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John Price Antiquarian Books

   Books from the hand-press era
London: Printed by T. Sabine..., [no date], [?1785]. 12mo (in 6s), 163 x 95 mms., pp. 74, engraved frontispiece, title-page in red and black; later half calf, black morocco label, marble boards; small hole to printed border of frontispiece, last leaf (pp. 73-74) defective and soiled, with a piece torn from lower edge with the loss of seven letters of text on each side of the page; the loss has been repaired with contemporary paper and the missing letters supplied in manuscript. A good to very good copy, with the armorial bookplate of William Phelps on the front paste-down end-paper. This scarce work was one of several with similar titles; this particular work seems to have been first published in 1730 in an edition of 56 pages, with four later editions in the 18th century. However, this text and ones with similar titles appear to be infused with a lot of intertextuality, and much of the information seems to describe London at an earlier period, even as far back as the late 17th century. See A. C. Elias, Jr., "Dublin at Mid-Century: The Tricks of the Town Laid Open," Eighteenth-Century Ireland (1995). Uncommon. ESTC T125463 locates copies in BL and Boston Public. One copy only of the 1730 edition is found at Newberry, and the other editions appear in no more than two or three locations. (Book ref. 8045)
London: Printed for W. Churchill..., 1719. FIRST EDITION. 8vo, 177 x 118 mms., pp. [xvi], 220, 234 [235 p- 236 adverts], contemporary panelled calf, dull red morocco label; lower margin of last 20 leaves wormed (not affecting text), with worming extending into rear paste-down end-paper, some worming also of lower margins of first three or four leaves and front paste-down end-paper, front free end-paper creased, top of spine slightly chipped, joints slightly worn (but very firm), corners worn. Richardson (1665 - 1745) was literary London's favourite portrait painter in the early 18th century. Samuel Johnson thought that his aesthetic theories would be more valued than his paintings, and Richardson's works are the starting-point for the classical school of art criticism in Britain. Samuel Holt Monk says of him in The Sublime that "he is worthy of notice chiefly as an innovator" and that his comments form the "most complete of the early discussions of painting." Richardson was working at a time when both writing and painting became ways of earning money, and he was one of the first English painters to become actually rich as an artist. This book also was not aimed at the cognoscenti or those who were already knowledgeable about art and aesthetic, but those who wanted to learn and need a sort of do-it-yourself guide. C. Gibson-Wood, Jonathan Richardson: Art Theorist of the English Enlightenment (2000). (Book ref. 8040)
London: Published for the Author, By S. Cornish & Co., 1839. FIRST AND ONLY EDITION. 12mo, 188 x 112 mms., pp. viii, 203 [204 Errata], including half-title, engraved frontispiece, other illustrations and charts in text, original cloth (slightly soiled); a good copy, with the autograph in pencil on the half-title, "Alser J. Pearce." From the preface: "The object of the present treatise is to open to the eye of the young student every intricate part of Genethliacal Astrology. It is true that many works have already appeared professing to do this, but the generality of them are replete with the most extravagant and ridiculous absurdities; and, it may be safely added, that no complete work on this science, found exclusively on the principles of mathematics and natural philosophy, has yet been presented to the public." Genethliacal Astrology, also known as Natal Astrology, "is the system of astrology based on the concept that each individual's personality or path in life can be determined by constructing a natal chart for the exact date, time, and location of that individual's birth" (Wikipedia). (Book ref. 8014)
[No place] [No Publisher] [c. 1825]. 