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Imprint: Amsterdam, 1641
Copper engraved title-page, 37.5 x 23.5 cms, later hand-colour, blank verso.
Stock number:5586.
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Imprint: London, 1749
Copper engraving, 18 x 23 cms, recent hand-colour, blank verso. From Thomas Salmon’s “A new Geographical and Historical Grammar” published by Johnston.
Stock number:5751.
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Imprint: Birmingham: Printed by Sarah Baskerville; and sold by Joseph Johnson […], 1775
Binding: Hardback 8vo. pp. [iv], 59, [iii]. Nineteenth-century quarter calf, rubbed. An introduction to collecting ancient coins, including hints on how to spot forgeries.
John Baskerville's widow Sarah is known to have printed only two books (the other being an edition of Horace), both re-issues of works previously published by the Baskerville press and printed within a couple of years of Baskerville's death. However, she successfully maintained the business for a decade, concentrating her energies on type-founding rather than printing before selling her entire stock for 150,000 Francs in 1785, to the French dramatist Beaumarchais who used it to print an edition of Voltaire. John Baskerville consistently flouted convention in his personal life, not least by living with another man's wife. Sixteen year old Sarah Ruston married one Richard Eaves in 1724 and bore him five children, but he deserted her in 1743 and soon afterwards she found employment as housekeeper at Easy Hill, Baskerville's Birmingham home. Eaves returned to Birmingham in 1762 and died in 1764. A month later Sarah at last became Mrs Baskerville., ESTC T101014
Stock number:6523.
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Imprint: Antwerp, 1578
Edition: First Edition Copper engraving, 30.4 x 50.7 cms, first edition, black and white, minor restoration at centrefold, Latin text on verso.
De Jode follows the practice familair to his readers through earlier, Ptolemaic, atlases in dividing Asia into numbered sections, rather than following political boundaries, so this ‘first part of Asia’ contains the greater part of the Turkish empire and the empire of Persia. De Jode credits Gastaldi, and many of his maps are based on Italian and German prototypes. He was an important businessman in Antwerp, and got some of his inspiration at the Frankfurt Fairs where he was able to buy many maps which he copied or resold (see Koeman). He was an associate of Plantin and Ortelius, but his relationship with the latter seems to have soured as their rivalry intensified. They embarked on similar revolutionary projects at the same time: to create books of maps, engraved by the same hand and in a uniform format, drawing on the best cartographic sources Europe had to offer - the modern concept of the atlas. De Jode had more copper plates and was 18 years Ortelius’ senior, Ortelius got there first and seems to have used his influential contacts to prevent De Jode from getting the necessary official approval for his book, in order to protect sales of his own Theatrum Orbis Terrarum. De Jode received ecclesiastical approval in 1573, the imperial imprimatur in 1575 and royal approbation only in 1577, so it was not until 1578 that the first edition of the Speculum orbis terrarum was published. A second edition was published by de Jode’s son Cornelis in 1593. Ortelius had won – the Theatrum had a firm grip on the market and both editions of the Speculum are very rare.
Stock number:5451.
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Imprint: Augustae V. [Augsburg], E typographeo M. Mangeri [first work, &] Joannis Praetorii [second work], 1599 & 1602
Binding: Hardback Two works bound in one volume, 8vo. pp. [xvi], 215, [ii] 216-539, [i]; [xvi], 256, [ii] 257-542, [iii]. Greek and Latin text. Contemporary vellum, yapp edges.
Attractive editions; David Hoeschel’s recension of the Greek text of Chrysostom’s work on the presthood is supported by the translations of Jacobus Ceratinus and Germanus Brixius, and his edition of Chrysostom’s series of sermons ‘Against the Jews’ (also aimed at Judaizing Christians within his own congregation) is also followed by a Latin translation. Chyrsostom was Bishop of Constantinople at the end of the fourth century.
Stock number:6439.
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Imprint: Edinburgh & London, 1861
Lithograph, 44.5 x 57.5 cms, colour-printed with additional (original) hand-colour in outline, blank verso.
Stock number:6284.
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Imprint: London, 1844
Lithographed map, 52 x 61 cms, original outline colour, blank verso; from the National Atlas. Shows the routes of recent explorers (Mitchell, Tyers & Townsend and Count Streletsky).
