DOCSLIB.ORG

James Cummins Bookseller

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
James Cummins Bookseller JAMES CUMMINS bookseller catalogue 114 Illustrated Books, Fine Bindings & Works on China and India Paper james cummins bookseller catalogue 114 Illustrated Books, Fine Bindings & Works on China and India Paper To place your order, call, write, e-mail or fax: james cummins bookseller 699 Madison Avenue, New York City, 10065 Telephone (212) 688-6441 Fax (212) 688-6192 e-mail: [email protected] jamescumminsbookseller.com hours: Monday – Friday 10:00 – 6:00, Saturday 10:00 – 5:00 Members A.B.A.A., I.L.A.B. front cover: item 92 inside covers: item 69 rear cover: item 66 terms of payment: All items, as usual, are guaranteed as described and are returnable within 10 days for any reason. All books are shipped UPS (please provide a street address) unless otherwise requested. Overseas orders should specify a shipping preference. All postage is extra. New clients are requested to send remittance with orders. Libraries may apply for deferred billing. All New York and New Jersey residents must add the appropriate sales tax. We accept American Express, Master Card, and Visa. 1 india paper proof copy [ARNAULT, Antoine-Vincent]. Les Souvenirs et les Regrets 2 du Vieil Amateur Dramatique; ou, Lettres d’un Oncle à son Neveu BATTY, Captain Robert. Welsh Scenery. From Drawings by sur l’Ancien Théatre Français. 36 hand-colored engraved plates Captain Batty. 35 engraved plates on india paper by Edward of theatrical costume. viii, 214, [2] pp. 8vo, Paris: Charles Finden after Batty. Printed by Thomas Davison, Whitefriars. Froment, Libraire, quai des Augustins, No. 37, 1829. First 4to, London: John Murray, Albemarle-Street, 1823. First edi- edition. Contemporary citron straight-grained morocco tion. Near-contemporary quarter morocco and cloth sides, attractively gilt by Hering & Muller, rue Coquenard, No. 18, “Percival” stamped in gilt at foot of spine, a.e.g. Bumping gilt-stamped on spine and with their ticket on the front free to corners, spine slightly faded, marginal foxing on plate 28, endpaper. Light spotting on covers, occasional light offsetting otherwise fine. from plates, minor foxing, in morocco-tipped marbled paper- $750 over-boards slipcase. Carteret III, pp. 37-38. $1,500 3 BÉRANGER, Pierre-Jean de. Proof engravings to Oeuvres de Béranger and Ma Biographie. 77 steel-engraved proofs before letters on india paper, mounted to thick paper, after Charlet, De Lemud, Johannot, Daubigny, Pauquet, Jacques, Lange, Pinguilly, De Rudder and Raffet. Folio, [Paris: Perrotin, 1847; 1850]. Slightly later half red morocco and marbled boards, by V[ictor] Champs, t.e.g. Foxing to mounts throughout, rarely affecting the images. $750 4 [BEWICK, Thomas, et al]. Bound volume of proof wood engravings to Scripture Illustrated. Frontispiece and 80 wood- cuts (2 per page), designed by W.M. Craig and cut by Bewick, C. and J. Nesbit, Branston, Austin, Clennell, Hole, Lee, et al. 8vo, [London: Vernor, Hood, and Sharpe, 1807]. Bound in contemporary full navy straight-grained morocco, covers tooled in gilt with outer roll borders and central ruled panel, flat spine gilt and divided in six compartments, a.e.g. Light rubbing to covers, else fine. Hugo 225. A handsome volume of proofs of 81 of the 94 wood engrav- ings for Scripture Illustrated (London, 1807). Three of the illustrations — nos. 48, 49 & 51 — were cut by Bewick. With an autograph note from a British Museum curator identify- ing the work for which these cuts were made. $1,250 2 | james cummins bookseller bound for louis philippe i 6 5 (BINDING, Cathedral) A Glossary of Terms Used in Grecian, (BINDING, Armorial) Beattie, William. La Suisse Pittoresque Roman, Italian, and Gothic Architecture. Frontispiece, steel … Traduit de l’Anglais par L. de Bauclas. 