647 results
1759ref. 18779The Hague 1759. Large folio ca. 50 x 36 cm. Pierre Gosse junior 19th-century half green morocco a red morocco label on the spine with the title in French lettered in gold marbled endpapers. With 20 engravings each mounted on a double-leaf of heavy paper the text is printed in Dutch and French with a separate title page for each language the engraved coat of arms of Princess Anna on each and 4 decorated woodcut initials. 2 parts in 1 volume. 4 4; 4 27 pp. First edition of two works with illustrations and descriptions of the funeral ceremonies for Princess Anna of Hannover 1709-1759 who was then regent for her son William V Stadtholder of the Dutch Republic. The first work shows the ceremonial mourning chamber with Princess Anna on her death bed. The plates were drawn by Pieter de Swart 1709-1772 one of the most important Dutch architects of the 18th century and engraved by Simon Fokke 1712-1784. The second work shows the funeral procession which took place in Delft on the 23rd of February in 1759 with detailed illustrations of all the heralds riflemen guards etc. that took part in the ceremony. The plates for this work were drawn by artist Paulus Constantijn la Fargue 1729-1782 and also engraved by Fokke. The creators apparently suspected that counterfeit editions of the work might appear as the text at the end of the first work states that only copies signed by the bookseller would be considered real. The present copy is signed.Princess Anna of Hannover duchess of Brunswick-Luneburg was the eldest daughter of George II August later King of England as George II and Wilhelmina Charlotte of Brandenburg-Ansbach. In 1734 she married the Dutch Willem Karel Hendrik Friso 1711-1751 Prince of Orange and Stadtholder of Friesland. When in 1747 her husband became Stadtholder of the Dutch Republic as Willem IV the couple moved from Leeuwarden to The Hague and Anna became highly involved in politics. After the death of Willem IV in 1751 she became regent for her three-year old son the later Stadtholder Willem V. In this position she played a prominent part in the political life of the Republic defending the position of the House of Orange against the republicans.The edges and corners of the boards are somewhat scuffed the boards are slightly rubbed the spine is somewhat discoloured. Otherwise a beautiful copy on heavy large paper with the plates in their original fresh impressions.l Ad 1: Landwehr Splendid ceremonies 233; Lipperheide 2675; Muller 4095; STCN 23024453X 7 copies; Vinet 756; Ad 2: Landwehr Splendid ceremonies 234; Lipperheide 2676; Muller 4097; STCN 230244394 7 copies; Vinet 756bis. ABE CAT Costumes & Uniforms ART ARCHITECTURE & PHOTOGRAPHY HISTORY LOW COUNTRIES Ceremonial Festivities & Fireworks Costumes Fashion & Uniforms Netherlands hardcover
ref. 117139Moscow & St Petersburg but printed in Penza lzd. Khudozhestvennyi Klub 1918. . First only edition 8vo 23 x 17.5 cm; lithographed title 6 linocuts of which 4 are in colour ownership inscription in pencil to p1; original purple printed wrappers with mounted illustration by Usenko reapirs to spine covers faded else a very good copy. The first collection of poems from the Imagists printed in a tiny edition in the Penza provincial printing house. 'Exodus' refers to leaving Penza where Mariengof lived as a student. In the spring of 1918 the poet's father died from a stray bullet during the rebellion of the Czech legionnaires. After this tragic event Mariengof left Penza forever and moved to Moscow where he organised a group of four poet friends: Esenin Mariengof Shershenevich and Ivnev which became the backbone of a new literary movement. Mariengof later said 'Imagism was born in the city of Penza on Kazanskaya Street'. The collection of poetry also includes the notable first appearance of Osip Mandel'shtam's Dekabrist' from 1917 a striking anomaly it would be first published officially in Tristia in 1922. Not much is known about the artist Vitaliy Usenko but his illustrations are incredibly striking. Moscow & St Petersburg (but printed in Penza), lzd. Khudozhestvennyi Klub, 1918. unknown
1912ref. ST17640-391New York: Dodge Publishing Company 1912. 265 x 195 mm. 10 1/4 x 8". Title page and 52 unnumbered leaves printed on recto only. Translated by Edward FitzGerald. EXCELLENT TEAL CRUSHED MOROCCO GILT BY THE HARCOURT BINDERY stamp-signed on verso of front free endpaper covers framed by multiple plain and dotted rules enclosing a twining grapevine central panel with palmette and floral cornerpieces raised bands spine compartments densely gilt LOVELY CITRON MOROCCO DOUBLURES EACH with large oval medallion at center CONTAINING ONE OF THE COLOR ILLUSTRATIONS BY HANSCOM & CUMMINGS enclosed by a graceful gilt frame corners with intricate gilt vines bearing clusters of onlaid burgundy morocco grapes fawn-colored moiré silk endleaves top edge gilt other edges untrimmed joints expertly repaired. In an early original blue cloth dust jacket. With 26 of 28 two having been used for the doublures memorably intriguing tipped-on color plates by Adelaide Hanscom and Blanche Cummings all with tissue guards and the text with Orientalist decorations those on the title and opening pages hand-colored and highlighted with gilt. Paas 1513. Spine evenly darkened title page with small tears at inner margin lower corner of one plate torn at tip image unaffected other trivial imperfections but still quite an attractive copy--clean fresh and bright the leaves with vast margins and the heavily-gilt binding lustrous. This is an especially appealing copy of a ground-breaking illustrated edition of the Rubaiyat in an elaborate binding with splendid doublures created by a prominent American workshop using images from two of the color plates in the work. One of the early women pioneers in the field San Francisco photographer Adelaide Hanscom 1875-1931 began working on photographs to illustrate the Rubaiyat in 1903 and called on members of the Bay Area's bohemian literary and artistic community to serve as models among them "Poet of the Sierras" Joaquin Miller the white-bearded sage in our illustrations Charles Sterling George Wharton James and Charles Keeler. Hanscom was already making a name for herself as a portrait photographer and as a member of the Pictorialism movement defined by Britannica as "an approach to photography that emphasizes beauty of subject matter tonality and composition rather than the documentation of reality." Those characteristics are on prominent display in her Rubaiyat images first published as sepia-toned photogravures in 1905. This work caused a sensation and won Hanscom international attention including a silver medal at the Liverpool Exposition in England. Perhaps more meaningful to Hanscom was the notice of the great Alfred Stieglitz who made her an Associate Member of his Photo-Secession and included two of her prints in an exhibition at the Little Galleries of the Photo-Secession later known as "219" in New York. The San Francisco earthquake of 1906 destroyed the studio of Hanscom and her partner Cumming including all the negatives of the Rubaiyat plates. The photographs copyrighted by Dodge Publishing were all that remained. The Getty Center which owns a copy of this work suggests that Hanscom and Cumming created the plates here by hand-coloring the photographs and the title of our edition implies those "Life Studies" were then photographed for this work. The memorable binding is by Boston's Harcourt Bindery founded in 1900 to provide hand bookbinding services for the publications of the burgeoning number of private presses created by the Arts & Crafts Movement in New England. The binders took two of the color plates from the work--the frontispiece and the final image from the 1905 edition--to create centerpieces for the doublures adding a gilt and onlaid grape arbor that evokes imagery from the poem. The Harcourt Bindery remains the largest bindery in the United States exclusively devoted to fine bookbinding by hand. Dodge Publishing Company unknown