Tooley Australia, 761.
Stock number:5960.
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Imprint: Edinburgh & London, 1906
Binding: Hardback Folio, (25 x 32 cms), pp. [viii], 200 (colour-printed lithographed astronomical diagrams and maps), 150 (index). Publisher’s half morocco over green pebble-grained cloth, lettered direct in gilt with gilt crown on upper cover.
Stock number:5534.
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Imprint: London, 1849
Engraving by J.T. Willmore, 33 x 55 cms, after George Jones, recent hand-colour, blank verso, published in Finden's Royal Gallery of British Art.
Stock number:6483.
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Imprint: London: Printed for Fielding and Walker [...], 1777-78
Edition: First Edition Binding: Hardback 2 vols. 4to. First edition of this translation. pp. 719, [i]; [ii], 644, [xxxvi] index & list of subscribers. + 6 engraved maps by Thomas Bowen & Jonathan Lodge and 60 (of 64 called for) full page engraved plates (4 plates have not been bound in: Jewish crucifixion, Susannah and the Elders, a jewess suffering martyrdom and the murder of Simon). Occasional spotting. Contemporary sprinkled calf, rubbed, with old but crude repairs to the headcaps (which have been strengthened with strips of calf) and two of the corners. Early chippendale-style bookplate of Jonathan Sandbach, surgeon, of Chester; twentieth-century bookplate of Dutch collector Fritz Michael Meyer.
Josephus supplies an important first-hand account of the Jewish revolt (AD 66-70) and provides valuable insights into first-century Judaism and the context for early Christianity., Lowndes 1236.
Stock number:6444.
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Imprint: Londini [London]: Impensis Richardi Sare [...], 1722
Binding: Hardback Folio (48 x 30 cms) pp. [xliv], 468. Parallel Greek and Latin text, generous margins. Contemporary calf, neatly rebacked, corners and end-papers renewed.
Second century Christian author, probably martyred under Marcus Aurelius. Styan Thirlby’s edition is described by Dibdin as ‘splendid and carefully executed’, although Dibdin is cautious regarding Thirlby’s achievements as editor: ingenious but vain seems to be his opinion.
Stock number:6342.
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Imprint: Parisiis [Paris] apud Ioacobum Dupuys [...], 1551 and 1554
Edition: First Edition Binding: Hardback Two works in one volume, folio. pp. [viii], 311, [v] & pp. [xvi], 67, [i], 35, [i], 91, [i], 80, 49, [xxv]. Robert Estienne’s editio princeps of Justin in the original Greek, bound with a near contemporary first printing of Joachim Perion’s Latin translation, also published in Paris. A red-ruled example,in contemporary gilt ruled calf, oval ornament on the covers beneath the owner’s name “A. Fournier”, lettered direct; skilfully rebacked preserving the original spine.
Second century Christian author, probably martyred under Marcus Aurelius. The works which can be ascribed to Justin with confidence were preserved in a single manuscript in the French Royal Library. After Robert Estienne’s departure for Geneva, where he openly declared his Protestant beliefs, work on the editio princeps was completed by his brother Charles. It is described by Renouard in glowing terms as “première et belle édition”., Dibdin I, 180; Renouard 79, 2; Schreiber 107, Adams J494 & J495.
Stock number:6431.
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Imprint: Biponti [Zweibrücken]: ex Typographia Societatis, 1784
Binding: Hardback 8vo. pp. [ii], xxvi, 423, [xlvii]. Contemporary half sheep, very slightly rubbed, floral ornaments in the compartments on the spine. Receipt from a Hamburg bookseller dated 1960 still loosely inserted.
Stock number:6008.
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Imprint: Londini [London]: Ex officina Jacobi Tonson, & Johannis Watts., 1713
Binding: Hardback 12mo. pp. [x], 281, [li] + engraved frontispiece. Latin text, title printed in red and black. Contemporary calf, label renewed.
Stock number:6322.