2 engraved titles and engravings to text. 3 vols. 8vo, Oxford: John Henry Parker, 106 engraved plates after W. H. Bartlett. 2 vols. 4to, London: 1840. Third edition, enlarged. Dark purple morocco, covers George Virtue, 26, Ivy Lane, 1836. First edition in French. blocked in gilt to a cathedral design, spine in five compart- Full green contemporary morocco, a.e.g. Front covers with ments with raised bands, a.e.g., Dutch gilt endpapers, light gilt-stamped crown and monogram (“L.P.”) of Louis Philippe rubbing to joints, near fine. I. Faint scuff across vol. II cover, else fine. Later 19th-century $1,500 gift inscription on first blank. Olivier 2499/6. Louis Philippe I (1773-1850) was the last king of France. $1,750 catalogue 114 | 7 (BINDING, Comte de Caumont) Commonplace book of original drawings, engrav- ings and transcribed poetry. Numerous engravings, mostly 18th-century portraits of royalty, some hand-colored, 10 original watercolors (3 x 2-H in.) in the style of Henry Corbould, and one additional watercolor portrait (8-G x 6-H in.) of a young woman. 4to, ca. 1803-1814. Contemporary red straight-grained morocco, covers gilt-tooled with a wide roll border, gilt-ruled frame with corner decorations made up from small tools, spine gilt in six compartments, a.e.g., by Comte de Caumont (ticket on verso of ffep). Light scuffing to edge of covers, glue burn to engravings, some en- gravings loose. Ramsden, London Bookbinders, p. 48; for other de Caumont bindings cf. Oldaker, no. 30; Maggs 1075 II, no. 264; Maggs 1212 II, no. 186. Provenance: John Collins, Devizes (bookplate); Samuel Muir (bookplate); “C.S.” (bookplate, loose). A fine binding from the shop of the French-born Auguste Marie, Comte de Cau- mont, dating from his period at 1 Frith Street, which he occupied from 1803-1814. It is generally accepted that de Caumont was not himself a binder, but rather managed the shop, tended to customers and kept accounts. He hired some of the great Lon- don binders of the day, including Cordeval and Kalthoeber. $4,000 4 | james cummins bookseller 8 9 (BINDING, English) A Theologico-Controversistical Conference (BINDING, English) Carte-de-visite photographic album Held at the Hague, the 2nd of June 1785, Between an English Lu- with portraits of Queen Victoria, her Prime Ministers, and theran, Scotch Calvinist and Dutch Rabeen … Frontispiece. 237, foreign heads of state. 35 albumen carte-de-visite photo- [1]; [4], 101-305, [1] pp. 8vo, London: Printed for the Author, graphs set in an album. 4to, [London]: Bound in green peb- 1785. Contemporary red morocco, covers gilt-tooled with bled morocco, covers with black – and silver-ruled borders, outer Greek key roll surrounding floral and vase dentelle set into an Indian carved and inlaid boxwood binding, metal tools, central wheel tool surrounded by floral tools, flat spine clasps and catches, by Aspery of London, some loss to spine with black morocco lettering and volume number labels, the ends and a few spots of loss to inlay. rest gilt with repeating floral and vase tools. Light wear to $,000 extremities, small piece from one spine label, vol. I frontis- piece diagram mostly lacking, bookplate. ESTC T177181 (2 copies); OCLC 316766664 (1 copy). A scarce Protestant dialogue in an attractive neo-Classical binding of the period. $1,500 catalogue 114 | 5 10 (BINDING, English) Manuscript music album. [50] pp of manuscript hymns, responses and chants with four-part