Pompa funebris optimi potentissimiq[ue] principis Alberti Pii, Archiducis Austriae, ducis Burg. Bra. &c.

Brussels, Joannem Mommartium, 1623.


Oblong folio. Engraved title page, 12 unnumbered leaves. A-M1, text in double column in Latin, Spanish, French and Dutch, 64 engraved plates, of which two are folding, by Cornelis Galle after Francquart. Roman, Italic and Gothic letter. Very fine engraved architectural title page (small flaw at foot), with portrait of Albert VII held aloft by angels, stork and lion at sides, skeletons with papal regalia to the left and royal regalia to the right, two skeletons holding Albert’s arms, three part folding plate of the funeral monument of the Archduke, three part plate of the funeral chariot viewed in profile and from behind, numbered a, b and c., the remaining full page plates depict the funeral procession and its regalia, engraved bookplate of Silvio Zipoli on pastedown. Light age yellowing, minor marginal spotting, the odd thumb mark, engraved title fractionally dusty, folding plate III moved to the front, plate LIII moved in its place, closed tears on both folding plates expertly repaired with no loss, occasion tiny marginal tear restored, one plate fractionally trimmed at fore-edge, printed correction slip to leaf H, stab holes from original binding visible at gutter. A very good copy, with excellent strong impressions of the plates, in late C19 speckled calf gilt, covers bordered with double gilt rules and gilt roll, spines richly gilt in compartments, red morocco label gilt, inner dentelles gilt, extremities a little worn.

First edition of this superb suite of beautiful and very finely engraved plates commemorating, in extraordinary detail, the funeral of Albert VII, engraved after the designs of Jaques Francquart by Cornelis Galle, with a description of the occasion by Puteanus; one of the most eminent works of the golden age of Flemish copperplate engraving. Jacques Francquart (1582/3–1651) was a Flemish painter, court architect, and an outstanding copper plate engraver, born at Antwerp. He traveled to study in Italy and was apprenticed to Rubens on his return. In 1613 he obtained the position of court painter to the Archduke Albert.

He designed the Temple des Augustins which stood on Place de Broukere in Brussels. The Archduke Albert’s highly cosmopolitan court became a flourishing centre of the arts, a showcase for other courts throughout Europe. The Archduke, with his support of artists such as Rubens, did much to contribute towards the creation and spread of the style later known as ‘Flemish Baroque’. The Twelve Year Truce (1609-1621), in the civil war in the Netherlands, brought the necessary peace for a political, economic and in particular cultural revival. Albert surrounded himself with artists, such as Peter Paul Rubens, Jan Brueghel, Wenzel Coebergher, Jacques Franckaert, the composer Peter Philips and the South-Netherlandish humanist Justus Lipsius.

Francquart designed the funeral chariot and its engraving in this work is nearly a meter long. The plates depicts of more than 700 members of the funeral cortege. It is also innovative in that he created a table of ‘hatching’ to represent heraldic colours, which is the earliest hatching system in heraldry. The work is particularly interesting in giving a detailed snapshot of the composition of the court of Albert at his death.

“When Albert set out for the Netherlands in 1595, his court was almost entirely Spanish. The two mayordomos, all the gentlemen of the bedchamber and every chaplain but one were from the peninsula. The transformation was almost complete by the time of his death. None of the mayordomos who marched in the funeral procession was Spanish. One was a Burgundian; the other five were titled noblemen from the Netherlands. There was only one Spaniard among the eight gentlemen of the bedchamber who bore the coffin with Albert’s remains. On all these levels, the local nobility had taken over.” Luc Duerloo. ‘Dynasty and Piety: Archduke Albert (1598-1621).’ A very good copy of this monumental work.

Landwehr, Splendid Ceremonies, 69. Brunet II 1379. Watanabe-O’Kelly & Simon 2707.


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MARINEO, Siculo Lucio


Pandit Aragoniae.

Saragossa, Jorge Coci, 1509.


Folio. ff. XLIX. a8, b-h6 (lacking blank h6.) Gothic letter. Full page woodcut printer’s device of arms, held aloft by an angel, on title, fine white on black floriated initials in various sizes, each page with woodcut genealogical trees incorporating portraits of the kings of Aragon (many repeated) woodcut diagrams of coins and woodcut arms in text, large woodcut printer’s device on recto of last with St. Sebastian and St. Roch at sides. Light age yellowing in places, small tear restored in blank lower margin of f1, the odd insignificant marginal spot. A very good copy, crisp and clean, on thick high quality paper, with excellent impressions of the woodcuts, in modern vellum over boards, yapp edges, old Quaritch label to rear pastedown.