ref. 70010London: Collins 1974. Ornithology SIGNED PRESENTATION COPY. Fourth printing. Octavo 20 x 14cm pp.256. With colour plate illustrations and line drawings. Publisher's mid-blue cloth titled and decorated in gilt to spine cartographic endpapers. With author's inscription to the title page; To Dick Sargent / James Bond. With occasional pencil and ink annotations by Sargent together with a note confirming the signed book was presented to him by Bond's colleague Lisa Salmon. A near fine copy without wrapper. The acclaimed work by the ornithologist James Bond whose name was famously appropriated for spy fiction's most celebrated hero. A rare signature in full as here the author usually signing as 'Jim Bond'. The recipient Dick Sargent was president and CEO of the Chubb Institute A dedicated conservationist he served as a trustee on the board of The Land Conservancy of New Jersey. Lisa Salmon founded the Rocklands Bird Sanctuary near Montego Bay in 1958. Laid in is a tri-fold checklist compiled by Salmon identifying birds to be observed at Rockland Feeding Station. Later part of the collection of Ian Fleming bibliographer Jon Gilbert. Gilbert page 616. London: Collins, 1974 unknown
1817ref. 007975London: Henry Colburn 1817. First edition. Three Quarters Morocco. Marbled pastedown on boards. Near Fine. 4to. 30.5 by 27 cm. xviii 2 368 pp. 28 hand-colored aquatint plates of which one is a half-title page another is a double paged and folding panorama plate of The Battle of Waterloo; plus two folding maps. The plate count given in the book's plate description is 30 and this includes the maps. Tooley 336. Abbey Life 372. Cohn Cruikshank 580. Missing as typical View of Brussels but with "Flight of Bonaparte". Rouse was responsible for almost all of the plates with Cruikshank the artist for the large folding plate depicting the Battle of Waterloo and the frontis plate which contains portraits of the leading generals. Rouse though had a hand in the printing of these as well. Condition: Rubbing along the joints on the cover with a touch of rawness in the very upper reach of the front hinge but overall a highly attractive three quarter red morocco binding with raised bands gilt lettering and ruled and dotted decoration on the spine. Scattered light soiling within and the typical quotient of offsetting but mostly clean. The Cruikshank Waterloo plate has smudgy margins but a good amount of this can be removed with a simple eraser if one wishes to make the effort -- we did test this. The large folding map has fold tears with one irregularly bordered tear. The whole map we would note is present. Henry Colburn unknown
1945ref. 38405Angers: Editions Jacques-Petit 1945. WITH TWO IMPRESSIONS IN FIRST AND SECOND STATES OF ONE OF KIYOSHI HASEGAWA'S MOST IMPORTANT PRINTS. Etched half-title 16 pp. plus 12 loose engravings. A monograph on engraving followed by short biographies of each of the six artists accompanied by a suite of large engravings by Cami Cottet Decaris Jeannisson Hasegawa and Lemagny. From a total edition of 320 copies all printed on fine Marais wove paper this is ONE OF ONLY 60 SETS WITH THE ENGRAVINGS IN TWO STATES: THE FIRST STATE ON RIVES WOVE PAPER SIGNED IN PENCIL AND THE SECOND STATE ON MARAIS WOVE PAPER. Hasegawa's engraving "Anemones et fleurs de champs dans un verre a facettes" Kyoto 368 also known as "Bouquet sur fond de dentelle" is considered one of his masterpieces. Folio 38 x 28 cm. Loose as issued in the original folding case. Folding case lightly worn and spotted. CONTENTS FINE AND BRIGHT. ALL OF THE PRINTS IN BRILLIANT CONDITION. Editions Jacques-Petit unknown
ref. 2324Paris: Dufart 1806. ALL PUBLISHED of this abortive yet spectacular attempt at a comprehensive survey of natural history THE FIRST BOOK ON ZOOLOGY WITH COLOR-PRINTED as opposed to hand-colored PLATES. Comprises a general preface describing the entire project by Dufart an introduction to this volume by Manuel 101 GORGEOUS FULL-PAGE COLOR-PRINTED STIPPLE-ENGRAVED PLATES OF MAMMALS IN EXOTIC LANDSCAPES usually two scenes per plate after Deseve and other artists and descriptive notes on each mammal depicted by Manuel. 30 pp. 101 plates 60 pp. Dedicated to Napoleon. Text printed on fine wove paper plates on very fine thick wove paper. After the appearance of this volume the project was suspended because the publishers could not find enough subscribers there is a list of the 24 who subscribed to this first volume on the back of the half-title. The reasons for this failure are obvious: each volume cost a staggering 60 francs not including the binding and the images of the animals although bright beautiful and charming are not particularly accurate. Large thick 8vo. BOUND IN CONTEMPORARY FULL CRIMSON MOROCCO WITH ELEGANT GILT DECORATION ON COVERS AND SPINE. All edges gilt. Light wear to extremities of binding but still very attractive. Internally bright. Two copies in NUC. Quérard La France littéraire V 497 doubts the very existence of this work: ".ne paraît avoir été que projeté car on n'en trouve mention nulle autre part que dans le vol. de M. Debray." An extremely rare unusual and altogether stunning book. Paris: Dufart, 1806 unknown