vocals and organ accompa- niment. Oblong 4to, [Thame, Ox- fordshire: n.d., ca. 1830s]. Full black morocco, covers blind-stamped and tooled in gold to a panel design with wide rolls, stamped with the initials “S.E.W.” on the front cover and “W” with a crown on the rear cover. Prov- enance: Sophia Elizabeth Wykehanm, 1st Baroness Wenman of Thame Park (her monogram in gilt on the binding). A musical notebook beautifully bound in the Regency style, belonging to Sophia Elizabeth Wykehanm, 1st Bar- oness Wenman of Thame Park (1790- 1870). She was an early love interest of the future King William IV — when he later ascended the throne he revived the title of Baroness Wenman. $1,000 11 (BINDING, English) [Ridley, James]. The Tales of the Genii: or, the Delight- ful Lessons of Homar the Son of Asmar. Translated from the Persian, by Sir Charles Morell. 14 engraved plates af- ter William Craig. 2 vols. 8vo, London: Printed for James Wallis, Paternoster By Thomas Davison, Whitefriars, 1805. New edition. Contemporary full straight-grained red morocco, cover gilt with a Greek key border surround- ing a small gilt-stamped stag, a.e.g., by Mayor & Huntly of Bath, with their ticket. Fine. Not in Spawn & Kinsella. Modeled on the Arabian Nights, these tales were written by James Ridley un- der the pseudonym of Charles Morell. In a fine binding by Mayor & Huntly of Bath. Ramsden lists a Mayor in Liv- erpool and a Huntly in Bristol. $1,000 6 | james cummins bookseller 12 (BINDING, French) L’Ardèche, P.-M. Laurent de. Histoire de L’Empereur Napoléon. Frontispiece and woodcuts to text through- out. 802 pp. 4to, Paris: J.-J. Dubochet et C[i] e, 1839. Full contemporary straight-grained citron-brown morocco, covers gilt-stamped with a large “N” and eagle emblem sur- rounded by large floral sprays and volutes, a.e.g., green moiré endpapers. Spine lightly faded, else fine. In a morocco-tipped crim- son cloth open-faced slipcase. $1,400 embossed american binding 13 (BINDING, Gaskill) Cowper, William. The Works of Cowper and Thomson … Fron- tispiece. x, 404; xxxvi, 133 pp. 8vo, Philadel- phia: Gregg & Elliot, No. 9 North Fourth Street, 1841. Bound in full black morocco, covers and spine embossed in blind to an all-over scrollwork, floral and scallop-shell design, a.e.g., by Benjamin Gaskill (signed at head of spine in blind, “Gaskill, Phila.”). Light rubbing to corners, else fine. Maser 43a-b (for binding). A fine embossed binding by Benjamin Gaskill of Philadelphia.
Load more

Recommended publications
  • Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
    MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as
    [Show full text]
  • Art and Samuel Rogers's Italy
    Reverse Pygmalionism Art and Samuel Rogers’s Italy ANGOR UNIVERSITY McCue, M. Romantic Textualities: Literature and Print Culture, 1780–1840 PRIFYSGOL BANGOR / B Published: 01/01/2013 Publisher's PDF, also known as Version of record Cyswllt i'r cyhoeddiad / Link to publication Dyfyniad o'r fersiwn a gyhoeddwyd / Citation for published version (APA): McCue, M. (2013). Reverse Pygmalionism Art and Samuel Rogers’s Italy. Romantic Textualities: Literature and Print Culture, 1780–1840, 21. Hawliau Cyffredinol / General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. 26. Sep. 2021 ROMANTICT EXTUALITIES LITERATURE AND PRINT CULTURE, 1780–1840 • Issue 21 (Winter 2013) Centre for Editorial and Intertextual Research Cardiff University RT21.indb 1 16/07/2014 04:53:34 Romantic Textualities is available on the web at www.romtext.org.uk, and on Twitter @romtext ISSN 1748-0116 Romantic Textualities: Literature and Print Culture, 1780–1840, 21 (Winter 2013).