First separate edition of Marineo’s superbly printed and important history of the Kings of Aragon, commissioned by the Eight Deputies of Aragon for King Ferdinand, and one of the most beautiful early printed Spanish books. Marineo, an important literary figure of the age, was born in Sicily and studied in the Roman Academy of Pomponius Laetus. He moved to Spain where he taught poetry and Oratory at the University of Salamanca, and met Antonio de Nebrija, with whom he had a fractious relationship. He left Salamanca in 1497 to join the Catholic monarch’s court as chaplain and master and, in 1504, he was appointed chronicler of Aragon by Fernando the Catholic.

He published some poetry and a few works of Grammar but is chiefly remembered for this genealogy of the Aragonese monarchs, which was first published in Spanish as the ‘Cronica d’Aragón,’ in 1524 (this Latin edition is much rarer according to Salva) and his other histories of the period. His impact on the Spanish Renaissance was profound, especially through his disciple Alfonso Segura, in bringing to Spain the ideas of the Italian Humanists. His work remains one of the chief sources for the history of the period; he not only wrote about the early history of Aragon but also produced extensive accounts documenting the fifteenth-century reign of Fernando’s father, Juan II, and the reign of Fernando himself.

Coci (or Koch) is renowned as one of Spain’s great early printers. He began printing (with two other German printers) in 1499 and inherited materials from the press of Pablo and Juan Hurus, adapting their device for his own use. “Coci printed one other contemporary Latin work of some importance. This was a history of Aragon written by Lucius Marineus at the behest of the Eight Deputies of Aragon for presentation to King Ferdinand. It appeared in 1509, and it is on record that for their respective shares in the work Marineus received one thousand solidi, Jaca money, and Coci five hundred.” F. J. Norton, ‘Printing in Spain 1501-1520.’ One of the most striking early Spanish books in typography and layout, reminiscent of a miniature ‘Nuremberg Chronicle’ in its style and use of woodcut illustration. A very good copy.

BM STC Sp. C16th p.127. Norton 628; Lyell, Early book illustration in Spain, figure 93 (printer’s device). Adams M 593. Brunet III, 1432. Palau VIII 152144. OCLC records four copies in US libraries. Salva 3019.


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The life, and raigne of King Edward the Sixt.

London, Eliot’s Court Press, and J. Lichfield (at Oxford?) for Iohn Partridge, 1630.


FIRST EDITION, First issue. 4to. pp. (vi), 179, (i). lacking first blank. L3, M3, N3, and Q4 are cancels, in slightly smaller type. Roman letter with some Italic. Engraved architectural title page with portrait of Edward VI in oval at center, figures of majesty and power at sides holding a laurel wreath, Royal arms above, signed ‘Ro. Vaughan’ (Johnson p. 56: 7), engraved portrait of John Hayward, with allegorical figures below, on page vi signed ‘Will. Pass.’, woodcut printer’s device on verso of last, floriated woodcut initials typographical headpieces. Light age yellowing, small water-stain in lower margins of first few leaves, a few thumb marks in places, small oil stain at gutter of last three leaves, corners a little dog-eared at beginning and end, small tear in upper margin of second leaf just touching running headline on verso, engraved title and verso of last a little dusty. A good, unsophisticated, full margined copy, entirely uncut, stab bound as issued in its original limp vellum wraps, illegible manuscript note dated 1653 on front cover, covers a little soiled and creased.

First edition of Sir John Hayward’s posthumous ‘Life and Raigne of King Edward VI,’ the earliest biography of the last Tudor King, reprinted in 1636, and again in White Kennett’s Complete History of England in 1706. Considering the environment in which Hayward wrote, the influence this pioneering work has had on attitudes toward the mid-Tudor period is remarkable. Although few contemporary scholars accepted Hayward’s interpretation of the reign at face value, his work influenced historical thinking for over three centuries. Hayward was imprisoned by Elizabeth I for his controversial book on Henry IV and his involvement in the conspiracy of the Earl of Essex in 1600.