ref. 119876London R. Ackermann 1808-10. . First edition early issue with ALS loosely tipped to first blank; 3 vols large 4to 34 x 28 cm; letter from Augustus Welby Pugin to T. Bury dated 1839 restored and laid on linen wood-engraved titles engraved dedications 104 hand-coloured aquatint plates by Bluck Stadler and others after Pugin and Rowlandson watermarks 1806-1808 bookplate to pastedown; twentieth-century half crushed morocco by Zaehnsdorf gilt ruled cloth boards spine lettered in gilt in six gilt compartments all edges gilt marbled endpapers a fine set. This is a splendid work with the preferred pre-publication watermarks exhibiting a depth and richness of colouring. The Microcosm offers an incomparable panorama of Regency London both high and low from sedate drawing rooms to the brawling and boozing street life of the metropolis captured in matchless hand-coloured aquatint by the inspired pairing of Pugin and Rowlandson. Most of the plates are in their first or second state with plate 12 and 39 in the rare first state. With an autograph letter by Augustus Welby Pugin 1812-1852 pioneer of the Gothic Revival architecture movement to probably Thomas Talbot Bury 1809-1877 his long time friend and collaborator dated 1839. The letter describes a drawing Pugin made of Macclesfield Church St Michael and All Angels including directions to Bury for his engraving of the image and is adorned with small sketches of the altar candles and statues. It was Augustus Welby's father Augustus Charles who produced the architectural drawings of this work and was the reason Augustus Welby and Bury were so intimate having apprenticed his son and Bury together. 'Ackermann's The Microcosm of London. is a book of major importance. The architectural drawings were by Augustus Charles Pugin a French refugee who came to London in about 1798 "driven from his country either by the horrors of the French Revolution or by private reasons connected with a duel" . His lasting fame rests on his consummate ability as an architectural draughtsman. By a stroke of genius Ackermann engaged Thomas Rowlandson to add human figures to the drawings that Pugin made for The Microcosm so that the stately accurate and dignified qualities of that artist are enlivened by the vitality and charm of Regency life as depicted by one of the most vigorous draughtsmen of all time. To turn the leaves of The Microcosm is to take a walk though London at a singularly fortunate moment observing as we never can in real life the scenes of many celebrated incidents in English literature and history: the India House of Charles Lamb the King's Bench Prison of Dickens the Foundling Hospital of Captain Coram and Hogarth the Guildhall bombed by the Luftwaffe the Newgate of Harrison Ainsworth the Carlton House of the Prince Regent and so forth.' Thomas Great Books and Book Collectors 1975 p. 155 Abbey Scenery 212; Tooley 7; Prideaux pp121-4. Franklin 49-54. London, R. Ackermann, [1808-10]. hardcover
1785ref. ST18172Turin: Michael Briolus 1785. FIRST EDITION. 410 x 270 mm. 16 1/8 x 10 5/8". Volume II with pp. 3-4 bound before pp. 1-2 but complete. Three volumes. INVENTIVE AND ELEGANT BROWN CRUSHED MOROCCO BY ANNIE BOIGE stamp-signed "A. Boige" on front pastedown and dated 1996 on rear pastedown upper covers cleverly encrusted with botanical specimens leaves or branches smooth spines with silver titling leather hinges watermarked light gray endpapers. Housed together in the original suede-lined brown cloth drop-back box suede-covered separators preventing contact between volumes. WITH engraved frontispiece portrait of the king of Sardinia in volume I engraved allegorical vignette on title pages and 92 FINE ENGRAVED PLATES ILLUSTRATING 237 BOTANICAL SPECIES. A Large Paper Copy. Cleveland Collections 557; Dunthorne 6; Sitwell "Great Flower Books" p. 67 69; Nissen BBI 18. ◆One plate with minor repair to fore-edge margin another with tiny rust hole not touching image half a dozen plates with insignificant smudges made during the printing process other trivial imperfections but A VERY FINE COPY clean fresh and wide-margined in a flawless binding. This is a major work of 18th century botany describing more than 2800 species of plants found in Italy's Piedmont region illustrating 237 previously unknown specimens and--crucially--classifying them all according to the new Linnean system becoming one of the first regional botanicals to use that taxonomy; as a bonus our copy comes in a particularly appropriate and charming binding with prominent botanical design elements. "Flora Pedemontana" was the chief work of Italian physician Carlo Allioni 1728-1804 professor of botany at the University of Turin and director of its natural history cabinet and botanical garden. The illustrations were drawn and engraved by the botanical garden's resident artist Francesco Peyroleri and his son Pietro. Our flora is also an important source of information on Alpine flowers. The modern binding is by an artisan who was proclaimed the "Grande Dame of French bookbinding" by the journal "Art & Métiers du Livre." Annie Boige trained at the Estienne School and at the Vésinet Applied Art Workshop before establishing her atelier in 1985. An art bookbinder she is noted for her monochrome color schemes and her use of beautiful leathers and vegetal materials a felicitous choice here. Michael Briolus unknown
ref. 122321London David Nutt 1888. . First edition one of 1000 copies; large 8vo 230 x 175 mm; half-title tissue-guarded frontispiece and 2 plates by Walter Crane decorative head and tail-pieces occasional spotting heaviest to half-title short closed tear to front free endpaper small loss to upper margin of p. 51 not affecting text auctioneers slips from 1976 loosely inserted; publisher's Japanese vellum boards spine lettered in black and lightly rubbed upper cover printed in red and black with illustration by Jacomb Hood boards toned a few small marks on lower cover corners gently bumped a very good-plus copy that presents well; preserved in a later chemise and green morocco-backed slipcase; x 116 2pp. A particularly good copy of the first appearance of five of Wilde's classic fairy tales for children comprising: The Happy Prince The Nightingale and the Rose The Selfish Giant The Devoted Friend and The Remarkable Rocket. Mason 313. London, David Nutt, 1888. hardcover
1882ref. WRCAM36493BWashington: text: Government Printing Office; atlas: Julius Bien & Co. of New York for the Government Printing Office 1882. Quarto text volume with folio atlas. Text: 1p. advertisement series title title as above. Forty-two plates maps and charts including two chromolithographed views by Sinclair after Holmes seventeen wood- engraved views eight after Thomas Moran nine after Holmes four "Heliotype" plates ten double-page. Atlas: Mounted on guards throughout. 1p. letterpress text otherwise lithographed throughout. Title-leaf twelve double-page map-sheets after Dutton eleven printed in colors ten double-page sheets of views after Holmes 9 and Moran 1 five chromolithographed and five printed in tints all printed by Julius Bien & Co. Text: Original cloth neatly rebacked to style. Minor shelf wear. Atlas: Original cloth titled in gilt on front board. A bit of shelf wear corners bumped. Ink stamp on titlepage. Text and atlas both very clean internally. A very good set. "One of the grandest publications of the scientific expeditions in the American West.depicting the Grand Canyon in a series of magnificent panoramas" - CREATING AMERICA. The work includes illustrations by arguably the two greatest American topographical artists to record this era of westward expansion: William Holmes and Thomas Moran. The handsomely illustrated text volume was intended to accompany Dutton's impressive atlas of maps and panoramas of the Grand Canyon. Many of the plates in the text volume are from drawings by W.H. Holmes. The atlas includes eight beautifully executed maps of the region on twelve sheets as well as the ten sheets of views. The views include a number of images that are designed to form larger