent in Tabs. IX and XI, encroaching into plate Tabs. XIII and XIV. Vertical 'scuff' line from upper edge of paper c. 5cm into plate centre left Tab. XII. Diagonal crease though top edge of upper right corner of sheet Tab. XIV, well outside plate. Lower right corner and lower left corner extremities missing Tabs. I and key respectively ('skeleton').
Complete volume of this masterpiece of equine anatomical exploration by George Stubbs [1724 - 1806]. It takes the form of what are effectively two sets of etchings combined. The first part, of four plates, deals exclusively with the skeletal structure of the horse and comprises three finished etchings labelled Tabs. I, II and III, and one key plate corresponding to Tab I. The second part explores the muscles, fascias, ligaments, nerves, veins, glands and cartilages. This consists of 15 etchings, Tabs. I - XV, nos. I - V each with corresponding separate key plates. This volume is compiled from two separate first editions. The binding and letterpress sheets, along with four plates, come from a copy ex-Royal Veterinary College. The plates as follows; Tabs I (Lennox-Boyd 169), III (173), IV (175) and the final plate XV (188). The remainder of the plates come from a private collection in the West Country. These etchings are fine impressions on contemporary laid paper, on which only the earliest copies were printed. They represent gloriously precise, detailed and accurate anatomical observations which set the standard in veterinary science for a century. They certainly possess a 'fine exactness and austere beauty' that 'give them a timeless beauty' (Ray). Stubbs says in his introduction 'To The Reader': 'all the figures in it are drawn from nature, for which purpose I dissected a great number of horses'. 42 original sketches from Stubbs's dissections between 1756 and 1759 while he was at Horkstow in Lincolnshire survive in the library of the Royal Academy. These form the basis of this great work, an undertaking too demanding it seems for some of the premier engravers of the time, such as Charles Grignion, who declined Stubbs's approaches. The task took up the following six years, all the while the artist refining his rather rudimentary engraving technique. The impact of the publication of the work was immediate and considerable, not only in scientific terms, but in an age of Enlightenment when the aesthetic ideal was closely connected with observation of the natural world, the artistic community derived great benefit also.
Freshly appreciated and re-discovered in the 20th century, George Stubbs is now widely considered to be the pre-eminent animal painter of the 18th century. Throughout his life Stubbs displayed an inquisitive scientific temperament, and he had a life-long interest in deconstructing anatomy, one of his earliest works including a set of illustrations for a textbook on midwifery which was published in 1751.
Lennox-Boyd: 166 - 188.
[Ref: 5777] £19,500.00 view all images for this item
[Designed and etched by George Stubbs.]
London, Printed by J. Purser, for the Author. 1766.
24 etched plates with title page, preface and explanatory letterpress bound to style into c.1804 quarter binding with hand produced Spanish marble boards, large oblong folio. Sheets 440 x 564mm, plates c.375 x 480mm. Presented in attractive specially designed box. Binding generally scuffed and rubbed (unrestored), spine rebound. Spots of residue from expertly removed mould visible in upper margin of several plates. This residue particularly prominent in Tabs. IX and XI, encroaching into plate Tabs. XIII and XIV. Vertical 'scuff' line from upper edge of paper c. 5cm into plate centre left Tab. XII. Diagonal crease though top edge of upper right corner of sheet Tab. XIV, well outside plate. Lower right corner and lower left corner extremities missing Tabs. I and key respectively ('skeleton').
Complete volume of this masterpiece of equine anatomical exploration by George Stubbs [1724 - 1806]. It takes the form of what are effectively two sets of etchings combined. The first part, of four plates, deals exclusively with the skeletal structure of the horse and comprises three finished etchings labelled Tabs. I, II and III, and one key plate corresponding to Tab I. The second part explores the muscles, fascias, ligaments, nerves, veins, glands and cartilages. This consists of 15 etchings, Tabs. I - XV, nos. I - V each with corresponding separate key plates. This volume is compiled from two separate first editions. The binding and letterpress sheets, along with four plates, come from a copy ex-Royal Veterinary College. The plates as follows; Tabs I (Lennox-Boyd 169), III (173), IV (175) and the final plate XV (188). The remainder of the plates come from a private collection in the West Country. These etchings are fine impressions on contemporary laid paper, on which only the earliest copies were printed. They represent gloriously precise, detailed and accurate anatomical observations which set the standard in veterinary science for a century. They certainly possess a 'fine exactness and austere beauty' that 'give them a timeless beauty' (Ray). Stubbs says in his introduction 'To The Reader': 'all the figures in it are drawn from nature, for which purpose I dissected a great number of horses'. 42 original sketches from Stubbs's dissections between 1756 and 1759 while he was at Horkstow in Lincolnshire survive in the library of the Royal Academy. These form the basis of this great work, an undertaking too demanding it seems for some of the premier engravers of the time, such as Charles Grignion, who declined Stubbs's approaches. The task took up the following six years, all the while the artist refining his rather rudimentary engraving technique. The impact of the publication of the work was immediate and considerable, not only in scientific terms, but in an age of Enlightenment when the aesthetic ideal was closely connected with observation of the natural world, the artistic community derived great benefit also.
