RESTIF DE LA BRETONNE, Nicolas Edme. MOREAU, Jean Michel

THE ROTHSCHILD LARGE PAPER COPY

Monument du costume physique et morale.

Neuwied on Rhine, Société typographique, 1789.

£9,500

FIRST EDITION thus. Elephant folio. pp 37 (iii), with 26 plates, interleaved with blanks. Roman and Italic letter. T-p with typographical ornament. T-p fractionally dusty. A fine, large paper copy, with superb dark impressions of the plates, in stunning late C19th turquoise morocco by Zaehnsdorf (1812-1886), covers triple gilt ruled to a panel design, outer panel with fine gilt floral scroll, central panel with large gilt blocked corner pieces incorporating the monogram A.R. (Alfred de Rothschild 1842 – 1918) and gilt blocked floral borders, edges double gilt ruled, doublure of white moiré silk over morocco, gilt borders with fleurons to corners, gilt inner corner-pieces and borders, fly leaves of white moiré silk with gilt ruled borders and corner-pieces, spine with gilt ruled raised bands richly gilt in compartments, a.e.g.

A magnificent copy of one of the most beautiful suites of engravings of the C18th with the first edition of the full accompanying text by Restif de la Bretonne. The suite includes 24 engravings by Moreau and two by Freudeberg. “Moreau’s twenty-four engravings for the Monument du Costume originally appeared in Paris as the Seconde (1777) and Troisieme (1783) Suite d’Estampes pour servir a l’Histoire des Moeurs et du Costume des Francais dans le dix-huitieme siecle. The first Suite d’Estampes (not reprinted in the Monument du Costume) was designed by Freudeberg, and the explanatory letter press was printed in two editions, 1774 and 1775. All three sets of prints were published with a narrative text that links each set of twelve prints into a story. The first set shows the day of a belle at court, the second shows her after her marriage, and the third shows the occupations of a beau.” A. Hyatt Mayor. ‘Bulletin of the Metropolitan Museum of art.’ In 1788 the owner of these plates decided to commission Restif de la Bretonne to write texts to go with each composition, in the form of ‘Historiettes’ and he added two plates by Freudeberg to the 24 by Moreau. The “text (is) by Restif de la Bretonne, that tireless raker up and faker of ‘human documents.” He wrote up each print as though it veiled some bit of court gossip too racy to be told under real names. Retif enlarged this text two years later to serve as the “moral costume” for the famous Neuwied reprint of the plates which the Museum has just acquired in proof states, Le Monument du Costume physique et moral de la fin du dix-huitieme siecle. In Retif’s diary one is said to find this entry: “Rose late. Finished the Tableau de la Vie and sent it off to Neuwied.” The year is 1789, the day July 14.” A. Hyatt Mayor. The result is one of the most beautifully illustrated works of the C18th delightfully depicting the fashions and behaviours of late C18th France, that were so soon to disappear. “Dans ces planches, d’un velouté incomparable, Moreau le Jeune a déployé toute sa séduction. Les Petits parrains, La Déclaration de grossesse, Le Rendez-vous de Marly, La Petite loge ont fixé à jamais les gestes d’une société élégante qui semblait vouloir jouir, jusqu’à l’épuisement, d’un bonheur déjà menacé” Brun, Le Livre français, 1969, p. 105.

Cohen-de Ricci 881-882. Ray, Art of French Illustrated Book, 55 “Among the great achievements of the world’s graphic art”. Bocher, Moreau, pp. 486-96, nos. 1348-71. Bibliographie générale du costume et de la mode, n° 1118 à 1120. “Indépendamment de sa valeur artistique, cette collection est très précieuse pour l’étude des modes de l’époque dans la haute société.”

L2874

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ANONYMOUS

The Gallery of Modern British Artists

London Simpkin and Marshall, Stationer’s Court, and T.W. Stevens, [et al] 1835

£225

4to. pp. 68 and 76 full-page plates. Not in Lowndes. Probably the earliest printing of these plates. Light foxing to the plate borders and engraved title page, otherwise very good. Fine, contemporary red half-morocco binding, spine gilt, a.e.g. 19th century owner’s bookplate (William Bakewell, Architect) on pastedown.