continuous panoramas. The greatest of these is Holmes' view from Point Sublime in the Kaibab: the three chromolithographed sheets numbered XVI- XVII if joined would form a single panoramic view with an image area measuring approximately 17 x 90 inches. It is interesting to note that the first of these sheets includes what may be a self-portrait and portrait respectively of Holmes and Dutton: two figures are visible at the edge of the canyon one is seated and clearly sketching Holmes while the second figure bends down to examine his companion's work Dutton. William Goetzmann calls W.H. Holmes "the greatest artist-topographer and man of many talents that the West ever produced.his artistic technique was like no other's. He could sketch panoramas of twisted mountain ranges sloping monoclines escarpments plateaus canyons fault blocks and grassy meadows that accurately depicted hundreds of miles of terrain. They were better than maps and better than photographs because he could get details of stratigraphy that light and shadow obscured from the camera.his illustrations for Dutton's TERTIARY HISTORY OF THE GRAND CANON DISTRICT are masterpieces of realism and draftsmanship as well as feats of imaginative observation." The team assembled to carry out this geological survey of the Grand Canyon included some outstanding talents: C.E. Dutton the scientist; Jack Hilliers the photographer; and Holmes and Moran as artist- topographers. The intention of the survey was strictly scientific but as Dutton wrote in his preface "I have in many places departed from the severe ascetic style which has become conventional in scientific monographs." This is also true of Moran and Holmes: both were clearly inspired by their subjects. The overall result is of a quality that would not be possible today. As Wallace Stegner wrote in his introduction to the 1977 reprint: "Later specialization has eliminated from scientific publications most of the elements that make THE TERTIARY HISTORY so charming. No report written as this one is written would now be published by any government bureau. No illustrators like Moran and Holmes would be permitted to illustrate it.A great book.THE TERTIARY HISTORY has kept its value precisely because it does not specialize." FARQUHAR BOOKS OF THE COLORADO RIVER & THE GRAND CANYON 73. Goetzmann EXPLORATION AND EMPIRE pp.512-13. REESE & MILES CREATING AMERICA 40. REESE BEST OF THE WEST 197. [text:] Government Printing Office; [atlas:] Julius Bien & Co. of New York (for the Government Printing Office) hardcover books
1882ref. 28652Washington: text: Government Printing Office atlas: Julius Bien & Co. of New York for the Government Printing Office 1882. 2 volumes quarto text and folio atlas. Text: 2xiv264pp. plus forty-two plates plans and maps including two chromolithographed views by Sinclair after Holmes seventeen wood-engraved views eight after Thomas Moran nine after Holmes four "Heliotype" plates ten double-page. Atlas: 2title leaf1p. letterpress text otherwise lithographed throughout with twelve double-page map-sheets after Dutton eleven printed in colors ten double-page sheets of views after Holmes 9 and Moran 1 five chromolithographed and five printed in tints all printed by Julius Bien & Co. Short horizontal tear to outer margin of one leaf pp.101-02 slightly longer tears to outer margins of pp.165-66 and pp.245-46 just touching a few words. Repaired tear to front blank of atlas volume a few instances of minor marginal thumb-soiling. Publisher's cloth gilt atlas rebacked with original cloth laid down. Spine ends of text volume chipped with a few small nicks to the cloth along the joints spine lightly sunned corners rubbed "One of the grandest publications of the scientific expeditions in the American West. depicting the Grand Canyon in a series of magnificent panoramas" Reese & Miles. `Depicting America.' The work includes illustrations by arguably the two greatest American topographical artists to record this era of westward expansion: William Holmes and Thomas Moran. The atlas includes eight beautifully executed maps of the region on twelve sheets as well as the ten sheets of views. The views include a number of images that are designed to form larger continuous panoramas. The greatest of these is Holmes' view from Point Sublime in the Kaibab; the three chromolithographed sheets numbered XVI-XVII if joined would form a single panoramic view with an image area measuring approximately 17 x 90 inches. It is interesting to note that the first of these sheets includes what may be a self-portrait and portrait respectively of Holmes and Dutton: two figures are visible at the edge of the canyon one is seated and clearly sketching Holmes whilst the second figure bends down to examine his companion's work Dutton. W.H. Holmes whom William Goetzmann calls "the greatest artist-topographer and man of many talents that the West ever produced.his artistic technique was like no other's. He could sketch panoramas of twisted mountain ranges sloping monoclines escarpments plateaus canyons fault blocks and grassy meadows that accurately depicted hundreds of miles of terrain. They were better than maps and better than photographs because he could get details of stratigraphy that light and shadow obscured from the camera.his illustrations for Dutton's Tertiary History of the Grand Canon District are masterpieces of realism and draftsmanship as well as feats of imaginative observation." The team assembled to carry out this geological survey of the Grand Canyon included some outstanding talents: C.E.Dutton the scientist; Jack Hilliers the photographer and of course Holmes and Moran as artist-topographers. The intention of the survey was strictly scientific but as Dutton writes in his preface "I have in many places departed from the severe ascetic style which has become conventional in scientific monographs." This is also true of Moran and Holmes: both were clearly inspired by their subjects. The overall result is of a quality that would not be possible today. As Wallace Stegner wrote in his introduction to the 1977 reprint "Later specialization has eliminated from scientific publications most of the elements that make The Tertiary History so charming. No report written as this one is written would now be published by any government bureau. No illustrators like Moran and Holmes would be permitted to illustrate it. A great book. The Tertiary History has kept its value precisely because it does not specialize." Francis P. Farquhar The Books of the Colorado River & the Grand Canyon Los Angeles: 1953 73; Goetzmann Exploration and Empire pp. 512-513; W.B. Reese & G.A. Miles Creating America New Haven: 1992 40. [text:] Government Printing Office, [atlas: Julius Bien & Co. of New York (for the Government Printing Office)] unknown books