231 x 147 mms., 31 full-page engraved plates (including the foxed first leaf functioning as title-page), 2 folding engraved plates, bound in quarter early 19th century roan, with "Lanier's Drawing Book 1656" tooled in gilt on spine, plain boards; first plate, with title foxed, many plates marked with "L" in corner area of plate, others marked with "V". The musician and art dealer Nicholas Lanier (bap. 1588, d. 1666) was in Italy, specifically Venice, as early as 1610, as a diplomatic courier. "Immediately after the funeral of James I on 7 May 1625 Lanier was dispatched by the new king, Charles I, to Italy, to search out and purchase paintings for the enlargement of the Royal Collection. Through Daniel Nys, a French-born art dealer, agent, and entrepreneur, Lanier made contact with the duke of Mantua, Ferdinando Gonzaga, with a view to buying the extensive and celebrated Mantuan collection. The negotiations were long and tortuous and were not finally completed until 1628; the total price paid for this splendid collection was 68,000 scudi (then about £15,000). During this period Lanier made two separate visits to Italy, being based for the most part in Venice. At the end of his first trip he returned to England with his own portrait by Van Dyck (now in the Kunsthistorisches Museum, Vienna). As a result Van Dyck was invited to enter the service of King Charles. Lanier had already begun to collect drawings, both for himself and for his patron Lord Arundel, at a time when such pieces were considered valueless, and was the first to imprint on them a distinctive collector's mark" (ODNB). This volume consists entirely of engravings from the drawings of Parmigianino (Girolamo Francesco Maria Mazzola), Giulio Romano, Lodovico Carracci and others. Ian Spink, "Lanier in Italy," Music and Letters(1959). Christopher Baker, Caroline Elam and Genevieve Warwick, editors: Collecting Prints and Drawings in Europe, c. 1500-1750 (2003). (Book ref. 8008)
London: Printed by R. Noble, for J. Scatcherd..., 1797. 8vo, 203 x 122 mms., pp. [xxviii], 451 [452 adverts], including half-title, engraved portrait frontispiece of the two authors, 13 other engraved plates (12 before text and another at page 320), complete as called for, contemporary sheepskin, with modern reback, gilt spine, black morocco label; some foxing of plates, but a good copy with the inscription on the half-title, "Fanny Dyer? Sept. 15th/ 1832" and another that looks like "H. A. Messiter" on the top margin of the title-page F. Collingwood and J. Woollams had the unique distinction of having their first edition of 'The Universal Cook' of 1792, being translated into French and sold in France. Published in Paris in 1810 it was re-named ' Le Cuisinier Anglais Universal ou le Nec Plus Ultra de la Gourmandise'. This was the time of the war with Napoleon, but the reputation of London food and its Cooks stood high with foreigners. The first smart restaurant to open in Paris the same year as 'The Universal Cook' was published, was called La Grande Taverne de Londres, after the London Tavern, where John Farley its famous Chef was serving his tenure. Collingwood and Woollams had also had a spell at the London Tavern, so one assumes they were as well known as Farley. In spite of the fame and glory of Collingwood and Woollams' book being translated into French, the French publisher had qualms. In his introduction, he wrote: "The English must eat well, look at their 'embonpoint!' If occasional recipes seem odd, they will at least, 'cher lecteur,' broaden your experience, acquainting you with 'le catchup' and 'le browning' which are unknown even to our best chefs." (From Old Cooks Books.) Cagle 626. (Book ref. 8002)
London: John Murray, 1865. Large 8vo, 227 x 141 mms., pp. xiv [xv List of Illustrations, xvi corrections], 362, engraved portrait and 14 plates by Philip Delamotte after drawings by the author, 13 with hand-colouring, finely bound by Zaehnsdorf in full polished tan morocco, sides with double gilt fillet borders infilled in black, spine panelled in similar fashion within raised bands and with black morocco label, wide inner gilt dentelles, all edges gilt; very slight wear to extremities, but a very good to fine copy, with the 20th century bookplate of the English stained-glass artist Patrick Reyntiens (1725 -), well-known for his collaborations with John Piper, e. g., for the cathedrals at Liverpool and Coventry. The barrister and stained-glass historian Charles Winston (1814–1864) established bona fides as an authority on stained glass with the publication in 1847 of An Inquiry into the Difference of Style Observable in Ancient Glass Paintings, Especially in England. He made experiments to determine the chemical characteristics of of the colouring of stained glass. The present book includes a biographical memoir and reprints many of the articles he published in the Archaeological Journal. (Book ref. 7992)