Edward VI (1537-53), the only son of Henry VIII, ruled in a period of not only dramatic religious change, but also of warfare, political intrigue, and popular rebellion. Hayward wrote his biography of Edward at the end of the Jacobean period when major challenges were facing the monarchy. He proclaimed that his narrative was intended to be a “monument” to the “un-perishable fame” of the king and focused his efforts on court politics, foreign policy, and military affairs.

“Sir John Hayward’s full-scale ‘Life and Raigne of King Edward the Sixt, first circulated in manuscript in the 1620’s before its publication in 1630. As Lisa Richardson has demonstrated in her recent study of Hayward, he was soaked in the writings of Tacitus. (…) Hayward also knew well Foxe’s work in ‘Acts and Monuments’, and used him much elsewhere in his historical work, yet here, in account of a reign dominated by violent religious change, his only substantial debt to Foxe is his admiring description of the King himself. (…) What interests him most is Foxes anecdote about the king’s supposed efforts at clemency for Joan Bocher and George van Parris, contrasting with the more bloodthirsty attitudes of Edward’s advisers. (…) One of the contemporary sources which Hayward was particularly ready to use was Edward VI’s personal chronicle. The Chronicle minimizes his preoccupation with religion and gives the impression of a boy-king with primarily secular concerns. Overall, Hayward’s distaste for what happened in the Edwardian reformation is clear.” Diarmaid MacCulloch. ‘The Boy King: Edward VI and the Protestant Reformation’. An entirely unsophisticated and untrimmed copy of this important history.

STC 12998. Pforzheimer, 459. Lowndes III 1018.


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COMMINES, Philippe de


An Epitome of All the Lives of the Kings of France.

London, I. Okes, 1639.


FIRST EDITION 8vo. pp. (xiv), 344, (viii). Roman letter; elaborate engraved architectural frontispiece depicting allegories of kingship: cherubs above with a sceptre, crown and cornucopia; in the centre kings with an orb and cannon, a laurel-wreathed skeleton at foot with all the accoutrements of kingship at his feet (not in McKerrow or Johnson); 67 halfpage woodcut portraits of the kings in very good impression, some repeated; woodcut initials; C18 armorial bookplate of William Perceval on pastedown, his ex libris on fly and with case mark on title page, old bibliographical note attached to ffep. Title page. slightly dusty, two leaves of prelims a bit soiled toward fore edge, light age yellowing. A good, original copy in contemporary sheep, Perceval’s crest gilt on spine and unusually, gilt (faded) case mark beneath, upper joint nicked at head.

Unsophisticated first and only edition of the English epitome of the lives of the Kings of France from Pharamond First in 429 to Louis 13th in 1610, also mentioning “the famous battailes of the two kings of England, who were the first victorious princes that conquered France”. Beginning with an attractive woodcut portrait, each life discusses the King’s parentage, ascent to power and principal events of his reign. Any peculiarities, such as Clodion’s habit of wearing his hair long as a badge of kingship, are also recorded. A table of the names of all the Kings appears at the end. Frequently referring to contemporary authors on the same topics, the epitome is an eminently readable and detailed compendium of French Royal biographies, aiming to give accurate dates, particularly for the most recent kings, and track the minutiae of the succession as fully as possible.

Sometimes attributed to writer and diplomat Philippe de Commines (1447-1511), i.a. in the preface of this edition, though the period covered continues long after his death, it is more likely that ‘the French coppy’ used was the now lost “Histoire des anciens Rois de France” by courtier Nicolas Houel (1520-1587), sometime artistic adviser to Catherine de Medici, probably expanded here by translator Richard Brathwaite. Brathwaite, (1588?-1673) was an English poet and translator, the most memorable of whose works was “Drunken Barnaby’s Four Journeys,” a travelogue in rhyming Latin verse.

William Perceval was an Irish landowner whose family properties (by marriage) included Amherst Island west of Kingston, Ontario. His cousin, Spencer Perceval, was the only British Prime Minister to have been assassinated.

STC 11273.


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BOCHIUS, Joannes

Descriptio Publicae Gratulationis Spectaculorum et Ludorum.

Antwerp, ex Officina Plantiniana, 1595.