Freshly appreciated and re-discovered in the 20th century, George Stubbs is now widely considered to be the pre-eminent animal painter of the 18th century. Throughout his life Stubbs displayed an inquisitive scientific temperament, and he had a life-long interest in deconstructing anatomy, one of his earliest works including a set of illustrations for a textbook on midwifery which was published in 1751.
Lennox-Boyd: 166 - 188.
[Ref: 5777] £19,500.00 view all images for this item
The Bardic Museum, of primitive British Literature; and other admirable rarities; forming the Second Volume of the Musical, Poetical and Historical Relicks of the Welsh Bards and Druids ... containing the Bardic Triads; Historic Odes; Eulogies; Songs; Elegies ... with English translations and historic illustrations: likewise the ancient War-tunes of the Bards ... To these national melodies are added new Basses; with Variations, for the Harp, or Harpsichord; Violin, or Flute;
By Edward Jones, Bard to the Prince.
London: Printed by A. Strahan, Printer-Street, for the Author; 1802. (Price 1/. 5s.) Entered at Stationer's Hall.
Book; small folio (340 x 250mm, 13¼ x 9¾"), text and sheet music with lyrics complete as issued. With hand coloured etched frontispiece by Rowlandson after Ibbetson and J. Smith, of figures gathered around a harpist playing on a hillside. Unmarked blue paper-covered binding with calf spine. Binding chipped, scuffed and rubbed; paper covers tearing. Spine largely worn away, front cover disbound. Sheets slightly foxed, some offsetting to music sheets.
Edward Jones (1752 - 1824), known as Bardd y Brenin, or the King's Bard, was a musician and Welsh writer. He taught music to many persons of rank and was appointed bard to the Prince of Wales, an honorary office, in 1783. In 1784 he published ‘Musical and Poetical Relicks of the Welsh Bards, preserved by Tradition and Authentic Manuscripts from very remote Antiquity, with a Collection of the Pennillion and Englynion, Epigrammatic Stanzas or native Pastoral Sonnets of Wales, a History of the Bards from the Earliest Period, and an Account of their Music, Poetry, and Musical Instruments,’ London, folio, in 2 parts; republished with additions in 1794. This companion volume was issued in 1802. These works, largely based on the author's original researches among unpublished Welsh manuscripts, rescued and preserved some of the oldest Welsh airs extant. In many ways Jones can be said to have invented Wales as the 'land of song', while defining its people as 'aboriginal Britons' and as the oldest musical nation in Europe. A scarce Rowlandson image.
British Library: 004439254.
[Ref: 10521] £500.00
By Edward Jones, Bard to the Prince.
London: Printed by A. Strahan, Printer-Street, for the Author; 1802. (Price 1/. 5s.) Entered at Stationer's Hall.
Book; small folio (340 x 250mm, 13¼ x 9¾"), text and sheet music with lyrics complete as issued. With hand coloured etched frontispiece by Rowlandson after Ibbetson and J. Smith, of figures gathered around a harpist playing on a hillside. Unmarked blue paper-covered binding with calf spine. Binding chipped, scuffed and rubbed; paper covers tearing. Spine largely worn away, front cover disbound. Sheets slightly foxed, some offsetting to music sheets.