London: Printed for A. Millar, J. and R. Tonsons. W. Strahan, T. Caslon, T. Rukham, and W. Nicoll. 1765, 8vo, 202 x 120 mms., pp. [ii], vi, [xxiv], 384 [385 - 408 Index], contemporary calf, spine and joints very neatly restored, a very good copy with the contemporary autograph "Sarah Browne" on the top margin of the recto of the front free end-paper, and with the author's autograph on page [1]. With the price in square brackets below the imprint: [ Price bound Five Shillings ]. Glasse (c. 1708 - 1770), the "illegitimate" daughter of Isaac Allgood [sic] and his mistress Hannah Reynolds, married John Glasse in 1724, and, with a growing family and an indifferent husband, began collecting recipes and published this very popular book in 1747. However, she seems to have lacked business acumen and had accumulated debts totalling more than £10,000 by 1754; she was made bankrupt and the copyright for the book was taken over by Andrew Miller and a conger of other London booksellers. ESTC lists three ninth editions printed in 1765; this conforms to N29940 (Bodleian; Memorial Library Wisconsin-Madison, University of California San Diego). Another issue, N29940, has "Receips" in the title. (Book ref. 7932)
In Roma [Nella stampa di D. de Rossi], 1704. Folio, 325 x 217 mms., pp. [iv], 16, 15 [16 blank], 12, engraved title, 116 plates, with engraved title-page for each part, contemporary vellum, olive morocco label; front hinge cracked, few worm holes in spine, top and base of spine slightly defective, with an 1829 Bologna inscription (name resisting transcription) on the top margin of the title-page. The Italian engraver Pietro Santi Bartoli (1635 - 1700) trained as a painter, but turned his attention to engraving and was an engraver for most of his life. The volume contains splendid and intricate engravings of the sepulchral lamps in the underground caves of Rome, as well as information about various rites connected with the lamps. This was one of the last works that the painter and biographer Giovanni Pietro Bellori (1613 - 1696) published, and his rather short commentaries on each of the engravings don't seem to do them justice. Bartoli's work was first published in Rome, with a second edition published in Berlin in 1702. (Book ref. 7885)
[London] 1730. An engraved plate by William Henry Toms after Egbert van Heemskerck, 380 x 313 mms., "a satire on satire on prostitution set in a brothel in which all the men have been given the heads of apes and the women those of cats. In the centre of the room a prostitute sits on the knee of an old man who fondles her, her legs splayed; she holds a glass in one hand and a flask in the other. A magistrate wearing a lace edged hat and holding a large candle stands over them. Constables with staves stand in the open door, behind which the prostitute's pimp (referred to as her bully in the verse beneath) is hiding; he is dressed as a grenadier. On the right, the brothel-keeper holds up a tally-board pointing out one of the symbols to three men who are startled at the entry of the constables; one is seated at a table holding a glass, another holds a large candle. On the table is a large flask, another rests on the floor beside a big jug, and another lies broken in pieces. In the background on the right a couple peer from being the curtains of a large bed. Hanging from the ceiling is a large birdcage on which a bird is perched" (British Museum Catalogue 1866,0407.53). There is a short tear in the lower leaf-hand margin going into the engraving and some small pieces missing from white border, somewhat dust-stained. (Book ref. 7760)
London: Printed for the Translator, and Sold by A. Millar..., 1765. FIRST EDITION. 8vo, 200 x 120 mms., pp. [vi], 287 [288 errata], including half-title, engraved vignette on title-page, contemporary sheepskin, red leather label; front and rear cover slightly worn, front joint creased, but very good copy, with the armorial bookplate of Rev. Gervas Powell, LL.D on the front paste-down end-paper and a pencil note in the autograph of the bookseller Arnold Muirhead "Coll/AM/19/1/54" in the lower corner. Wincklemann (1717 - 1768) published Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst in 1755, and it was one of the first major histories of art. His approach and methodology were more-or-less a prototype for way in which inquiries into art and its genesis were conducted. "Winckelmann's style was that of an outspoken taste-maker. He detested the Baroque, and even found the classicists of the seventeenth-century insipid. His allegiance to Raphael and to the art of his contemporary and friend Mengs remained supreme. He considered Meng's Parnassus superior to Reni's Aurora. Domenichino's art, which Winckelmann considered was closer to the ancients more than any other follower of the Carracci, never achieved the purity of Raphael in drawing the nude. Many of Winckelmann assertions, for example, that Greek art was the stimulus for the High Renaissance, were the result of his own feelings for the art rather than hard scholarship. Winckelmann's situating Greek art as the cornerstone to Western artistic creation inspired artists and historians alike to view modern art as a compiling of a tradition. Such a conclusion is all the more admirable when one considers that many of his assessments of Greek art were based upon inferior copies or medals. The esthetician Gotthold Ephraim Lessing based much of his ideas of his Laokoon (1766) on Winckelmann's writing on Greek art" (Dictionary of Art Historians). (Book ref. 7575)