    [Show full text]
  • Catalogue of the Library and Autographs of William F. Johnson
    * Copy / I - V CATALD DUE 30 X Ilibr&ry • &nd - OF WILLIAM F. JOHNSON, ESQ., w OK BOSTON, MASS. fVERY VALUABLE and Interesting Collection of English and American Literature comprising, under the title Americana, a num¬ ber of scarce works by the Mathers, Eliot and other authors of their day ; in General Literature, many Standard and Popular Works of Biography, History and Romance, and worthy of especial notice and attention, a Collection of FIRST EDITIONS of REMARKABLE INTEREST AND VALUE BY REASON OF BOTH RARITY AND BEAUTY OF CONDITION, including the most desired specimens of the works of Coleridge, Hunt, Lamb, Keats, Shelley, Thackeray, Browning, Bry¬ ant, Emerson, Hawthorne, Longfellow and others. Also to be mentioned a charming lot of CRUIKSH ANKIANA, and books illustrated by Leech and Rowlandson. In addition to all the book treasures there are Specimen Autographs of the best known and honored English and American Authors, Statesmen and others, many of them particularly desirable for condition or interesting con¬ tents. TO BE SOLD AT AUCTION Monday, Tuesday, "Wednesday and Thursday, JANUARY 2T—30, 1890, BANQS & 60.,,. , * i A ■» 1 > > > • «. it1 > » i ) >) > ) ) > 5 > 1 J > * ) » > 739 & 741 Broadway, New York. 7 ~ % > n > > ) t> ) >7 > SALE TO BEGIN AT 3 O’CLOCK!’ ' > 7 > ' 7 ' > > 7 ) 7 *7 >v > ) , 7 {y Buyers wl~io cannot attend tloe sale me\y have pcir- chases made to tlieir order toy ttie Auctioneers. •* \ in 3 7 . '" i 'O'b ■ 9 c 1 ( f' * ( 0 « C. < C I < < < I / I , < C l < C » c 1 « l ( 1C. C f «. < « c c c i r < < < < 6 < C < < C \ ( < « ( V ( c C ( < < < < C C C t C.
    [Show full text]
  • John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
    JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery.
    [Show full text]
  • Animal Painters of England from the Year 1650
    JOHN A. SEAVERNS TUFTS UNIVERSITY l-IBRAHIES_^ 3 9090 6'l4 534 073 n i«4 Webster Family Librany of Veterinary/ Medicine Cummings School of Veterinary Medicine at Tuits University 200 Westboro Road ^^ Nortli Grafton, MA 01536 [ t ANIMAL PAINTERS C. Hancock. Piu.xt. r.n^raied on Wood by F. Bablm^e. DEER-STALKING ; ANIMAL PAINTERS OF ENGLAND From the Year 1650. A brief history of their lives and works Illustratid with thirty -one specimens of their paintings^ and portraits chiefly from wood engravings by F. Babbage COMPILED BV SIR WALTER GILBEY, BART. Vol. II. 10116011 VINTOX & CO. 9, NEW BRIDGE STREET, LUDGATE CIRCUS, E.C. I goo Limiiei' CONTENTS. ILLUSTRATIONS. HANCOCK, CHARLES. Deer-Stalking ... ... ... ... ... lo HENDERSON, CHARLES COOPER. Portrait of the Artist ... ... ... i8 HERRING, J. F. Elis ... 26 Portrait of the Artist ... ... ... 32 HOWITT, SAMUEL. The Chase ... ... ... ... ... 38 Taking Wild Horses on the Plains of Moldavia ... ... ... ... ... 42 LANDSEER, SIR EDWIN, R.A. "Toho! " 54 Brutus 70 MARSHALL, BENJAMIN. Portrait of the Artist 94 POLLARD, JAMES. Fly Fishing REINAGLE, PHILIP, R.A. Portrait of Colonel Thornton ... ... ii6 Breaking Cover 120 SARTORIUS, JOHN. Looby at full Stretch 124 SARTORIUS, FRANCIS. Mr. Bishop's Celebrated Trotting Mare ... 128 V i i i. Illustrations PACE SARTORIUS, JOHN F. Coursing at Hatfield Park ... 144 SCOTT, JOHN. Portrait of the Artist ... ... ... 152 Death of the Dove ... ... ... ... 160 SEYMOUR, JAMES. Brushing into Cover ... 168 Sketch for Hunting Picture ... ... 176 STOTHARD, THOMAS, R.A. Portrait of the Artist 190 STUBBS, GEORGE, R.A. Portrait of the Duke of Portland, Welbeck Abbey 200 TILLEMAN, PETER. View of a Horse Match over the Long Course, Newmarket ..