Folio. pp. 174 [ii]. Roman and italic letter, historiated woodcut initials, head-and tail-pieces, title within engraved architectural border depicting Neptune and Athena, second t.p. after prelims within architectural border with allegories of Time and Fame, topped by doubleheaded eagle, cherubs holding globes. 29 full-page engravings and 4 double-page engravings by Pieter van der Borcht (1545-1608), all in extraordinarily clear, strong impression. Light age yellowing, occasional fingermarks to margins, slight tear to inner margin at F3, but a lovely, clean, fresh and well-margined copy in handsome contemporary calf, boards treble-ruled in blind, central gilt medallion, floral ornaments in each corner and six spine compartments, corners worn, cracking to extremities of joints on spine, remains of silk ties.

FIRST AND ONLY EDITION of this magnificent festival book celebrating the entry of Archduke Ernst of Austria into Antwerp on 14 June 1594. The condition and detailing of the engravings indicates this must have been one of the earliest copies off the press. They were executed by Pieter van Der Borcht after drawings by Cornelius Floris II and Joos de Momper from the designs of Martin de Vos. The first double-page engraving depicts Ernst’s parade approaching the city, images of the city entrance, the columns, stages, and arches erected in the town in honour of the occasion, the city theatre, and a two-page musical score for 6 voices of the song performed to welcome the Archduke. The pageantry continues with an engraving of the 27-foot statue erected in the marketplace of the giant Antigonus who once controlled Antwerp and was known for cutting off the right hands of mariners who did not pay him tribute. The city was liberated by another giant, Brabo, who cut off Antigonus’ own hand – the legendary origin of the hands on the city’s heraldic arms. The festivities end with nautical displays, fireworks and jousting, each frozen in time by their own splendid doublepage engravings. Each is accompanied by descriptions of the festivities, and a commentary on their allegorical significance, by Joannes Bochius (1555-1609), a prominent lawyer and poet from Brussels who was an active official in the local government.

The work provides a vivid depiction of the pageantry of the age and, the exuberant showmanship of a hopeful city: Antwerp had suffered sack, siege and plunder at the hands of Spaniards and Italians throughout the 1570s and 80s, its population halved to 55,000 by 1589. “What is unmistakable, once the real plight of the city is realized, is the extent to which the various spectacles prepared for 1594 convey the city’s desire to put a brave front on its position, asserting, particularly, through the allegories on the arches of the foreign merchant communities, that the golden age which the city had enjoyed under Charles V was not lost beyond recall…” Whether or not Ernst, a minor member of the Hapsburg family could deliver the town remains to be seen: “His relative unimportance is emphasized by the fact that Ernst was never invested with the titles of Margrave of Antwerp or Duke of Brabant” and thus was not entitled to the full ceremonial welcome. (Davidson and Van der Weel, cit. infr.). To add to the misfortune, Ernst died in Brussels 8 months later in February 1595, so the work ends with a funeral oration, a memorial as well as a tribute.

BM STC Nr. 36. Index Aureliensis IV 120.566. Graesse I 458. Adams B 2208. Landwehr,Splendid Ceremonies  50. Berlin 2944. Peter Davidson and Adriaan van der Weel “Introduction: The Entry of Archduke Ersnt into Antwerp in 1594 in Context”Europa Triumphans: Court and Civic Festivals in Early Modern Europe, Volume 2,  492. Not in Fowler.


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WELBY, Henry [HEYWOOD, Thomas]

The phoenix of these late times: or the life of Mr. Henry Welby, Esq: who lived at his house in Grub-street forty foure yeares, and in that space, was never seene by any, aged 84.

London, N. Okes for Richard Clotterbuck, 1637.


FIRST EDITION. 4to. 25 unnumbered ll. . *Š A-E4 F3. (without last blank). Woodcut initials, typographical and woodcut head and tail pieces, engraved portrait frontispiece of Welby, trimmed and mounted (probably from the 1794 reprint). Title and verso of last dusty, light age browning, upper margin cut close, running headline just trimmed in places, the odd marginal mark. A good copy in excellent C19 blue morocco gilt by Ramage, covers triple gilt ruled to a panel design gilt fleurons to outer corners, spine richly gilt in compartments, inner dentelles gilt, all edges gilt.