ref. 51-0523Paris: Alphonse Lemerre Editeur 1869. 10.5 x 14.5 inches. width x height 270 x 370 cm. Bound in contemporary red cloth. Original wrappers bound in. One of 350 copies this one certified by the printer of the text J.Claye and of the etchings A. Salmon. The editor who selected the poets and artists was Philippe Burty. This is considered the first livre de peintre with text by the major poets of the period and accompanying full page etchings by the major French artists of the mid Nineteenth century. There are 42 etchings. This one includes a second copy of the etching by 10 artists .VICAIRE.MANUEL DE L'AMATEUR de Livres du xixe siècle1801-1893579SONNETS et eaux-fortes. MDCCCLXIX. Alphonse Lemrerre éditeur Paris Impr. J. Claye in-fol. couv. impr.1 f. faux-titre; au v° justification du tirage ; 1 f. titre rouge et noir orné d'un dessin de E. Renard gravé sur boispar A. Prunaire; x f. « Aux poëtes et aux artistes qui ont collaboré à cette OEuvre à M. Philippe Burty qui en adirigé l'illustration. L’éditeur reconnaissant A. Lemerre » ; 42 ff. sonnets; 1 f. n. ch. table; et 1 f. n. ch. achevéd'imprimer.45 42 in fact eaux-fortes et 1 dessin hors texte savoir1° La Mer sonnet de Jean Aicard eau-forte de Léon Gaucherel.2° Le Masque sonnet de Joseph Autran eau-forte d'Emile Lévy.3° Promenade galante sonnet de Théodore de Banville eau-forte d'Edmond Morin.4° To Kalon sonnet d'Auguste Barbier eau-forte de Giacomotti.5° Le Sang des géants sonnet de Louis Bouilhet eau-forte de Célestin Nanteuil.6° Le Sphinx sonnet d'Henri Cazalis eau-forte de Queyroy.7° Le Lion sonnet de Léon Cladel eau-forte de Gustave Doré.8° Le Fils de Louis XI sonnet de François Coppée eau-forte de Charles Courtry.9° Supplice de Judas sonnet d'Antoni Deschamps eau-forte de Veyrassat.10° Dernier mirage; sonnet d'Émile Deschamps eau-forte de Ranvier.11° Révolte sonnet de Léon Dierx eau-forte de G. Howard.12° Les Incroyables sonnet d'Emmanuel des Essarts eau-forte de Jundt.13° Un Sénateur romain sonnet d'Anatole France eau-forte de Gérôme.14° Promenade hors des murs sonnet de Théophile Gautier eau-forte de Leys.15° Le Roman comique sonnet d'Albert Glatigny eau-forte de Félix Régamcy.16° La Salina sonnet d'Edouard Grenier eau-forte d'E. Edwards.17° Les Conquérants sonnet de José-Maria de Heredia eau-forte de Claudius Popelin.18° La Rookery sonnet d'Ernest d'Hervilly eau-forte de Seymour Haden.19° Le Pays inconnu sonnet d’Arsène Houssaye eau-forte de Tancrède Abraham.20° La Fontaine sonnet de Georges Lafenestre eau-forte de Lansyer.21° Au bord du puits sonnet de Victor de Laprade eau-forte de Francais.22° Réverie sonnet de Laurent-Pichat eau-forte de Jules Héreau.23° Le Combat homérique sonnet de Leconte de Lisle eau-forte de Léopold Flameng.24° Paysage normand sonnet d'André Lemoyne eau-forte de Corot.25° Batavia sonnet de Robert Luzarche eau-forte de Jongkindt Jongkind.26° Le Verger sonnet de Gabriel Marc eau-forte de Daubigny.27° La Pivoine sonnet de Judith Mendès eau-forte de Jacquemart.28° Théodora sonnet de Catulle Mendès eau-forte d'Ingomar Frankel.29° Sur une composition de F. Millet sonnet d'Albert Mérat eau-forte de F. Millet.30° L'Eclair sonnet de Paul Meurice dessin de Victor Hugo.31° Le Dernier amour de Charlemagne sonnet de Claudius Popelin eau-forte d'Ehrmann.32° Fleur exotique sonnet d'Armand Renaud eau-forte de Manet.33° Théroigne de Méricourt sonnet de Louis Xavier de Ricard eau-forte de Victor Giraud.34° Le Pont des Arts sonnet de Sainte-Beuve eau-forte de Maxime Lalanne.35° Une grande douleur sonnet de Joséphin Soulary eau-forte de Ribot.36° Silence et nuit des bois sonnet de Sully Prudhomme eau-forte d'Hédouin.37° Nénuphars sonnet d'Armand Silvestre eau-forte de Feyen-Perrin.38° Souvenir du Bas-Bréau sonnet d'André Theuriet eau-forte de Michelin.39° L'Éclipse sonnet d'Auguste Vacquerie eau-forte de Bracquemond.40° La Chute sonnet de Léon Valade eau-forte de Solon.41° Le Pitre sonnet de Paul Verlaine eau-forte de Rajon.42° Après la harangue sonnet de Jean Vireton eau-forte de Boilvin. Paris: Alphonse Lemerre Editeur, 1869. hardcover
1869ref. 39448Boston: Bradlee Whidden 1869. Folio. 23 3/8 x 18 1/8 inches. 15 chromolithographic plates after Frederic Remington A. B. Frost Fred. S. Cozzens R. F. Zogbaum Henry Sandham and others. 32 ff. letterpress. Expertly bound to style in full dark purple straight grained morocco. A rare large-format work on sport in late 19th-century America including Frederic Remington's first two published prints in color a rare A. B. Frost image of deer-hunting and images from Fred. S. Cozzens and other top illustrators of the day in a very fine full morocco binding. The present work includes six angling plates three of fly-fishing four plates of game-bird hunting and five of hunting larger game. Each of the fifteen subjects is first described in general terms on a single leaf of text followed by a second leaf giving a first-hand account of catching or shooting the subject followed by a chromolithograph illustrating the first-hand account. According to Gould's preface the plates are all from water-colours especially commissioned for the work which were subjected to the critical scrutiny of a group of anglers/sportsmen who judged them for technical accuracy. The plates are as follows: 1. Killing the Salmon. Henry Sandham. 2. A Moose hunt. Henry Sandham. 3. Trout fishing. Henry Sandham. 4. Fly-fishing for Black Bass. S. F. Denton. 5. Hunting Antelope i.e. Prong-horn. Frederic Remington. 6. Catching a Tarpon. Fred. S. Cozzens. 7. Mallard shooting. S. F. Denton. 8. Catching a Mascalonge. Frank H. Taylor. 9. A Wild Turkey hunt. R. J. Zogbaum. 10. Sailing for Bluefish. Fred S. Cozzens. 11. Hunting the Virginia Deer. A. B. Frost. 12. A day with the Prairie Chickens. R. F. Zogbaum. 13. A hunt above the timber-line Big-horn. Edward Knobel. 14. Canada Goose shooting. Frederic Remington. 15. Stalking the Wapiti. Henry Sandham. The two plates by Frederic Remington Hunting Antelope Hassrick & Webster 434 and Goose Shooting Hassrick & Webster 435 are also listed by Peggy and Harold Samuels Remington: The Complete Prints New York 1990 pp.152-3 with the comment that they are the first and second Remington prints to appear in color. They were preceded only by a series of four monochrome photogravures for John Muir's Picturesque California 1888 and two other individual prints both black and white. Arthur Burdett Frost is now perhaps best known for his sporting pictures and prints but an aversion to deer-hunting meant that he rarely pictured shooting scenes that featured anything other than small game. His image Hunting the Deer is recorded and illustrated in Henry M. Reed's The A. B. Frost Book Charleston 1993 pp.101 104-5 but the author was apparently unaware that it was issued as part of the present work which is not included in the extensive appendix of books illustrated by Frost. Phillips p. 141; Wetzel p. 146; Sherwin sale 1946 lot 238; Bruns G120; Heller 1:502; Bennett p.48; Tyler Prints of the West pp.127 & 174. Bradlee Whidden unknown
