THOMSON, James

The Season…

London, printed for John Sharpe…by Charles Whittingham, Chiswick, 1824.

£200

Tall 12mo pp. 215. Dedication from one young girl to another neatly calligraphed on flyleaf. Publisher’s presentation binding in full, Prussian blue calf with gilt back and border decoration and blind-stamped neo-classic motif on both boards; marbled endpapers and edges. “Sharpe’s Edition” with engraved t.p. and 4 other engravings on copper, all dated “1819”, by Heath after Westall. An interesting and very charming Regency book and binding in perfect condition.

TAYLOR, Isaac

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X 62 (4)

The Mine, or Subterranean Wonders.

London, Grant and Griffith, [1845].

£125

Large 16mo (5.5 x 4.5 inches) pp 252 [xxxii – advertisements]. Lowndes 2582. Publisher’s decorated red cloth. Bookplate (“la Baronne Barbe de Plessen, nee Princesse Gagarine”). Intended to give information to children about the techniques, practices and benefits of mining. The many illustrations convey to present day readers a vivid picture of the hard and cruel conditions for women and children coal bearers, whereas the text is an unconditioned eulogy on Industrialism. The Russian Princess Gagarine was married to the Danish ambassador von Plessen to the Court of St. Petersburg. A fine copy.

SOMERVILLE, William

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The Chase; a Poem.

London, printed by William Bulmer and Co. 1802. [Half title idem, but] Printed for T. Cadell and W. Davies, Strand, 1804.

£250

Square 8vo. p [vii] [vii-xxiii] 6 6-105 [i]. Full calf binding. This is the 2nd issue of the 8vo edition (1802) with Wooden engravings by Thomas Bewick after the designs of his brother John Bewick. The most uncommon of the two 8vo issues, which followed the 4to edition of 1796. The vignettes in this pendant to the “Poems of Goldsmith and Parnell” (8vo edition in 1804) are usually thought to be among the best work executed by Thomas Bewick. Nice, clean copy with fine sharp impressions of the engravings.

RUSKIN, John

Pre-Raphaelitism.

London, Smith, Elder & Co, 1851.

£1350

8vo pp 68 (i). Bound, uncut with original light blue paper covers in modern, blue half morocco with marbled boards by Lars Sandgreen of Copenhagen in 1974. First edition of this early treatise in defence of the so-called Pre-Raphaelites – in Ruskin’s terms surprisingly also including William Turner, his everlasting idol in painting.

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 piece expertly restored and hinges repaired with the same quality and colour of the early 19th century paper, interior immaculate. Rawlinson 373-405.

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ROGERS, Samuel

The Pleasures of Memory…

London, printed by Thomas Bensley [etc], 1801.

£175

12mo pp (vi) 188. Large Paper copy on copper-plate paper. With 15 delicate engravings on copper by Charles Heath after Stothard (see A. C. Coxhead, Stothard, 1906, p. 120-22). Set in Bell Roman and finely printed on heavy Whatman paper (watermarked “1794”) by Bensley in an edition of only 100 copies (see Th. Besterman, Cadell & Davies, 1938, p. xxxi). Contemporary calf with gilt spine, gilt borderline on sides, marbled endpapers. Fine copy.

ROGERS, Samuel

Italy, a Poem.

London, Printed for T. Cadell [etc]. 1836.

£100

Crown 8vo pp 296. Crisp and clean impressions of the steel engraved vignettes, no sign of wear to the plates. With bookplate (C.B. Farwell) finely engraved on steel and printed by Western Bank Note & Engraving Co, Chicago. Full, dark blue crushed morocco, gilt back and border fillets [ca. 1900], scuff on the front hinge, a very neat and clean copy. Rawlinson 348-372.

ROGERS, Samuel

Italy, a poem.

London, printed for T. Cadel [etc] 1830.

£1650

Crown 8vo pp (viii) 284. FIRST EDITION (except for the “Proofs”). Contains 56 engravings on steel after designs by William Turner and Thomas Stothard, the majority after Turner. Full, dark green hard-tanned morocco, gilt lettering on back and Roman urn as centerpiece on both sides, a.e.g. Binding signed “Chapman & Hall. Strand”, but undisputedly bound by James Hayday (Ramsden, p. 78), the type of binding material being the so-called “Turkey Morocco”, invented by Hayday. This is a most typical Hayday binding, with his silk thread sewing. James Hayday (1796-1872) is known to have commenced business in a very humble way, probably worked on the premises of Chapman & Hill until 1833 when he settled independently in Little Queen Street, where he continued until his retirement in 1861. Bookplate (William Lindsay Alexander, see DNB suppl. 1, p. 32). The production of the two Rogers volumes is narrated in every book on the history of Western book illustration, and their importance is well documented. “Turner’s name may be added to those of Raphael, Rubens, and Claude in the list of painters who have had a special influence upon engraving. The speciality of Turner’s influence was in the direction of delicacy of tone. In this respect the Turner vignettes to Rogers’ poems were a high watermark of human attainment, not likely ever to be surpassed” Encyc. Brit. 11th Ed. A fine copy. Rawlinson 348-372.

RITCHIE, Leith

Wanderings by the Loire.

London, published by the proprietor, by Longman, Rees, Orme, Brown, Green, and Longman and Rittner and Goupil, Paris, 1833.

£250

Roy 8vo pp (viii) 256. FIRST EDITION, FIRST PUBLISHED STATE, Extra engraved t.p. with engraved lines “Turner’s Annual Tour 1833”. India proofs before letters, large paper issue. All twenty-one engravings on steel dated “1832” within plate mark. Signed (Binder’s ticket “F. Westley, Binder Friar St.”) publisher’s presentation binding in full dark green morocco with gilt sides and back, rubbing to hinges, endpapers of silk, a.e.g. Ritchie wrote the text only to accompany Turner’s views, which were all engraved by the team of steel engravers, that he had trained and whose work he scrupulously supervised, including Miller, Brandard and Goodall. Two more “annual tours” were published, 1834 and 1835, and the three independent volumes were each and together reprinted a number of times with less and less care and increasing wear showing in the plates. In 1857 they were finally gathered into a single volume, and henceforth published under the title of “Turner’s Liber Fluviorum”. A fine copy, with both text and printed in immaculate condition. Rawlinson, II p. 257, Lowndes 2723.

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RATHBONE, Hannah Mary

The Diary of Lady Willoughby…

London, imprinted for Longman, Brown, Green, & Longmans, 1845.

£125

Large 12mo (counted 4to) pp 220. Embossed, maroon full publishers presentation binding, signed Hayday, with small inscribed vellum panels on both boards, three sided gilt and tooled edges. Updike II p. 199 + fig 339. Fictitious novel by Hannah Mary Rathbone (1798-1878) second edition, the first edition having appeared in 1844 in similar typographical make-up. A book famous in printing history for reviving the Caslon Old Face font, and signalling the end of an era dominated by lean and ugly Modern Face characters in English books. The chief typographic event of the mid-nineteenth century (D.B. Updike, Printing Types, 3rd ed., 1952). The first edition is set in Caslon 16 pt, this second edition is re-set in 14 pt. but retains all the typographic features that created the importance of this pastiche on late 17th century layout. A very nice copy.