L’an 11 de la republique, (1804)

Lille, chez Zevort- Depma, marchand d’Estamps a la Bourse, [1804]


Folio. 12 calendars months, mounted in pairs, on six leaves. Roman letter. Printed within woodcut rule, each with charming engraved headpiece of Putti representing the different republican months as various figures of science or art, such as ‘Agriculture’, ‘Astronomie’ etc. Light age yellowing. Engraved and hand coloured bookplate of ‘Jpe. A. Cattaui Pacha’ on pastedown. Very good, in handsome green three-quarter crushed morocco over marbled boards by ‘Iseux Heriters de Simier’, spine with raised bands, title gilt lettered, red and yellow silk marker.

A very rare and charming example of a French Republican calendar, printed a year before they reverted back to the original Gregorian. The calendars were officially started at the beginning of the Republican Era, the day the French First Republic was proclaimed, one day after the Convention abolished the monarchy. The new calendar completely revised the old system of managing time. There were twelve months, each divided into three ten-day weeks called décades. The tenth day, décadi, replaced Sunday as the day of rest and festivity. The five or six extra days needed to approximate the solar year were placed after the months at the end of each year and called complementary days. This arrangement was an almost exact copy of the calendar used by the Ancient Egyptians, though in their case the beginning of the year was marked by summer solstice rather than autumn equinox. Each day in the Republican Calendar was divided into ten hours, each hour into 100 decimal minutes, and each decimal minute into 100 decimal seconds. Thus an hour was 144 conventional minutes, a minute was 86.4 conventional seconds, and a second was 0.864 conventional seconds. However this decimal time did not catch on. Mandatory use of decimal time was officially suspended 7 April 1795, although some cities continued to use decimal time as late as 1801.

The Catholic Church used a calendar of saints, which named most days of the year after an associated saint. To reduce the influence of the Church, Fabre d’Églantine introduced a Rural Calendar in which each day of the year had a unique name associated with the rural economy, stated to correspond to the time of year. Every décadi (ending in 0) was named after an agricultural tool. Each quintidi (ending in 5) was named for a common animal. The rest of the days were named for “grain, pasture, trees, roots, flowers, fruits” and other plants, except for the first month of winter, Nivôse, during which the rest of the days were named after minerals.

This Calendar is of particular interest as it has abandoned the Republican names and reverted to Saints becoming a hybrid between the Republican and the Gregorian. It also has both form of numbering. It is clear the radical Republican calendar had not taken off particularly as it was too difficult to manage within a larger European context. The official calendar reverted to the Gregorian a year later. 

Such calendars, unsurprisingly for such ephemeral pieces, are extremely rare. 

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ROGERS, Samuel


London printed for T. Cadell [etc] 1834


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


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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


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. 


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MILLER, Thomas

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

London, J. Hogarth, 1854.


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.


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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.


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.


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LUTTRELL, Narcissus. Seal.

Desk Seal.


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).


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DELEYNE, Alexandre (ed.)

Analyse de la Philosophie du Chancelier Francois Bacon.


La Vie du Chancelier.

Amsterdam, Artskée & Merkus, 1755.


3 volumes, 8vo. (I & II Analyse, III Vie). pp (iii) 2-411 (i), (iii) 2-347 (i), (iii) 2-308. Roman letter, separate title page to each volume with ex libris of L Délibébguray (?) partially inked over, woodcut ornament and initial at beginning of each volume. In contemporary catspaw French calf, spines gilt, morocco labels, couple of joints cracked, marbled edges and eps.

First edition of the Analyse, by Alexandre Delene, and first French edition of the vie, written by David Mallet and translated by Pouillot (see Barbier).


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The Complete Angler…

London, Henry Kent Causton, 1851.


Small 8vo pp. 418. With 13 full-page engravings on copper by Ths. Cook and John Pye after Wale and Nash and 72 neat, but anonymous vignettes engraved on wood. Publisher’s blue blind-stamped cloth. A nice edition in very good condition. Lowndes 2829.


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TURNER, Joseph Mallord William

Turner and Girtin’s Picturesque Views Sixty Years Since. Ed. by Thomas Miller.

London, J. Hogarth, 1854.


Imperial 8vo [lx] 164+ 30 engravings on copper. Rawlinson,vol I 1-15a, reprint A. The first re-printing ( = 3rd state) of Turner’s and Thomas Girtin’s thirty contributions to the “Copper-Plate Magazine” (1794-98), the 2nd 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-printed was undertaken (= 4th state; Rawlinson, Reprint B), but the results were poor. Publisher’s red, half-morocco with gilt back, minimal browning to plate edges, boards slightly discoloured in places. 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), a nice copy. Lowndes 2724. Brunet V 980.


The Works of Mr. Hogarth Moralized.


London, J. Goodwin [N.D. but paper watermarked 1824]. 4to pp. [xv] 287. With 76 engravings in the text by Corbould and Dent; printed borders on each page framing the text matter. Printed on Whatman’s heavy wove paper watermarked “J. Whatman, Turkey Mill, 1825”. In modern cloth, engraved t.p. and frontispiece portrait of the artist. A nice and clean copy. Not in Lowndes.