Undated, but circa 1900. The painting measures 340 x 260 mms., the frame, 462 x 378. The painting was restored in May, 2011, by Julia Nagle, who records her work as follows: It was surface cleaned and the bottom edge was re attached using BEVA 371 heat seal adhesive and a warm spatula. The painting was then given a brush coat of MS2A cyclohexanone resin varnish. Losses were filled and then retouched with gouache base coats, followed by glazes of pure ground pigment in MS2A resin. The painting was given a final spray coat of MS2A resin varnish and photographed after treatment. It was refitted into its frame using brass strips. Losses on the frame were retouched with gouache, with the exception of small chip on the top of the frame. (Book ref. 7512)
1798. The silhouettes are framed in a silver (highly tarnished) bead pattern, with inscriptions on the verso of each: "Countess of Hopetoun/ Given to Jane Collett/ By Mrs. Hudson/ 1798" and "Earl of Hopetoun/ Given to Jane Collett/ by Mrs. Hudson/ 1798." The portrait of the Earl seems to have been damaged below the silhouette at some stage in the past 200+ years, and the silhouettes themselves seem a bit amateur. Likely candidates are James Hope-Johnstone, third earl of Hopetoun and de jure fifth earl of Annandale and Hartfell (1741–1816) and his wife, Lady Elizabeth Carnegie (1750–1793); or, more probably, John Hope, fourth earl of Hopetoun (1765–1823), and his first wife, his cousin, Elizabeth (d. 1801)` , fifth and youngest daughter of the Hon. Charles Hope-Vere of Craigiehall, and sister of John Hope (1739–1785). (Book ref. 7511)
A Paris Chez Boyer et Naderman, facteur de harpe et d'autres instrumens: au Magazin de musique, R. [i.e., Rue] de la Loi, à la Clef d'Or, Passage de l'ancien Caffé de Foy, [1790] [1790]. Folio, 331 x 246 mms., pp. [ii], 166, folding engraved plate of keyboard at end and otherwise engraved throughout, contemporary quarter green sheepskin, boards; front free end-paper creased, binding a little rubbed, but a good copy with the autograph "Mm Julie Mallet" on the top margin of the recto of the front free end-paper. Jean Joseph Rodolphe (1730 - 1812), also as Johann Joseph Rudolph, was an Alsatian composer, violinist, and horn player; his early career was in Stuttgart, where several of his operas and ballets were performed. This work, first published in 1784, proved very popular with performers and students and was regularly reprinted until the 1850s. From 1798 he was a professor at the Paris Conservatory. He popularized the horn as a solo instrument and was probably the first in Paris to use the technique of hand-stopping, by which a natural horn can be made to produce notes outside of its normal harmonic series. (Book ref. 7480)
London: Printed for R. and J. Dodsley..., 1756. FIRST ENGLISH EDITION. 8vo, 203 x 116 mms., pp.[ii], [xl], including half-title, 536, later 18th century mottled calf, rebacked, new morocco label, a very good copy, with the later armorial bookplate of John S. Pakington (1799 - 1800) on the front paste-down end-paper. Pakington, the first Baron Hampton, entered Parliament in 1832 and was noted for his interest in reforming education. Thomas Sheridan (1719 - 1788) combined his talents as actor and theatre manager with those of a proselytiser for British education and orthoepy. The work was first published in Dublin. Thomas Miller, in "The Formation of College English: A Survey of the Archives of Eighteenth-Century Rhetorical Theory and Practice" (Rhetoric Society Quarterly, 1990) notes, "The Irishman who had the greatest impact on college English was not a college professor but a public advocate of English studies, the elocutionist Thomas Sheridan.... Sheridan's argument that elocution would preserve the British way of life become more understandable when read against his specific proposals for teaching English in Ireland in order to keep the gentry from emigrating to learn how to become more English." (Book ref. 7341)