    [Show full text]
  • 'The Triad' and Coleridge's
    ROMANTIC T EXTUALITIES LITERATURE AND PRINT CULTURE, 1 7 8 0 – 1 8 4 0 (previously ‘Cardiff Corvey: Reading the Romantic Text’) Issue 15 (Winter 2005) Centre for Editorial and Intertextual Research Cardiff University Romantic Textualities is available on the web @ www.cf.ac.uk/encap/romtext ISSN 1748-0116 Romantic Textualities: Literature and Print Culture, 1780–1840, 15 (Winter 2005). Online: Internet (date accessed): <www.cf.ac.uk/encap/romtext/issues/rt15.pdf>. © 2006 Centre for Editorial and Intertextual Research Published by the Centre for Editorial and Intertextual Research, Cardiff University. Typeset in Adobe Garamond Pro 11 / 12.5, using Adobe InDesign cs; images and illustrations prepared using Adobe Illustrator cs and Adobe PhotoShop cs; final output rendered with Ado- be Acrobat 6 Professional. Editor: Anthony Mandal, Cardiff University, UK. Reviews Editor: Tim Killick, Cardiff University, UK. Advisory Editors Peter Garside (Chair), University of Edinburgh, UK Jane Aaron, University of Glamorgan, UK Stephen Behrendt, University of Nebraska, USA Emma Clery, University of Southampton, UK Benjamin Colbert, University of Wolverhampton, UK Edward Copeland, Pomona College, USA Caroline Franklin, University of Swansea, UK Isobel Grundy, University of Alberta, Canada David Hewitt, University of Aberdeen, UK Gillian Hughes, University of Stirling, UK Claire Lamont, University of Newcastle, UK Robert Miles, University of Victoria, Canada Rainer Schöwerling, University of Paderborn, Germany Christopher Skelton-Foord, University of Durham, UK Kathryn Sutherland, University of Oxford, UK Aims and Scope: Formerly Cardiff Corvey: Reading the Romantic Text (1997–2005), Romantic Textualities: Literature and Print Culture, 1780–1840 is a twice-yearly journal that is commit- ted to foregrounding innovative Romantic-studies research into bibliography, book history, intertextuality, and textual studies.
    [Show full text]
  • Mrs Bikbeck's Album
    1 MRS BIRKBECK’S ALBUM: THE HAND-WRITTEN AND THE PRINTED IN EARLY NINETEENTH-CENTURY FEMININE CULTURE Patrizia Di Bello, Birkbeck On the 25th December 1826, George Birkbeck, successful doctor, busy lecturer and founder of the London Mechanics’ Institution (now Birkbeck College),1 wrote a long letter to John Britton, antiquary and lecturer on the history of architecture at the Institution. My dear Sir, In consequence of your recommendation of Mr Behnes as an artist, I gave him at some inconvenience a great number of sittings. […] In the course of his visits Mrs Birkbeck spoke of her Album, in which he undertook to induce some of his poetical friends to write and for which purpose he took the book with him […]. Subsequently Mrs Birkbeck has wanted the book, which is of some value especially as containing some contributions from her friends, and has written to him for it without effect. I have also written and received no answer, and we have sent a messenger about half a dozen times in vain, and our only hope of recovering the book rests in your kind interference, as he probably will not run the risk of losing your friendship by such obstinate conduct.2 Mrs Birkbeck recovered her album and carried on working on it into her old age. It is now a rare example of an early-nineteenth-century album to survive intact and with a well-documented provenance.3 Recently rediscovered in the archives of Birkbeck College, and now valuable especially for an unpublished manuscript poem by Mary Shelley, the album has been described as ‘a fascinating insight