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Imprint: Cantabrigiae [Cambridge] prostant venales Londini, apud Gul. Sandby [...]; Cantabrigiæ, apud G. Thur, 1763
Binding: Hardback 8vo. pp. [xii], 229, [i] + 14 engraved plates; lacks engraved frontispiece. Title printed in red and black. Contemporary mottled calf, gilt; upper joint, headcaps and corners skilfully renewed and tooling made good.
'A very neat and well printed edition' (the printer being Joseph Bentham at the Cambridge University Press, as the colophon reveals). Five years later Sandby sold his bookselling business to a naval officer on half pay, one John McMurray, the founder of the publishing house which still bears his name. See, for example, Zachs, W.: The First John Murray (1998)., Dibdin II, 156.
Stock number:6498.
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Imprint: London: printed for G. and W. Nicol; Cadell and Davies; R.H. Evans; W. Bulmer and Co. [...], 1817
Edition: First Edition Binding: Hardback 2 vols. 8vo. pp. xi, [i], lxxxii, 384; [ii], xlvii, [i], 224. Called “third edition, corrected and enlarged” but first thus. Later nineteenth-century green half-morocco over cloth.
Editions of Gifford’s translation of Juvenal appeared in 1802 and 1806, but this is the first appearance of his translation of Persius, which was not issued separately for four more years. “The insatiate itch of scribbling” (satire VII, v. 79) is a phrase which must have held particular meaning for Gifford (1756-1826) himself. He contrived to make a career for himself in the world of letters despite all obstacles of birth and means (farmhand, fisherman and shoemaker were all career-paths which he managed to escape). Early satirical works include the Baviad and Maeviad, based on the follies of literary circles he encountered while accompanying Lord Belgrave (son of his patron Earl Grosvenor) on two continental Grand Tours. He was editor of the short-lived Anti-Jacobin and the far more successful Quarterly Review.
Stock number:4476.
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Imprint: London: Printed for D. Browne [...], 1739
Binding: Hardback 8vo. pp. xvi, 414. Latin text with English translation facing. Old ink annotations. Old half calf, rubbed, lacking label.
Stock number:4804.
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Imprint: Milan: Giocondo Regazzoni, 1874
Lithographed folding map, 53.5 x 73.5 cms, insets of Berne, Basel, Geneva, Zurich etc., colour-printed, dissected in 20 sheets and laid on linen as issued, key and view of Berne on verso; original blue paper-covered slip-case with green printed labels bearing the title in four languages on one side and an outline map on the other, some wear; near contemporary (1875) ownership inscription on both map and slip-case.
Stock number:4442.
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Imprint: London, 1864
Wood engraving, 23.5 x 34.5 cms, modern hand-colour, English text on verso.
Stock number:6362.
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Imprint: London, c. 1750
Binding: Hardback Copper engraving, 21.5 x 33.5 cms, black and white, mounted in the nineteenth century, blank verso. A reduced version of the folio print of St James’s Palace in “Britannia Illustrata”, though slightly larger than those in Pieter van der Aa’s “Delices de la Grand Bretagne” of 1727.
Stock number:5895.
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Imprint: London, 1889
Wood engraving, image 48 x 119 cms, with key in lower margin, recent hand-colour, blank verso.
H.W. Brewer specialized in antiquarian reconstructions for publications such as, The Builder
Stock number:5968.
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Imprint: Boston: S. Walker, c. 1800
Copper engraving, 27 x 44.5 cms, engraved by James Archer after Jenkinson, recent hand-colour, trivial spotting, blank verso.
Stock number:6018.
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Imprint: Paris: Charles Piquet, 1856
Lithographed folding map, black and white, dissected and laid on linen as issued, original slip-case.
Stock number:4453.
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Imprint: Altenburgi [Altenburg], Ex Officina Richteria (vol. VI, Helmstadii [Helmstadt] sumptu. C.G. Fleckeis, 1780-1798
Binding: Hardback 6 vols. 8vo. Engraved title vignettes. Minor spotting. Nineteenth-century vellum.
A comprehensive edition which is emphatically not a reprint of Burmann’s, according to Brunet; it contains many additional authors. The volumes are divided thematically: Carmina de venatione; Bucolica et idyllia; Satyrici minores; Carmina heroica; Carmina geographica and Carmina de re hortensi et villatica., Brunet IV, 758-9
Stock number:5176.