From the dating in the engravings the book must have been issued in parts between 1834 and 1836. The engraved title page is dated 1836. The engravings, partly on copper, partly on steel, were expressly made from original drawings for this particularly publication. The descriptive text explains the special features of the mostly British locations depicted.

X26

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ROGERS, Samuel

Poems

London printed for T. Cadell [etc] 1834

£750

Crown 8vo pp. 296. FIRST EDITION, proof issue, each engraving signed “proof”. Publisher’s yellow glazed paper boards with leather title piece lettered “Rogers’ Poems. Proofs”. Title page expertly restored and hinges repaired with the same quality and colour of the early 19th century paper, interior immaculate.

Rawlinson 373-405

X58

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PUCKLE, James

The Club; in a Dialogue between Father and Son.

London Printed for the Proprietor, by John Johnson, and Sold by Longman, Hurst, Rees, Orm and Brown 1817

£175

Roy 8vo pp 10(i-x) 96. Fine, modern brown half morocco with gilt lettering and raised bands, marbled endpapers, an elegant volume without foxing. 

James Puckle (1667?-1724) published this collection of “characters” in 1711 which ran to several editions until the mid-Nineteenth century. A microcosmography in the Theophrastian sense with an enormous popularity in England. This de-luxe edition with wooden engravings by John Thompson, Branston, Besbit and other Bewick pupils after the designs by Thurston totalled only 735 copies and was printed by John Johnson, the master-printer and later author of “Typographia” (1824) right after he had left the Lee Priory Press; the style of his Puckle’s Club very much resembles the Lee Priory imprints. This volume also contains the debut as a book illustrator of William Harvey (p.56), who had just left Thomas Bewick, his master, to become the pupil of Haydon, the painter, in London. Chatto & Jackson (p632) are of the opinion that several of the wooden engravings by John Thompson for this volume are “indisputably the best among the very many excellent cuts which have been engraved in England within the last twenty years”.

Lowndes, 2005. 

X73

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YOUNG, Edward.

Night Thoughts on Life, Death and Immortality.

London, Caxton Press by Henry Fisher, 1823.

£120

8vo; 448 p.; illustrated Blue binding in full calf; gold and blind-stamped decorations on sides and back.

Includes other texts of a religious nature, including Blair’s The Grave. With several full-page engravings on copper. A very nice, characteristic binding of the 1830’s.

X72

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KOREAN MAP, Capital Province

JEONG CHEOK MAP OF KOREA’S CAPITAL PROVINCE

Map of the capital province, Joseon Korea.

Korea, first half of 18th century.

£2,750

Hand-drawn map, first half of the 18th century, depicting the capital (gyeonggi 京畿) province of Joseon Korea. It is fourth of the eight provinces of Joseon Korea (Joseon paldo 朝鮮八道, which were reorganised into the 13 modern provinces in 1896.) It states the administrative classification of each district or outpost, as well as how many days of overland travel are required to reach it from the capital. It was intended to aid scholar-officials holding government civil service positions in planning their journeys. This map was produced by an unknown Joseon Korean cartographer in the celebrated and highly distinctive “Jeong Cheok” style, and it is a superb example of this quintessential pre-19th century cartographical tradition.

Mounted within thin oriental wood, framed and glazed, on bamboo paper, measuring 45cm x 39.3cm, including fabric border of 6.1-6.7cm. The map itself is 32.2cm x 27.1cm. Text border on all sides, however all but the outer border have been cropped. The border that remains is 0.9-1.2cm deep, with a slither remaining along the top. The paper has occasional faint darker areas, however none diminish the legibility or artistry. The map was folded into twelve parts, leaving two horizontal and three vertical creases, with very slight wear, including a small hole in the lower centre of the map at the intersection of two creases. Small tear in the far lower left, however the area affected is only ocean. There is also a small black smudge in the ocean just off the tip of the north-western peninsula.