    [Show full text]
  • Insider 23.Indb
    W INSIDER ISSUE 23 WINTER 2015 STAMPS COINS BANKNOTES MEDALS BONDS & SHARES AUTOGRAPHS BOOKS WINES N K N M G Full marks for a N StunningEssay PLUS: FORTHCOMING AUCTIONS • SPINK EVENTS • EUROPEAN ORDERS OF KNIGHTHOOD THE LOANS OF THE GERMAN REICH • THE PERKINS BACON STORY TREASURES FROM ZANZIBAR • THE GREAT EXHIBITION 1851 • RECOMMENDED READING MEDIEVAL COINS FROM CENTRAL-EASTERN EUROPE • DESIGNS FOR THE FIRST CHINESE STAMPS Special Commissions A bird for the oven? Spink Special Commissions design and manufacture bespoke items of the finest quality. Our work includes gem-set pieces, objects in precious metals, Fine English Bone China dinner services and pieces crafted in Fine Leather. We also produce display cases, restore and mount medals for wear. A hallmarked, sterling silver model of a Houbara Bustard, finely chased and mounted on a marble plinth. Overall height; 28cm, base length; 21.5cm Price; £8,000 + VAT (if not exported outside the European Union) For further information please contact Ian Copson or Marcus Budgen Telephone; 020 7563 4093/4092 [email protected] or [email protected] A Word from our Chairman Dear Clients and Friends, delighted to off er a complete set of specimen banknotes from the Mercantile Bank of India dated 1912. Th ese Time fl ies when you are having fun… notes are rarely off ered individually and this is perhaps It may be an overused cliché but this year really does the fi rst time a complete set has been off ered in a single seem to have fl own by. It is hard to believe that this auction.
    [Show full text]
  • Fine Bindings
    "Book love... is your pass to the greatest, the purest, and the most perfect pleasure that God has prepared for His creatures". Anthony Trollope FINE BINDINGS David Brass Rare Books, Inc. P.O. Box 9029, Calabasas, California, 91372, USA "Tere are perhaps no days of our childhood we lived so fully as those we spent with a favorite book" - Marcel Proust We are open only by appointment. All prices are net. Postage is extra. We accept Visa, Mastercard and American Express as well as direct payment to our bank. Please ask for details. Please Note: We believe that rare books are timeless. Terefore, while our days on earth are numbered, the books within this catalogue are not. "Tere is no safety in numbers, or in anything else" ( James Turber). If you wish to order an item and words fail, you may reference the inventory code found at the end of each description. Complete catalogue descriptions together with multiple photographs are available upon request or directly through our website. David Brass Rare Books, Inc. P.O. Box 9029, Calabasas, California, 91372, USA Website: http://www.davidbrassrarebooks.com Email: [email protected] Ofce (818) 222.4103 : Fax (818) 222.6173 Tis catalogue was lovingly prepared by: Caroline H. Brass, David J. Brass Dustin S. Jack and Debra Brass Ackermann's Repository of Arts In a Beautiful 'Regency' Binding ACKERMANN, Rudolph, publisher. [A collection of two hundred and thirty plates from Ackermann's Repository of Arts]. London: R. Ackermann and Co., [1809-1826]. Royal octavo (9 x 5 7/8 inches; 230 x 150 mm.).
