ROGERS, Samuel

Italy, a poem.

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


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.


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Wanderings by the Loire.

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


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.


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.

POE, Edgar Allan

The Poetical Works.

London, W. Kent & Co (Late D. Bogue), 1859. Foolscap 8vo pp. 188 [iv].


Illustrated with wood engravings by the bros. Dalziel after Wehnert, James Godwin, Hulme, Weir and Anelay. Publisher’s blind-pressed red cloth with gilt sides, back discoloured and caps very lightly torn, interior clean. a.e.g. One of the earliest English illustrated editions of Poe’s poems, dedicated to Rossetti.


Some Account of London. Second Edition.

London, Robert Faulder, 1791.


4to pp. [vi] + 2 (instructions to the binder) 479 [viii]. Modern quarter pigskin, marbled boards. MS ex libris of Samuel Wyat, 1792, the celebrated architect, some foxing to the engraved t.p. and the plates, text fine and large. With all 16 plates, including the folding view of London and Westminster. Pennant belonged to the “hear-say” historians, about whom Hugh Phillips says that “we cannot be grateful enough to them for having gathered this knowledge before it passed away” (Mid-Georgian London, p. 5). “One of the most pleasing topographical performances that has ever appeared. The second edition is much improved.” Lowndes 1824.



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One Hundred Fables.

London, J. Johnson for Geo. Lawford, 1828.


Royal 8vo. Pp. (iii) 272. Large paper copy in publisher’s light brown boards with black title piece, expertly restored spine, a fine copy.

FIRST EDITION. With 280 wooden engraved vignettes in the text designed by James Northcote, and engraved by a team of the most competent wooden engravers of those days, including John Jackson, the most famous of Thomas Bewick’s pupils. One of the principal works in the history of English book illustration.

Chatto & Jackson p 731. Lowndes 1704. Brunet IV 103 et al.



Ancient Spanish Ballads.

London, Bradbury & Evans for John Murray, 1856.


4to., unpaginated. Profusely illustrated with wood engravings. Publisher’s prospectus included. Publisher’s decorated orange cloth, designed by Owen Jones (“The Grammar of Ornament”), cloth slightly damaged at head and tail, a little wear to corners. A good copy.

The first edition was published in 1841 (“The first time of the true ‘Illuminated Books’ [Ruari McLean, Victorian Book Design, p. 154]).




The Literary Souvenir.

London, Longman, Rees, Orme, Brown & Green, 1831.


8vo. pp. (xvi) 344. Signed (Oremnant & Edwards, Paternoster Row) full dark green calf binding with a simple, blind-stamped decoration on both sides, gilt lettering on the back, insignificant foxing on the title page, a very fine and clean copy, all edges gilt.

Bookseller’s ticket preserves (Underwood & Hill, Birmingham), steel engravings after Thos. Lawrence, James Northcote, William Turner, and others.

Faxon 1566.



The Literary Souvenir.

London, Longman, Rees, Orme, Brown & Green, 1829.


8vo. (12mo., large paper copy) pp. (xx) 364. 12 steel engravings, printed on India Paper, after paintings and drawings by the prominent artists of those days, one after John Martin. Signed “Cars & Co, Glasgow” binding in full crimson calf with gilt and blind-stamped decoration, all edges gilt.

Faxon 1564.



The Literary Souvenir.

London, Longman, Rees, Orme, Brown and Green, 1828 [November 1827].


8vo. (12mo., large paper copy) pp. (xxii) 406. Original dark red half-morocco with gilt back and decorated corners, in early 19th century added side covers of yellow, glazed paper.

With 12 exquisite steel engravings (and extra, engraved title page), printed on India paper, and two wood engraved vignettes by John Thompson after popular artists of those days. Literary contributions by Rob Southey and Coleridge and a number of minor writers. A controversy arose between Coleridge and William Pickering, the publisher, about ‘Coleridge to Alaric A. Watts’ late in 1827 (notice kept with this copy). The poem was supposed to appear first in the Literary Souvenir for 1828 and later in the year in Pickering’s planned 3-volume edition of Coleridge’s Poetical Works (1828), where it appears in volume II p. 82. However, Pickering inserted the poem also in his competing annual the Bijou (p. 144-5), which was launched simultaneously with the Literary Souvenir for that year, i.e. in November 1827. The three versions of the poem are slightly different, though, as Coleridge used to make corrections and changes in his poems in a very casual way. A very nice copy with crisp and clean impressions of the engravings.

Faxon 1562.