A rare and most interesting account of the life of the famous recluse Henry Welby of Grub Street, with epistles and epitaphs by Shakerly Marmion, John Taylor the water poet, Thomas Brewer, and Thomas Heywood himself, who was most probably was the author of the main text. Heywood (?1574-1650), actor and dramatist, one of Shakespeare’s colleagues in the Admiral’s men in the 1590’s, composed principally for the stage but wrote also a small number of works unconnected with the theatre. In this work he relates the life of Welby, a wealthy land owner, who became a recluse living in his house in Grub Street for forty four years with no contact with the outer world except through his elderly maidservant. He retreated to this solitude after a quarrel, in which a younger brother traumatised him by trying to murder him (attempting to shoot him with a double-charged pistol, which only ‘flashed in the pan’). Up to this point, Welby had been a student, had travelled abroad, married, had a daughter, and seen the daughter married. As a result of this incident he took ‘a very faire house in the lower end of Grub Street, near unto Cripplegate,’ and passed the rest of his life in absolute seclusion, never leaving his apartments.

Heywood gives detailed description of his abstinence, his diet, his daily routine; he asserts that at Christmas and Easter, all the food for a proper feast would be served into Mr Welby’s outermost room, where he dined, which he would then carve, and send out to be distributed to his neighbours, without his eating any of it himself. Heywood also states that Welby was a scholar and a linguist, and always bought the best books available, English and foreign. He particularly admires him for his piety and charity seeing in him him something of a biblical figure living in London. “what retirement could be more? In my opinion it far surpasseth all the Vestals and Votaries, all the Ancresses and Authors that have beene memorized in any Hystorie.” Despite the extraordinary nature of the events described the work nonetheless gives an interesting insight into ordinary lives in Stuart London. Shakerly Marmion spoke of Heywood as writing “all history, all actions, Councils, Decrees, man, manners, State and factions, Playes, Epicediums, Odes and Lyricks, Translations, Epitaphs, and Panegyricks” (DNB). He was indeed a translator, primarily of Lucian, and Kirkman (his bookseller) reports of him that “many of his plays were composed in the tavern, on the backside of tavern-bills” (ibid.). Curious and uncommon.

STC 25227. Lowndes VI 2826. Grollier II 446.


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GODWIN, Francis

A Catalogue of the Bishops of England.

London, George Bishop, 1601.


FIRST EDITION. 4to. pp. (viii) 547 (i). Black letter, woodcut headpiece, foliated initials. Title page slightly dusty at head, woodcut ornament, early manuscript shelf mark at tail. A very good, clean copy in fine C18 English red morocco, elaborate gilt stamped borders of crowns, coronets, feather headdresses and fleur de lys, inner dentelles gilt, spine gilt in compartments with crown motif and crossed sceptres, slightly chipped at head, morocco gilt lettering piece, a.e.g., marbled end papers. Presentation bookplate of Charles W.G. Howard from Sir David Dundas 1877 to front pastedown.

A handsome copy of the FIRST EDITION of these detailed collected biographies of the English bishops and a valuable source book of English history. It is the best known work of Francis Godwin (1562-1633), which so pleased Queen Elizabeth that she made Godwin bishop of Llandaff with immediate effect. The text is important as an Anglican attempt to establish a continuous history of an independent English church from the first arrival of Christianity to the end of the 16th C. Although partisan in purpose it is reasonably even-handed in its treatment of its subjects and is significant in the development of English historical scholarship; it is also eminently readable.

Diocese by diocese, a broad survey of the incumbents of the ancient bishoprics and archbishoprics is conducted, covering Canterbury, London, Winchester, Ely, Lincoln, Coventry & Lichfield, Salisbury, Bath & Wells, Exeter, Norwich, Worcester, Hereford, Chichester, Rochester, Oxford, Gloucester, Peterborough, St. Davids, Llandaff, York, Durham, Carlisle and Chester. Proceeding chronologically, where possible the history of appointments are given, along with any highlights of episcopal incumbency and accounts of particular bishops such as St. Cuthbert of Durham: “He was a very personable man, well-spoken, and so mighty in perswading, as none that ever he delt withall was able to withstand the force of his words,” with a few final words about the length of his office and eventual death. In instances where nothing but a name survives, it is duly noted.