The map has been produced in the style of Jeong Cheok (정척/鄭陟, 1390– 1475), a successful 15th century cartographer, himself a scholar-retainer who served several Joseon kings. The modern concepts of latitude and longitude were not understood in Korea until the early 19th century, and the flatness and distortion of the land in Jeong Cheok-style representations reflect this. Nonetheless, the shape, layout, and topographical properties of the provinces are depicted with impressive accuracy, enabling an overland traveller to plan the most direct route avoiding natural barriers. “Jeong Cheok” maps bear a number of distinct stylistic characteristics. First, further information is added in a text border surrounding the map. Second, natural topographical features are highly simplified; mountains are indicated symbolically as a jagged row of uniform peaks, and coasts and waterways are low-detail. Third, districts – always with two-syllable names – and military bases are represented by uniformly sized bubbles. In this map, these bubbles are pink; the district name is written down the centre of the bubble; to the right is the number of days of overland travel required to reach it from the capital, and to the left is its administrative classification. The capital city (gyeong ) bubble is circled twice. The Joseon administrative classification system includes, from largest to smallest, the bu (provincial capital city), mok (mid-level city), gun or su (county or prefecture), and finally lyeong or gam (small town).

The lines and text of the map are drawn in black ink. Land is uncoloured, while water is depicted in a light blue wash. Strikingly, water is coloured darker blue where it meets land. Mountains are coloured brown and labelled. Islands, also named, are depicted as white ovals in the ocean. Land-based outposts (yeogdo 驛道) and offshore ocean settlements are marked in white boxes. There is a title box with “Capital – [province] four” (gyeonggi sa 京畿四) in the top right corner. Within the text border running along the top, left, and right sides, there are remarks about what lies beyond the map in these directions.

L1755

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KOREAN MAP, Jeolla Province

JEONG CHEOK MAP OF KOREAN PROVINCEL1755 Korean Map 1

Map of Jeolla province, Joseon Korea.

Korea, first half of 18th century.

£2,250

Hand-drawn map, first half of the 18th century, depicting Jeolla 全羅, sixth of the eight provinces of Joseon Korea (Joseon paldo 朝鮮八道, which were reorganised into the 13 modern provinces in 1896.) It states the administrative classification of each district or outpost, as well as how many days of overland travel are required to reach it from the capital. It was intended to aid scholar-officials holding government civil service positions in planning their journeys. This map was produced by an unknown Joseon Korean cartographer in the celebrated and highly distinctive “Jeong Cheok” style, and is a superb example of this quintessential pre-19th century cartographical tradition.

Mounted within thin oriental wood, framed and glazed, the map, on bamboo paper, is set within a fabric border 5.9cm deep, measuring 45cm x 39.3cm. The map itself is 33cm x 27.3cm. Text border on all sides, however the lower border has been cropped. The borders that remain are 1.4cm deep. The paper has occasional faint darker areas, however none diminish the legibility or artistry. The map was folded into twelve parts, leaving two horizontal and three vertical creases, with very slight wear. Small hole in the lower centre of the map at the intersection of two creases; tear at lower edge (6.5cm x 3cm at its worst) affecting the depiction of the southernmost peninsula.

The map has been produced in the style of Jeong Cheok (정척/鄭陟, 1390 – 1475), a successful 15th century cartographer, himself a scholar-retainer who served several Joseon kings. The modern concepts of latitude and longitude were not understood in Korea until the early 19th century, and the flatness and distortion of the land in Jeong Cheok-style representations reflect this. Nonetheless, the shape, layout, and topographical properties of the provinces are depicted with impressive accuracy, enabling an overland traveller to plan the most direct route avoiding natural barriers.

“Jeong Cheok” maps bear a number of distinct stylistic characteristics. First, further information is added in a text border surrounding the map. Second, natural topographical features are highly simplified; mountains are indicated symbolically as a jagged row of uniform peaks, and coasts and waterways are low-detail. Third, districts (always with two-syllable names) and military bases are represented by uniformly sized bubbles. In this map, these bubbles are pink; the district name is written down the centre of the bubble; to the right is the number of days of overland travel required to reach it from the capital, and to the left is its administrative classification. The Joseon administrative classification system includes, from largest to smallest, the bu (provincial capital city), mok (mid-level city), gun or su (county or prefecture), and finally lyeong or gam (small town).