1869ref. 35984Boston: Bradlee Whidden 1869. Folio. 15 chromolithographic plates after Frederic Remington A.B. Frost Fred Cozzens R.F. Zogbaum Henry Sandham and others. 32 ff. letterpress. Expertly bound to style in full dark purple straight grained morocco. A rare large-format work on sport in late 19th-century America including Frederic Remington's first two published prints in color a rare A.B.Frost image of deer-hunting and images from Fred. S.Cozzens and other top illustrators of the day. The present work includes six angling plates three of fly-fishing four plates of game-bird hunting and five of hunting larger game. Each of the fifteen subjects is first described in general terms on a single leaf of text followed by a second leaf giving a first-hand account of catching or shooting the subject followed by a chromolithograph illustrating the first-hand account. According to Gould's preface the plates are all from water-colours especially commissioned for the work which were subjected to the critical scrutiny of a group of anglers/sportsmen who judged them for technical accuracy. The plates are as follows: 1. Killing the Salmon. Henry Sandham. 2. A Moose hunt. Henry Sandham. 3. Trout fishing. Henry Sandham. 4. Fly-fishing for Black Bass. S.F. Denton. 5. Hunting Antelope i.e. Prong-horn. Frederic Remington. 6. Catching a Tarpon. Fred. S. Cozzens. 7. Mallard shooting. S.F. Denton. 8. Catching a Mascalonge. Frank H. Taylor. 9. A Wild Turkey hunt. R.J. Zogbaum. 10. Sailing for Bluefish. Fred S.Cozzens. 11. Hunting the Virginia Deer. A.B. Frost. 12. A day with the Prairie Chickens. R.F. Zogbaum. 13. A hunt above the timber-line Big-horn. Edward Knobel. 14. Canada Goose shooting. Frederic Remington. 15. Stalking the Wapiti. Henry Sandham. The two plates by Frederic Remington Hunting Antelope Hassrick & Webster 434 and Goose Shooting Hassrick & Webster 435 are also listed by Peggy and Harold Samuels Remington The Complete Prints New York 1990 pp.152-3 with the comment that they are the first and second Remington prints to appear in color. They were preceded only by a series of four monochrome photogravures for John Muir's Picturesque California 1888 and two other individual prints both black and white. Arthur Burdett Frost is now perhaps best known for his sporting pictures and prints but an aversion to deer-hunting meant that he rarely pictured shooting scenes that featured anything other than small game. His image Hunting the Deer is recorded and illustrated in Henry M.Reed's The A.B.Frost Book Charleston 1993 pp.101 104-5 but the author was apparently unaware that it was issued as part of the present work which is not included in the extensive appendix of books illustrated by Frost. Phillips p. 141; Wetzel p. 146; Sherwin sale 1946 lot 238; Bruns G120; Heller 1:502; Bennett p.48; Tyler Prints of the West pp.127 & 174; not in Reese Stamped with a National Character. Bradlee Whidden unknown books
ref. 98399Paris Javal & Bourdeaux 1928. . Limited edition one of 50 copies on japon impérial with with an extra suite and a copper plate by Courbouleix and extra volume of original drawings by Carlo Farneti and Andre Dignimont; 4to 35 x 28 cm; text illustrated with 30 in-text colour etchings a la poupée and a suite with four additional states first state sans remarque avec remarque en noir and avec remarque en sanguine both with the original publisher's wrappers vol. II with 90 signed colour drawings avec remarque by Carlo Farnetti to illustrate an unpublished edition of the work 6 watercolours on thick paper signed by Dignimont 27 drawings mostly signed some hand-coloured by the same and over 100 proof sheets in colour and black and white after Dignimont also to illustrate a previously published edition of the work; both housed in modern maroon morocco boxes. One of 50 copies with an extra suite of plates and a copper plate. This copy also includes a collection of original drawings from two other artists Written by Jean Lorrain born Paul Duval and originally published in 1904 La Maison Philibert revolves around a Parisian brothel of the belle epoque. Although prostitution and debauchery was not an uncommon theme in fin de siecle literature Lorrain had his own reputation for being particularly outrageous in both his writings and his real life escapades. The erotic novel is here illustrated with 30 etchings with a suite of additional four states by Courbouleix. The second volume contains a large collection of drawings to illustrate the same work by two other artists. Carlo Farnetti 1892-1961 Neapolitan by birth moved to Paris where he illustrated works by Zola Baudelaire and Poe. He was later comissioned by Javal & Bordeaux to illustrate Les Cent Nouvelles but his drawings for La Maison Philibert were never published - making this collection of original drawings accordingly rare. André Dignimont a 'figure notable de Montmatre' was celebrated for perfectly capturing feminine beauty. The present volume contains a vast amount of proofs and signed drawings by Dignimont to illustrate an edition of La Maison Philibert that was published in 1925 by Collection des Arts. Paris, Javal & Bourdeaux, 1928. unknown
1869ref. 35984Boston: Bradlee Whidden 1869. Folio. 15 chromolithographic plates after Frederic Remington A.B. Frost Fred Cozzens R.F. Zogbaum Henry Sandham and others. 32 ff. letterpress. Expertly bound to style in full dark purple straight grained morocco. A rare large-format work on sport in late 19th-century America including Frederic Remington's first two published prints in color a rare A.B.Frost image of deer-hunting and images from Fred. S.Cozzens and other top illustrators of the day. The present work includes six angling plates three of fly-fishing four plates of game-bird hunting and five of hunting larger game. Each of the fifteen subjects is first described in general terms on a single leaf of text followed by a second leaf giving a first-hand account of catching or shooting the subject followed by a chromolithograph illustrating the first-hand account. According to Gould's preface the plates are all from water-colours especially commissioned for the work which were subjected to the critical scrutiny of a group of anglers/sportsmen who judged them for technical accuracy. The plates are as follows: 1. Killing the Salmon. Henry Sandham. 2. A Moose hunt. Henry Sandham. 3. Trout fishing. Henry Sandham. 4. Fly-fishing for Black Bass. S.F. Denton. 5. Hunting Antelope i.e. Prong-horn. Frederic Remington. 6. Catching a Tarpon. Fred. S. Cozzens. 7. Mallard shooting. S.F. Denton. 8. Catching a Mascalonge. Frank H. Taylor. 9. A Wild Turkey hunt. R.J. Zogbaum. 10. Sailing for Bluefish. Fred S.Cozzens. 11. Hunting the Virginia Deer. A.B. Frost. 12. A day with the Prairie Chickens. R.F. Zogbaum. 13. A hunt above the timber-line Big-horn. Edward Knobel. 14. Canada Goose shooting. Frederic Remington. 15. Stalking the Wapiti. Henry Sandham. The two plates by Frederic Remington Hunting Antelope Hassrick & Webster 434 and Goose Shooting Hassrick & Webster 435 are also listed by Peggy and Harold Samuels Remington The Complete Prints New York 1990 pp.152-3 with the comment that they are the first and second Remington prints to appear in color. They were preceded only by a series of four monochrome photogravures for John Muir's Picturesque California 1888 and two other individual prints both black and white. Arthur Burdett Frost is now perhaps best known for his sporting pictures and prints but an aversion to deer-hunting meant that he rarely pictured shooting scenes that featured anything other than small game. His image Hunting the Deer is recorded and illustrated in Henry M.Reed's The A.B.Frost Book Charleston 1993 pp.101 104-5 but the author was apparently unaware that it was issued as part of the present work which is not included in the extensive appendix of books illustrated by Frost. Phillips p. 141; Wetzel p. 146; Sherwin sale 1946 lot 238; Bruns G120; Heller 1:502; Bennett p.48; Tyler Prints of the West pp.127 & 174; not in Reese Stamped with a National Character. Bradlee Whidden unknown