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Imprint: London: R.H. Laurie, c. 1830
Copper engraving, 26.5 x 41.5 cms, engraved by Thomas Bowles after Donavell (probably for Sayer) black and white as issued, inlaid.
Adams 193
Stock number:4448.
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Imprint: London, Published by Laurie and Whittle, 1794 but c. 1840
Copper engraving, 26.2 x 40.5 cms, black and white as issued, blank verso. Originally engraved c. 1753, and bearing the republication date 1794 when Robert Laurie entered into partnership with James Whittle, this plate was also reprinted for an edition of Laurie’s views c. 1840. The plate number has not been amended (from 3 to 2) but the paper used is of early nineteenth-century date so our example is from this compilation or similar.
Adams 191
Stock number:4431.
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Imprint: London, Published by Laurie and Whittle, 1794
Copper engraving, 26 x 39.5 cms, black and white as issued, blank verso. Originally engraved c. 1753, and bearing the republication date 1794 when Robert Laurie entered into partnership with James Whittle. Minor spotting. Window mounted in the nineteenth-century.
Stock number:4432.
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Imprint: London, c. 1794
Copper engraving, 25.5 x 39.5 cms, engraved by Edward Rooker after Canaletto, black and white, mounted in the nineteenth-century, blank verso. Originally published by Robert Sayer circa 1751 - Sayer commissioned Canaletto to produce a series of drawings of London subjects on his second visit to the city. The ruined viaduct is painted on a backcloth, screening the paying public from the reality of the fields beyond.
Stock number:5892.
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Imprint: Paris, 1746
Binding: Hardback Copper engraving, 21 x 25.5 cms, hand-coloured, on a folio leaf, blank verso.
Stock number:4136.
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Imprint: St Helier’s: Le Lievre brothers,, 1856
Binding: Hardback 32 x 53 cms, lithographed by Day & Son, original hand-colour, laid on linen and folding into original blind-stamped red cloth covers, title blocked in gilt.
Stock number:6437.
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Imprint: Paris, 1748
Copper engraving, 29 x 21.5 cms, original hand-colour in outline, blank verso.
Stock number:5909.
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Imprint: Paris, 1748
Copper engraving, 28.5 x 21.5 cms, recent hand-colour, a couple of marginal worm holes, blank verso.
Stock number:5852.
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Imprint: Paris, 1748
Copper engraving, 21 x 29.5 cms, original hand-colour in outline, short tear to left of centrefold, blank verso.
Stock number:6532.
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Imprint: London: Robert John Bush,, 1870
Edition: First Edition Binding: Hardback 8vo. First edition. pp. xvi, 272. With 40 full-page wood-engravings and numerous text illustrations after Lear and map of Corsica. Brown publisher’s cloth, some wear to extremities. Inscription on the fly leaf, presented to Charles Hilton Seely by his grandson, 1870.
Stock number:5106.
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Imprint: London, printed for E. Newbery [...], [c. 1795]
Binding: Hardback 12mo. pp. vi, 178, [vi] advertisements + engraved portrait frontis. and 5 engraved plates. Some staining towards the end of the volume. Green vellum spine over marbled boards (as described by Roscoe), worn. Early juvenile ownership isncription: Mary Anne Matthews. Priced 1/6 on title.
Elizabeth Newbery succeeded her husband John Newbery, who is generally regarded as the first to publisher to specialize in children’s literature. The first dated edition of this work appears to have been printed in 1789, and there are a number of undated issues which are difficult to pin down precisely (Newbery’s bibliographer Roscoe makes good use of dated ownership insriptions). However, Elizabeth Newbery retired in favour of John Harris in 1801, which gives us a terminus ante quem. Lee Boo’s story caused a sensation at the time. He was both ‘noble savage’ and educational experiment. In 1783 Henry Wilson’s ship, the East Indiaman ‘Antelope’, ran aground on islands he named the ‘Pelews’ (Palau). The crew were received hospitably by the local population and managed to construct a new vessel from the wreckage of the old, in which they were able to reach Macao. The highest-ranking local chief, called by the Englishmen King Abba Thulle, asked Wilson to take one of his sons, Lee Boo, back to England to learn more about European technology and customs. Lee Boo was feted by London society but, despite Wilson’s best efforts, he succumbed to small pox in December 1784, a little short of six months after his arrival. He is buried in St Mary’s, Rotherhithe., Roscoe: John Newbery and his successors, J170(3A).