Edward Jones (1752 - 1824), known as Bardd y Brenin, or the King's Bard, was a musician and Welsh writer. He taught music to many persons of rank and was appointed bard to the Prince of Wales, an honorary office, in 1783. In 1784 he published ‘Musical and Poetical Relicks of the Welsh Bards, preserved by Tradition and Authentic Manuscripts from very remote Antiquity, with a Collection of the Pennillion and Englynion, Epigrammatic Stanzas or native Pastoral Sonnets of Wales, a History of the Bards from the Earliest Period, and an Account of their Music, Poetry, and Musical Instruments,’ London, folio, in 2 parts; republished with additions in 1794. This companion volume was issued in 1802. These works, largely based on the author's original researches among unpublished Welsh manuscripts, rescued and preserved some of the oldest Welsh airs extant. In many ways Jones can be said to have invented Wales as the 'land of song', while defining its people as 'aboriginal Britons' and as the oldest musical nation in Europe. A scarce Rowlandson image.
British Library: 004439254.
[Ref: 10521] £500.00
Forty Lithographic Impressions From Drawings by Thomas Barker, Selected from His Studies of Rustic Figures After Nature.
Published by Subscription at Bath. December 1813.
Privately printed by the artist, limited edition of 200. Folio, original boards with printed title label, lacking spine, boards detached; title + pp. (iv) + 40 lithographs. Some damp staining to first dozen plates.
Thomas Barker (1769-1847), born in Wales but known as "Barker of Bath". As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841. This work was the first one-man collection of lithographs ever printed in England, printed by Redman of Bath.
[Ref: 13436] £1,150.00 view all images for this item
Published by Subscription at Bath. December 1813.
Privately printed by the artist, limited edition of 200. Folio, original boards with printed title label, lacking spine, boards detached; title + pp. (iv) + 40 lithographs. Some damp staining to first dozen plates.
Thomas Barker (1769-1847), born in Wales but known as "Barker of Bath". As an expert on fresco technique, Barker advised on the redecoration of the Houses of Parliament in 1841. This work was the first one-man collection of lithographs ever printed in England, printed by Redman of Bath.
[Ref: 13436] £1,150.00 view all images for this item
The Battle Ground Of The Eights The Thames The Isis The Cam.
Drawn & Etched by R. Farren 1884.
Cambridge Macmillan And Bowes.
Oblong folio, etched titlepage and nine etched plates, plates c.145 x 200mm. Edition limited to 200 copies. Binding scuffed and frayed with odd water stain. Plates good, faint evidence of foxing.
Includes attractive views on the Thames at Chiswick and Putney, punting on The Isis, and fishing on The Cam. The decorative titlepage with attractive vignette of a swallow and reeds signed in pencil by the artist, who has also captioned each plate in pencil. Robert Farren rarely signed his work. He lived and worked in Cambridge where he owned a print business.
[Ref: 7427] £380.00 view all images for this item
Drawn & Etched by R. Farren 1884.
Cambridge Macmillan And Bowes.
Oblong folio, etched titlepage and nine etched plates, plates c.145 x 200mm. Edition limited to 200 copies. Binding scuffed and frayed with odd water stain. Plates good, faint evidence of foxing.
Includes attractive views on the Thames at Chiswick and Putney, punting on The Isis, and fishing on The Cam. The decorative titlepage with attractive vignette of a swallow and reeds signed in pencil by the artist, who has also captioned each plate in pencil. Robert Farren rarely signed his work. He lived and worked in Cambridge where he owned a print business.
[Ref: 7427] £380.00 view all images for this item
![[Mothers and Children.]](jpegs/13808.jpg)
[Mothers and Children.]
[After Lady Diana Beauclerk.]
[London, Pub.d by August 1, 1805 by R. Ackermann, No 101, Strand.
Oblong quarto, red half morocco with marbled boards, rubbed. "The Works of Lady Beauclerk" in pencil on front endpaper. 16 colour-printed stipples. Extremely rare and fine collection. Occasional tears to edges of plates, some spotting. Uncut.
Finely-printed stipples of women and children, with the occasional appearance of Cupid.
Lady Diana Beauclerk (1734–1808), daughter of the 3rd Duke of Marlborough. She illustrated a number of literary productions, including Horace Walpole's tragedy 'The Mysterious Mother' and 'The Fables of John Dryden', and provided designs for Josiah Wedgwood's bas-reliefs on jasper ornaments.
[Ref: 13808] £5,900.00 view all images for this item
[After Lady Diana Beauclerk.]
[London, Pub.d by August 1, 1805 by R. Ackermann, No 101, Strand.