ref. 98401Paris Javal & Bourdeaux 1930. . Unique extra-illustrated example limited edition printed hors-commerce on japon imperial for Monsieur Dumouchel from a total edition of 525; 3 vols; 4to; illustrated with 25 monochrome etchings of which 22 are hors-texte by Charles Huard and with two original copper plates by Huard colour drawings throughout the text by Theodore van Elsen signed and dated 1933 also loose are 9 wash drawings and 4 watercolours signed by Huard and a set of prospectus; vol II contains a suite of 30 colour drawings to illustrate the work loose in an illustrated wrapper by van Elsen with each drawing with tissue guards and mounted on blue paper a suite of 20 original watercolours also to illustrate the work signed and captioned in pencil by Louis Ibels loose in an illustrated wrapper dated 1933; vol.3 contains over 100 original drawings signed by Carlo Farneti to illustrate the work 4 original watercolours by Louise Ibels and 2 signed watercolours by Leon Courbouleix; all house in modern maroon morocco boxes with gilt detail and lettering; a fine copy. A unique example extra-illustrated by Charles Huard with two copper plates and numerous original drawings by multiple artists. A large collection from the publisher's Javal and Bordeaux of illustrations for Flaubert's novel. Flaubert's first published novel. 'Madame Bovary the story of the adulteries and suicide of a doctor's wife in provincial Normandy is notable for its rigorous psychological development and manifests the qualities that mark all his mature work: authenticity of detail an impersonal narrative method a precise and harmonious style. Certain passages having been judged to be offensive to public morals Flaubert his publisher and his printer were tried but acquitted' Drabble. Paris, Javal & Bourdeaux, 1930. unknown
1843ref. 140947309London: Chapman & Hall / Bradbury & Evans 1843. First Edition. Near Fine. 1843 1845 1846 1846 1848. First editions of all five of Charles Dickens' Christmas Books Smith II.4-6 II.8-9. A Christmas Carol is the first issue with title page printed in red and blue dated 1843 in Roman numerals; half title and verso of title page printed in blue; "Stave I" on page 1. The Chimes first edition second issue with the publisher's name below the plate on the vignette title page. The Cricket on the Hearth first edition second issue with 2pp. ads. The Battle of Life first edition Todd's fifth state of the engraved title page with "A Love Story" in a scroll held by a cupid; terminal ads announce the publication in parts of Dombey and Son and the bound volume of Oliver Twist. The Haunted Man first edition first and only issue. All five volumes bound in full polished calf with elaborate gilt seasonal stamping unique to each book. Morocco title labels to ribbed spines gilt dentelles all edges gilt. Sangorski & Sutcliffe stamp in gilt to front turn-in of each volume. Original cloth covers and spines bound in rear of all volumes but the last. Housed in an open-ended slipcase moderately rubbed and toned covered in the same floral gilt-embellished paper used for endpapers. Near Fine with slightly rubbed spines. Light edge toning to interiors occasional thumbing and staining and spots of foxing. No writer is more closely associated with Christmas than Charles Dickens who began with the immortal A Christmas Carol in November 1843. It was published on December 19 and sold so well there were seven editions by the following May. The Chimes followed in December 1844 and three more books appeared in 1845 1846 and 1848 two of the title page dates follow the then-common practice of dating a book published in November or December with the coming year. The enduring appeal of Dickens' Christmas stories lies in his unmatched ability to combine sentimentality with melancholy or righteous fury a balancing act of light and dark. A Christmas Carol composed as Dickens walked weeping through the dark London streets was intended to draw attention to the plight of the working poor in London. The Chimes attacks the cruelty and hypocrisy of the rich and the protagonist of The Cricket on the Hearth contemplates murder. The Haunted Man the last novella emphasizes the need to remember past sorrows and hardships. Dickens wanted his Christmas books to be pretty - his specifications for the first cut severely into his profits - and it is appropriate that these copies have been given jewel-like bindings by Sangorski & Sutcliffe one of the most famous fine binderies in the English-speaking world. A beautiful set of beautiful stories illustrated by the leading artists of the day. Chapman & Hall / Bradbury & Evans unknown
ref. 111330Paris Gihaut Frères & Ernest Bourdin 1838-1848 & 1842 . Folio 52.8 x 34.5 c 2 vols; vol. I La Russie Meridionale 100 lithographed plates after Raffet a few plates with cropped margins; vol. II Voyage Pittoresque tinted lithographed title-page and 100 lithographed plates faint water stain to lower margin; both volumes bound in contemporary half green morocco over marbled boards spines in parts with gilt tooling large gilt Rothschild coat of arms on green morocco label in centre of upper boards some minor repairs and wear very good examples. A fine set of Demidoff's most sought-after illustrated books bound for Baron James de Rothschild. The rich industrialist Count Anatoliy Nikolaevich Demidov Prince of San Donato 1813-70 became a famous Russian art collector who assembled at his Villa di San Donato a large collection of Dutch Flemish and Romantic masterpieces as well as an impressive library. Before his short and stormy marriage to Princess Mathilde-Létizia Bonaparte he financed two scientific and artistic expeditions in Russia: the first in 1837-38 in Southern Russia and the second in 1839 in Northern Europe and European Russia. Although the account of the first one is significantly more common the views published in the present second album are the most famous since they included beautiful lithographs of the largest Russian towns and their celebrated places such as the Winter Palace and the Alexandrine column in St. Petersburg the banks of the Volga in Nizhniy-Novgorod the Kremlins of Kasan and Moscow. Brunet II col. 583-584 ; Carteret III p. 197 ; Vicaire III col. 167-168. Paris, Gihaut Frères & Ernest Bourdin, [1838-1848] & [1842], hardcover