The lines and text of the map are drawn in black ink. Land is uncoloured, while water is depicted in a light blue wash. Strikingly, water is coloured darker blue where it meets land. Mountains are coloured brown and labelled. Islands, also named, are depicted as white ovals in the ocean. There are one military base (byeongyeong 兵營) and two naval bases (suyeong 水營), left and right, in pink bubbles. Land-based outposts (yeogdo 驛道) and offshore ocean settlements are marked in white boxes. There is a title box with “Jeolla province – six” (Jeolla do lyuk 全羅道六) in the top right corner. Within the text border running along the top, left, and right sides, there are remarks about what lies beyond the map in these directions.

L1754

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MILLER, Thomas

Turner and Girtin’s Picturesque Views, Sixty Years Since.

London, J. Hogarth, 1854.

£200

Imperial 8vo. (lx) 164 + 30 engravings on copper. Publisher’s red, half-morocco with gilt back, minimal browning to plate edges, boards slightly discoloured in places. A nice copy.

The first re-printing (third state) of Turner and Thomas Girtin’s thirty contributions to the “Copper-Plate Magazine” (1794-98), the second states of which appeared in the “Itinerant” (1798). Thomas Miller in his preface describes the recovery of the original plates and the efforts required to clean and prepare the plates for this 1854 edition. In 1873, a second re-print was undertaken (fourth state; Rawnlinson, Reprint B), but the results were poor. The volume includes important, early biographies of both artists. The full page views are the earliest engravings after Turner and Girtin. The book is “worth having” (Muir, p.81).

Rawlinson, vol I 1-15a, reprint A.

X66

BUTLER, Samuel

Hudibras, in Three Parts, Written in the Time of the Late War: Corrected and Amended. With Large Annotations, and a preface, by Zachary Grey, LL.D.. Adorned with a new Set of Cuts. Vol. I (II).

Cambridge, J. Bentham, Printer of the University, for W. Innys, 1744.

£200

8vo. Two volumes. Volume I: (xxxvi) + list of subscribers + pp. 440. Volume II: pp. 446 + (24). Frontispiece portrait of the author, engraved by George Vertue. In full modern calf antique. Fine copy.

Contains William Hogarth’s “Small Hudibras Series,” 17 illustrations re-engraved for this edition by J. Mynde (Ronald Paulson: Hogarth’s Graphic Works, 1965. Vol. 1, p. 125).

“Copies in fine condition are in considerable reques” (Lowndes). “Grey’s has formed the basis of all subsequent editions.” (Enc.Brit. 11th Ed.)

Lowndes: 335. Brunet: 15803.

X68

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LUTTRELL, Narcissus. Seal.

Desk Seal.

£4,950

Elegant bone and silver-mounted desk seal, c. 1682, the handle in the form of a sphere unscrewing at its equator with a compartment for wafers, the intaglio quartz matrix (1 cm) with the arms of Narcissus Luttrell and his wife Sarah, dexter: Luttrell and Mapowder (his mother, heiress with her sister of the Mapowder estate) and, sinister: Baker for his wife Sarah, 7 cm long, small chip to matrix edge.

A rare 17th century example of a fine desk seal with an important book collecting association. Narcissus Luttrell (1657 – 1732) was a member of Parliament, annalist and book collector, whose chronicles of contemporary events and parliamentary diary are particularly valuable. His very extensive library of books and manuscripts, especially political and poetical works, was dispersed piecemeal by Luttrell’s descendants and many items are no longer traceable. A substantial number of the printed works were eventually acquired by the British Library, and a large number of manuscripts found their way to the Codrington Library in 1786, while more recently many items were donated to the Beinecke Library of Yale University. Luttrell married Sarah, daughter of Daniel Baker (a prosperous London merchant), in February 1682 and this seal is likely to have been made close after that date. Luttrell’s silver penner with the same arms on the top is held by the Victoria & Albert Museum (Ref. M. 298 – 1975).

L1758