The work comprises a very valuable history of the sees and bishops of England throughout the Middle Ages, though prudently 16th C figures are dealt with much more briefly than earlier appointments. Fisher’s career is noted in five laconic lines and Rioleg’s in only two. Each section concludes with the value of the See, first in the books of the Crown and second of the Papacy.

STC 11937, noting that the book was printed by the Eliots Court Press. Lowndes III 905.


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The True Mannor and Forme of the Proceeding of the Funerall of the Right Honourable Robert Earle of Essex and Ewe. (with) An Elegie upon the most lamented death of the Right Honourable and truly valiant, Robert Earle of Essex.

London, Henry Seale, 1646.


FIRST EDITIONS. 4o. Two works in one. pp. (iv) 24: (iv). Roman letter, some Italic. Title within typographical border with small woodcut of a crown, large woodcut headpiece and floriated initial; fine engraved portrait of Essex by W. Marshall, six woodcut armorial banners, large folding woodcut of his catafalque in procession and one full page white on black woodcut of the elaborate lying in state. Earl’s nineteenth century armorial bookplate and modern label on pastedown, “Beckford sale 1883 lot 966” manuscript on fly, corresponding catalogue cutting on pastedown. Last two leaves slightly dusty, a few page numbers very slightly trimmed. A very good, clean, copy in 19th-century blue morocco by C. Lewis, covers bordered with double gilt rule, title gilt lettered on spine, inner dentelles gilt, a.e.g.

Extremely rare first and only edition of this detailed and handsomely illustrated description of the ceremonial procession and state funeral of Robert Devereux, third Earl of Essex (Ob. 1646) with an equally rare four page elegy on his life. Robert Devereux, was the the eldest son of the second Earl of Essex, executed for treason by Queen Elizabeth in 1601. On the succession of King James I in 1604, Devereux was restored to his father’s estate. From 1620-4 he served, unsuccessfully, in Protestant armies in Germany and the Low Countries and at Cadiz. Although his early military career was undistinguished, he earned the affection and loyalty of the troops.

Estranged from court life, during the Short Parliament he was one of the minority peers who voted against granting money to continue the war against Scotland, unless Parliament’s grievances were first addressed. In the Long Parliament in 1640, Essex (as he had become) emerged as the leading opposition peer and was the first member of the Lords to accept the Militia Ordinance. The highest-ranking nobleman to support Parliament, Essex was appointed to the Committee of Safety in July 1642 and made Captain-General of the Parliamentarian armies on the outbreak of civil war. Essex proved meticulous in planning his campaigns but cautious in carrying them out. He believed that the war should be decided by negotiation with the King, from a position of strength, rather than outright military victory and had mixed fortunes on the battlefield.

He suffered a stroke after stag hunting at Windsor and died on 14 September 1646. Essex was buried in Westminster Abbey with great pomp and ceremony. This work describes in detail the order of the funeral procession, with lists of the officers and regiments, and detailed descriptions and illustrations of the banners and flags, their bearers, and attire of men and horses. It finishes with a vivid description of the last salute fired around the forts surrounding the City of London. Parliament contributed £5,000 to the expenses of the funeral.

For the occasion the chancel of the Abbey was draped in black from floor to ceiling and a funeral effigy of the earl dressed in scarlet breeches, a military buff-coat and Parliamentary robes was erected beneath a catafalque designed by Inigo Jones, illustrated here with a wonderful white on black woodcut. This was left standing after the ceremony until a poor farmer hacked it down instructed by an angel. The effigy was refurbished but was finally destroyed on the orders of Charles II after the Restoration, though Essex’s body was left undisturbed. A very good copy, extremely rare complete with the beautiful folding plate of the procession, of this work printed just weeks after the events it describes.

William Thomas Beckford (1760 – 1844) was an extraordinarily wealthy English novelist, art critic, travel writer and politician, now chiefly remembered as the author of the Gothic novel Vathek and builder of the remarkable Fonthill Abbey, the enormous gothic revival country house, largely destroyed. Beckford’s fame rests as much upon his eccentric extravagances as a builder and collector as upon his literary efforts. The opportunity to purchase the complete library of Edward Gibbon gave Beckford the basis for his own library, which was extensive, and dispersed over two years in 1883-4.

Wing G-5. ESTC R201190 : Wing G-3. ESTC R201191. Lowndes 754 (under Essex). Not in Pforzheimer or Grolier.


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