    [Show full text]
  • William Blake Large Print Guide
    WILLIAM BLAKE 11 September 2019 – 2 February 2020 LARGE PRINT GUIDE Please return to the holder CONTENTS Room 1 ................................................................................3 Room 2 ..............................................................................44 Room 3 ............................................................................ 105 Room 4 ............................................................................ 157 Projection room ............................................................... 191 Room 5 ............................................................................ 195 Find out more ..................................................................254 Credits .............................................................................256 Floor plan ........................................................................259 2 ROOM 1 BLAKE BE AN ARTIST Entering the room, clockwise Quote on the wall The grand style of Art restored; in FRESCO, or Water-colour Painting, and England protected from the too just imputation of being the Seat and Protectress of bad (that is blotting and blurring) Art. In this Exhibition will be seen real Art, as it was left us by Raphael and Albert Durer, Michael Angelo, and Julio Romano; stripped from the Ignorances of Rubens and Rembrandt, Titian and Correggio. William Blake, ‘Advertisement’ for his one-man exhibition, 1809 4 WILLIAM BLAKE The art and poetry of William Blake have influenced generations. He has inspired many creative people, political radicals
    [Show full text]
  • And His Lost Parnassus’, the Georgian Group Journal, Vol
    Jonathan Marsden, ‘“England’s Raphael” and his lost Parnassus’, The Georgian Group Journal, Vol. XI, 2001, pp. 29–46 TEXT © THE AUTHORS 2001 ‘ENGLAND’S RAPHAEL’ AND HIS LOST PARNASSUS JONATHAN MARSDEN n , Charles Oman published an important of the interior sculpture fell instead to Flaxman’s Iarticle which called into question the traditional contemporary and lifelong friend, the painter and attributions of many of the best-known pieces of illustrator Thomas Stothard, but its execution was Regency plate to individual goldsmiths or designers. delayed by a further death – that of George IV himself Discussing an album of designs for plate which had – in June . This brought a halt to all work on the recently been acquired by the Victoria and Albert Palace, while a Select Committee of Parliament Museum, Oman raised for the first time what he examined the causes of the very considerable over- termed the ‘problem of artistic responsibility’ inherent expenditure which had taken place. Nash, whose own in the productions of the firm of Rundell, Bridge and health was failing, was dismissed in October . Rundell. Tracing the process by which a drawing by Stothard contributed designs for four friezes and one artist was developed by another, he demonstrated four lunettes on the Grand Staircase (Fig. ), for four that the ‘authorship’ of many of Rundells’ most famous friezes in the Throne Room (Fig. ), and for the productions – including some of the magnificent tympana in the principal reception room, the South pieces supplied to the Prince Regent – could no longer Drawing Room (now known as the Blue Drawing be simply assigned.
    [Show full text]
  • Robert Cromek's View of London Booksellers and Engravers
    MINUTE PARTICULAR “This Class of Impostors”: Robert Cromek’s View of London Booksellers and Engravers David Groves Blake/An Illustrated Quarterly, Volume 40, Issue 1, Summer 2006, p. 45 "This Class of Impostors": olute look, the plate could not, at a trifling expense, be made to pass for "DANIEL IN THE LIONS' DEN!"3 Robert Cromek's View of Without mentioning his former friend Blake, some of these London Booksellers and Engravers details in Cromek's account come remarkably close to Wil- liam Blake's early experiences as a London engraver. In 1782- BY DAVID GROVES 83, Blake engraved eight of Thomas Stothard's designs for the Novelist's Magazine, including four that were illustrations to Samuel Richardson's Clarissa.4 Quite possibly, then, Blake's obert Hartley Cromek's brief friendship with William engravings of Stothard's designs were among the ones that R Blake around 1805-06 is well known to readers of Blake. Cromek saw "converted ... into Scriptural embellishmentsl" In So, too, is Blake's deep resentment of Cromek, after Cromek view of the ease with which (according to Cromek) London hired Luigi Schiavonetti (rather than Blake himself) to engrave publishers turned illustrations of English history into Bible Blake's designs for Robert Blair's The Grave, which Cromek pictures, it may be relevant that Blake's Prospectus of 1793 published in 1808. But no scholar has ever cited Cromek's lists, among his engravings, "a Series of subjects from the Bi- jaundiced account of London publishers, which he wrote at ble, and another [series] from the History of England."5 about the same time in his edition of the Reliques of Robert Burns.
    [Show full text]