Oblong quarto, red half morocco with marbled boards, rubbed. "The Works of Lady Beauclerk" in pencil on front endpaper. 16 colour-printed stipples. Extremely rare and fine collection. Occasional tears to edges of plates, some spotting. Uncut.
Finely-printed stipples of women and children, with the occasional appearance of Cupid.
Lady Diana Beauclerk (1734–1808), daughter of the 3rd Duke of Marlborough. She illustrated a number of literary productions, including Horace Walpole's tragedy 'The Mysterious Mother' and 'The Fables of John Dryden', and provided designs for Josiah Wedgwood's bas-reliefs on jasper ornaments.
[Ref: 13808] £5,900.00 view all images for this item
Bianka Capello von A.G. Meissner.
Wien in der Wucherischen Buchhandlung 1786.
Engraved titlepage, frontispiece, and 12 engravings, bound with single stitch, largest 115 x 85mm, most c.94 x 70mm.
A set of illustrations from an early Vienna edition of August Gottlieb Meissner's 'Bianka Capello'. It is a tragedy inspired by the life of Bianca Cappello (1548 – 1587), an Italian noblewoman who was first the lover and then the wife of Francesco I de Medici, Grand Duke of Tuscany. Meissner (1753 - 1807) was an author and poet who became a professor in Prague in 1785, and in 1805 director of the Lyceum at Fulda. He wrote plays and stories and was active as a translator. His work has a pronounced moralizing trend. Alfred von Meißner was his grandson.
All engravings by Mark after Sambach, and inscribed with plate and page numbers from the volume they have been disbound from.
Ex: Collection of Alec Clunes.
[Ref: 7849] £280.00 view all images for this item
Wien in der Wucherischen Buchhandlung 1786.
Engraved titlepage, frontispiece, and 12 engravings, bound with single stitch, largest 115 x 85mm, most c.94 x 70mm.
A set of illustrations from an early Vienna edition of August Gottlieb Meissner's 'Bianka Capello'. It is a tragedy inspired by the life of Bianca Cappello (1548 – 1587), an Italian noblewoman who was first the lover and then the wife of Francesco I de Medici, Grand Duke of Tuscany. Meissner (1753 - 1807) was an author and poet who became a professor in Prague in 1785, and in 1805 director of the Lyceum at Fulda. He wrote plays and stories and was active as a translator. His work has a pronounced moralizing trend. Alfred von Meißner was his grandson.
All engravings by Mark after Sambach, and inscribed with plate and page numbers from the volume they have been disbound from.
Ex: Collection of Alec Clunes.
[Ref: 7849] £280.00 view all images for this item
A Fasciculus of Eight Drawings on Stone of Groups of Birds, &c,, By John Hancock. The whole being representations of Specimens Stuffed and Contributed by the Author to the Great Industrial Exhibition of 1851.
Hullmandel & Walton, Lithog: London.
Newcastle upon Tyne; Published by the Author, 1853.
Book, folio (555 x 375mm, 21¾ x 14¾"), first edition, eight black and white lithographs by the author printed by Hullmandel and Walton, together with titlepage and list of subscribers and printed leaf headed 'Notice', as called for. Five plates depict birds of prey, the others stuffed gulls and game birds, and a leopard cub. In original printed wrapper. Wrapper tatty, soiled and foxed. Plates generally good, some light spotting. Loosely stitched.
A rare folio, uncoloured and as issued, by the famous Newcastle ornithologist John Hancock who stole a march on John Gould by placing his specimens in the Great Exhibition.
British Library: 001584194.
[Ref: 11979] £680.00 view all images for this item
Hullmandel & Walton, Lithog: London.
Newcastle upon Tyne; Published by the Author, 1853.
Book, folio (555 x 375mm, 21¾ x 14¾"), first edition, eight black and white lithographs by the author printed by Hullmandel and Walton, together with titlepage and list of subscribers and printed leaf headed 'Notice', as called for. Five plates depict birds of prey, the others stuffed gulls and game birds, and a leopard cub. In original printed wrapper. Wrapper tatty, soiled and foxed. Plates generally good, some light spotting. Loosely stitched.
A rare folio, uncoloured and as issued, by the famous Newcastle ornithologist John Hancock who stole a march on John Gould by placing his specimens in the Great Exhibition.
British Library: 001584194.
[Ref: 11979] £680.00 view all images for this item