Roma: Presso Gio Scudellari via Condotti N. 19 e 20..., 1823. FIRST EDITION. Oblong folio, 410 x 270 mms., pp. [iv], 50 full-page engraved illustrations of clothing styles, plate area measuring 270 x 192 mms., each plate preceded by tissue guard, contemporary limp maroon pigskin, with title in gilt on front cover within blind panel, all edges gilt, spine neatly restored. The plates are in fine condition, with very clear impressions. A fine copy. Pinelli (1771 - 1835) was probably one of Italy's most prolific artists, and this volume on the costumes of Roman brigands, outlaws, and robbers (as WorldCat describes it) exemplifies all that is typical and best of his work. The University of Pennsylvania's web site on art history notes that he eschewed "painting in favor of the more immediate and intimate medium of drawing, Pinelli associated himself with the vedutisti, who painted Roman views primarily for a foreign market of tourists and Italophiles. Perhaps due to his largely touristical customer base, Pinelli's drawings of Roman life focus on everyday bucolic happenings. He is quick to include indicators of real sites and real people and nearly all of his drawings were done from life.... In his humorous, charming, and skillfully executed drawing Bartolomeo Pinelli thus brings the daily life of contemporary, everyday Romans to life complete with its dramas and its comedies, catering to a tourist's interest in the picturesque without sacrificing the integrity of the scene." (Book ref. 7085)
A Zuric chez l'Auteur, 1777. 2 volumes. Large 4to, 257 x 195 mms., pp. [xvi], 184; [3], 4 - 190, engraved title-page in each volume, separate engraved title-page in volume 1 for Contes Moraux, list of subscribers in volume 1, 10 full-page engraved plates in each volume, engraved head- and tail-pieces (39 in all) for each tale or section, early 19th century half calf, spotted boards (a little worn). A fine set, with very fresh impressions of the (often erotic) plates. This is certainly one of the most attractive editions of Gessner's works, even in a French translation. Gessner was responsible for choosing the illustrations, and the erotic overtones of many of the engravings perhaps enjoyed a more robust reception in this French translation. Copac locates a copy at the NLS in these islands, and there appear to be numerous copies in North America and Europe. Leemann-van Elck, Salomon Gessner, p. 113 and no. 539; Maler und Dichter der Idylle S. Gessner (1980), no. 88; Goedeke IV, 1, 82, 11; Rümann 329; Lanckoronska/Oehler II, 164; Cohen/de Ricci 432; Lonchamp 329. Not in Meyer. (Book ref. 7063)
London: Printed, for the Author, By John Nichols...; And sold by J. Debrett...; J. Murray and S. Highley..., 1797 FIRST EDITION. 8vo, 210 x 125 mms., pp. [iv], v - cxci [cxcii blank], 224, engraved frontispiece (by Isaac Taylor), recently rebound in quarter antique-style calf, morocco label, marbled boards; corner torn (without loss) from pp. 219 - 220, but a very good copy. Scevole de Sainte-Marthe (1536 - 1623), a lawyer and poet, first published this in 1584; it was translated and reprinted many times during the next 250 years. Tytler (1753/3 - 1808), a physician and poet as well, took Pope as his model for this translation, and the notes are sufficiently scholarly and medical to validate his assessment of the work. In his preface, he refers to the "meanness of the former version of this poem," which was "full of low disgusting phrases...." This "indelicate" language would have discouraged well-bred ladies from making use of the sound advice in the work. His argument was presumably convincing, as almost 300 people subscribed for copies, including Anna Laetita Barbauld, William Buchan, Alexander Gerard, Patrick Heron, M. P., John Pinkerton, Sir John Sinclair, M. P., as well as a number of other doctors and various publishers. Blake p. 398; Waller 8402. (Book ref. 6929)
London: Printed for J. Nourse..., 1770. FIRST AND ONLY EDITION. 8vo, 205 x 130 mms., pp. [ii], iii [iv blank], 138, 26, 5 folding plates, disbound. Emerson (1781 - 1782) was one of the 18th century's most prolific writers on practical mathematics and it use in everyday life. He notes in his preface that the techniques of surveying can be traced to antiquity and cites the division of land in Egypt as early examples of its practical results. There were objections to surveying land in 17th and 18th century Britain, on the grounds that it penalized tenants and other inhabitants. (Book ref. 6879)
London: Printed for J. Nourse..., 1770. FIRST AND ONLY EDITION. 8vo, 205 x 130 mms., pp. [ii], 88, disbound. This is one of many pamphlets on arithmetical and mathematical subjects that Emerson (1701 - 1782) published with Nourse. After the introduction of the Gregorian Calendar, adopted in many Catholic countries in 1582, the measuring of time or the construal of a calendar was as much a political topic as a mathematical one. Britain and its (then) American colonies adopted the calendar in 1752, with Wednesday, 2 September 1752 followed by Thursday, 14 September 1752. Emerson's explanation of how to calculate days and months, as well as past events and future dates, was one of many, but also one of the clearest. (Book ref. 6878)