Stock number:6500.
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Imprint: Augsburg, c. 1720
Copper engraving, trimmed to image, 20 x 29.5 cms, text in Latin and German, original hand-colour, blank verso. View of pre-Fire London from the South Bank of the Thames, including London Bridge and old St Paul’s. Leopold was active in the first two decades of the eighteenth-century.
Stock number:6389.
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Imprint: Washington, 1908
Lithograph, 54 x 86 cms, colour printed, blank verso; prepared for the Report of the Commissioner of Indian Affairs.
Stock number:6421.
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Imprint: Paris, 1866
Steel engraving, engraved area 30 x 43 cms, original hand-colour, elaborate border showing regional costume, produce and local historical figures, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6394.
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Imprint: Paris, 1866
Steel engraving, engraved area 45 x 29 cms, original hand-colour, slight spotting, elaborate border showing regional costume, produce and local historical figures, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6395.
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Imprint: Paris, 1866
Steel engraving, engraved area 45 x 28 cms, original hand-colour, elaborate border showing regional costume, produce and local historical figures, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6396.
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Imprint: Paris, 1866
Steel engraving, engraved area 30.5 x 43 cms, original hand-colour, elaborate border showing regional costume, produce and local historical figures, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6397.
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Imprint: Paris, 1866
Steel engraving, engraved area 30.5 x 43 cms, original hand-colour, elaborate border showing regional costume, produce and local historical figures, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6398.
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Imprint: Paris, 1866
Steel engraving, engraved area 29 x 43 cms, original hand-colour, elaborate border showing regional costume, produce and local historical figures, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6399.
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Imprint: Paris, 1866
Steel engraving, engraved area 29 x 43 cms, original hand-colour, elaborate border showing regional costume, produce and local historical figures - dominated here by Napoleon; trivial marginal spotting, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6400.
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Imprint: Paris, 1866
Steel engraving, engraved area 30.5 x 43 cms, original hand-colour, elaborate border showing regional costume, produce and local historical figures, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6401.
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Imprint: Paris, 1866
Steel engraving, engraved area 44.5 x 28 cms, original hand-colour, elaborate border showing regional costume, produce and local historical figures, closed tear in lower margin, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6402.
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Imprint: Paris, 1866
Steel engraving, engraved area 32 x 43 cms, original hand-colour, closed tear in upper margin, elaborate border by Raimond Bonheur, engraved by Laguillermie, blank verso. From an edition of Levasseur’s ‘Atlas National Illustré’.
Stock number:6393.
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Imprint: Lutetiae Parisiorum [Paris], apud Audoenum Parvum [...], 1552
Binding: Hardback Folio. ff. [xviii], 388; 114, [lxxiv]. With large woodcut device to title, and with large historiated initials in the text. Some light marginal waterstaining, but generally clean. Eighteenth-century calf, a little rubbed and stained, with a fully gilt back.
Stock number:1740.
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Imprint: Amstelodami [Amsterdam], Apud Danielem Elsevirium., 1679.
Binding: Hardback 3 vols. 8vo. pp. [xlviii], 922, [lxx], 62; 973, [lxi], 58; 1080, [lxxxii]. Engraved title to first volume. Portrait frontispiece of the Archbishop of Paderborn (the dedicatee of this edition), and with a further portrait of Gronovius. Divisional titles with woodcut Elzevir device. Some very light toning and spotting to the very edges of the margins. Late eighteenth-century gilt-ruled diced russia, extremities a little rubbed (partucularly to vol. 3) but still a handsome set.
The last and best of the Gronovius editions printed by the Elzevirs., Willems 1568; Dibdin II, 167.
Stock number:2085.
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Imprint: London, 1759
Copper engraving, 18 x 12 cms, black and white as issued, blank verso; Pondicherry changed hands a number of times during the Seven Year’s War, being finally captured from the French in 1759, but returned by the Treaty of Paris in 1763. It remained a part of French India (except 1793-1814) until 1954.
Stock number:5580.
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