ref. 140949009West Kingston RI & Hampton Falls NH: Donald M. Grant 2012. Signed Limited Edition; Publisher's Copies. Fine/Fine. Publisher's Copies. A signed limited deluxe edition set of Stephen King's The Dark Tower series all matching and uniformly marked Publisher's Copy PC. All signed by the author and each volume's illustrators respectively: Michael Whelan Phil Hale Ned Dameron Bernie Wrightson Darrel Anderson and Jae Lee. The Gunslinger is additionally signed by its publisher Donald Grant. Two copies of The Little Sisters of Eluria are included; one from the limited edition signed by both King and Whelan and the second from the Artist's Edition signed by Whelan only. All Fine in Fine dust jackets. Slipcases with light wear traycases close very slightly misaligned. Brooks A18.1b A34.1b A43.2b A61.2 A88.3 A89.2 A90.2. An extreme rarity as the maximum of only 12 possible sets of matching publisher's copies could ever exist. The Dark Tower series is not tethered to any specific genre instead fusing together a complex meta-textual universe of dark fantasy western sci-fi and horror. Equally inspired by Sergio Leone's Spaghetti Westerns King modeled his anti-hero Roland Deschain on Clint Eastwood's character in Man with No Name and incorporated slow-burn sparse dialogue from The Good the Bad and the Ugly. Donald M. Grant unknown
ref. 124387London Imprinted at London in povvles Churchyarde by Richarde Iugge printer to the Queenes Maiestie 1568. . First edition five parts in 1 vol.; large folio 40.5 x 29 cm; black letters text in double columns in 57 lines calendar printed in red and black general title with xylographic word panel in woodcut architectural border and an engraved medallion portrait of Queen Elizabeth the royal arms and allegorical figures 2 further engraved portraits comprising: Robert Dudley Earl of Leicester to the divisional title of Part 2 and Sir William Cecil to the recto of A2 in Part 3 all attributed to Franciscus Hogenberg woodcut New Testament Title the text further illustrated with 131 narrative woodcuts of 133 missing those on E2-3 in Part 1 which are lacking in this copy after Virgil Solis 5 woodcut maps and numerous diagrams woodcut printers device to verso of final f. contemporary annotations in pen including note dated '1590' to recto of Q8 in Part 2 with 19th-century transcription on blue paper tipped-in at fore-edge further note in same hand to foot of X3 recto also in Part 2 general title trimmed and mounted in the 18th-century with calligraphic dated ownership inscription in pen to verso some early underlining and marginalia in pen throughout tear to head of E6-7 in Part 1 repaired with glue with resultant residue to head of E7 pen marginalia to Part 1 K6 smoke damage to lower corner of N4-5 of same part paper brittle with tear repaired in archival tape small hole with loss of text to O6 also in Part 1 dampstaining to final 2ff causing minor loss to text both ff with early paper repairs at gutter margin as mentioned lacking ff E2-3 in Part 1 numbered XXXXIV-V comprising final chapter of Genesis and opening chapter of Exodus lacking final blank f. otherwise complete with some ff possibly supplied form other copies; 20th-century gilt-panelled calf the centre of the covers with jewelled cross formed of red green and purple morocco onlays modern endpapers minor wear very good; collation: A-Q8-E2-3 A-Y8 Z10 A-E8 F6 G-Z8 2A8 2B12 A-O8 P6 A-T8 V5. The editio princeps of the Bishop's Bible the second authorised English translation. A rare near complete example of the 'most sumptuous' and lavishly illustrated English pulpit Bible of the sixteenth century with over 130 narrative woodcuts and maps and three engraved portraits. The Bishop's Bible so-named for the numerous bishops and Biblical scholars involved in its production was the brainchild of the Archbishop of Canterbury Matthew Parker 1504-1575. The translation was intended to counter the Calvinist influence of the Geneva Bible which had come to prominence following the accession of Elizabeth I in 1558 and the return shortly thereafter of the Marian exile community into England and supersede the earlier Great Bible as the official authorised version of the scriptures in the Church of England. The text mainly follows that of the 1539 Great Bible but both Hebrew and Greek originals were consulted as well as the Geneva version. At least eleven bishops were involved in the revision with Parker himself contributing the lion's share of the work and the whole was completed by September 1568. 'In April 1571 the Convocation of the Province of Canterbury ordered that copies of this edition should be placed in every cathedral and as far as possible in every church; and enjoined every ecclesiastical dignitary to exhibit a copy in a prominent place in his house for the use of his servants and guests' Darlow & Moule. When Whitgift became Archbishop in 1583 he attempted unsuccessfully to enforce the sole use of the Bishop's Bible in churches and chapels across England. 'The Bishops' Bible was a success in that it replaced the Great Bible last reprinted in 1569 in churches to the exclusion of the Geneva version. But the latter continued to be read in Protestant homes and became the foundation of the Authorized Version' ODNB. The woodcut illustrations were mostly copied from designs by the Nuremberg artist Virgil Solis 1514-1562 for a picture series Biblische Figuren des Alten and Neuen Testaments that was first published in Frankfurt in 1560. The three engraved portraits depict Queen Elizabeth her favourite Robert Dudley Earl of Leicester and the Secretary of State Sir William Cecil and are attributed to Flemish artist Franciscus Hogenberg 1535-1590. 'While title-page portraits of the monarch were an established feature of English Bibles contemporary portraits within the text were a startling departure. The engravings of Dudley and Cecil prominently placed at the beginning of Parts 2 and 3 respectively flatter by association with the immediately following books. Dudley portrayed in armor mirrors the warrior-hero Joshua. Cecil is position as a new David at the head of Psalms with an open book in one hand other other grasping the large initials B of the psalm's opening line "Blessed is the man that walketh not in the counsell of the ungodly"' Luborsky & Ingram. This edition is also sometimes known as the 'Treacle Bible' for the rendering of 'balm' as 'triacle' in Jeremiah 8:22. A lovely example with early annotations including a note in pen to the foot of the first book of Chronicles dated '1590' with a 19th-century transcription on tipped-in blue paper: 'As thou shalt understand oute of this testamente the tru godlynes and the salvasion of ouer soules both by hearing of it and laying up as a storehouse in the harte. With a true and sinsear loue and so take up the crose of Christe Jesus and folowe hime that is to suffer afflictiones and fornes and scurges as Crist did when he suffered afflicksiones for ouer sines. 1590'. With a further note in the same hand to the second book of Esdras. ESTC S122070; STC 2099; Herbert 125; DM 89; Luborsky & Ingram B:2099. London, Imprinted at London in povvles Churchyarde by Richarde Iugge, printer to the Queenes Maiestie, [1568]. unknown
