Search

London: Printed for Thomas Macklin, by Thomas Bensley, 1800. 8 volumes, 19 inches tall in original box. A magnificent set of this 'sumptuous edition' (Herbert) bound by Lovejoy in superb full morocco. With double gilt raised bands, delicate gilt tooling to the panels and a series of wonderful rolls framing the boards. Gilt dentelles and all edges. Sewn leather joints. The Box measures 25 x 18 x 22 inches. With the binder's ticket of John Lovejoy, one of the great binders of the period, celebrated almost exclusively for his masonic bindings, this example being a rare and spectacular exception. Embellished with 76 full page engravings by the great artists of the time including Henry Fuseli, P.J. de Loutherbourg, James Northcote, Benjamin West, William Hamilton, Thomas Stothard, Richard Cosway, Sir Joshua Reynolds and Angelica Kauffman. A further 111 ornate vignettes are present.
The condition is excellent with no splitting or loss, even all 16 sewn leather joints are present and correct, a feature found in only the finest bindings. There is some minor rubbing, scuffing and scratching and the margins of one leaf have been expertly repaired with no loss.
The subscribers list is found in volume 1 and includes The King, The Queen, The Prince of Wales et al..
One of the rarest and most impressive features of our extraordinary set is that it is in 8 volumes, all with their respective title pages. Originally intended to be printed in 3 volumes, it was actually published in 6. The Apocrypha (Published in 1816) is occasionally found with the set, making 7 volumes. We can only find record of one other set in 8 volumes (in a much poorer condition) where, as here, the New Testament is bound in 2 volumes, each with a title page, making a spectacular 8 volume set.
The box dates from around the date of publication and no doubt explains the remarkable condition of this huge and impressive set.
Macklin announced plans for his great folio Bible in 1789 to promote 'the glory of the English school of painting and engraving and the interests of our Holy Religion'. New type (cut by Joseph Jackson and Vincent Figgins) and new paper were created for the venture, and the historic paintings were to be 'finished in a style of elegance (and magnificence in Paper, Printing, and engraving) of which there is not in Europe or the world any example'. Macklin's project was costly and ambitious. He paid Reynolds £500 for his Holy Family and William Sharp £700 for its engraving. The average cost for 45 of the Bible's other engravings was £220 and the total cost of the publication was an estimated £30000, a truly vast sum at the time.

London: Printed for Thomas Macklin, by Thomas Bensley, 1800. 6 volume set, 19 inches tall. A magnificent set of this 'sumptuous edition' (Herbert), in superb full morocco. With double gilt raised bands, delicate and beautiful gilt tooling to the panels and a series of wonderful gilt and blind rolls framing the boards. Gilt dentelles and all edges. The Georgian tooling is in excellent condition with little rubbing and no splitting or loss. A long defunct insect has nibbled at tiny areas of the pink endpapers. With the armorial bookplate of Lord Kinnaird of Rossie Priory. Embellished with 76 full page engravings by the great artists of the time including Henry Fuseli, P.J. de Loutherbourg, James Northcote, Benjamin West, William Hamilton, Thomas Stothard, Richard Cosway, Sir Joshua Reynolds and Angelica Kauffman. A further 111 ornate vignettes are present. The subscribers list is found in volume 1 and includes The King, The Queen, The Prince of Wales et al.. Macklin announced plans for his great folio Bible in 1789 to promote 'the glory of the English school of painting and engraving and the interests of our Holy Religion'. New type (cut by Joseph Jackson and Vincent Figgins) and new paper were created for the venture, and the historic paintings were to be 'finished in a style of elegance (and magnificence in Paper, Printing, and engraving) of which there is not in Europe or the world any example'. Macklin's project was costly and ambitious. He paid Reynolds £500 for his Holy Family and William Sharp £700 for its engraving. The average cost for 45 of the Bible's other engravings was £220 and the total cost of the publication was an estimated £30000, a truly vast sum at the time.

In black: London: Eyre & Strahan, 1813; Oxford: The Clarendon Press, 1816; London: Company of Stationers, 1810; London: Bent, (1818). In Red: Oxford: Clarendon Press, 1823; Oxford: Clarendon Press, 1820; London: Company of Stationers, 1825; London: Rivington et al, 1827. 8 volumes, 6.25 inches - 13.5 inches tall. A magnificent and unique collection of devotional works belonging to Nicholas Robinson, Lord Mayor of Liverpool in 1828-1829.
On his becoming the Bailiff of Liverpool in 1818 he had the 4 great devotional works bound in uniform full black morocco with gilt raised bands, superb gilt tooling to the panel and boards, dentelles and all edges.
On becoming Lord Mayor he had another set of the 4 works bound in even more sumptuous uniform full red morocco. These have gilt raised bands, extra gilt panels, glorious gilt flourishes to the boards, gilt dentelles and all edges. These volumes also have watered silk doublures and free endpapers.
All 8 volumes have his autographed armorial bookplates and his gilt embossed inscriptions on the upper boards.
There is minor rubbing and scuffing, otherwise all the volumes are in superb condition. An extraordinary collection.

London: John Murray, 1814-1819. 4 volume collection, 8 1/2 inches tall. A remarkable and superb full Regency straight grain morocco with gilt raised bands, very fine extra gilt tooling to the panels and boards. The boards are decorated with a wide gilt lozenge framing a Grecian lyre bordered with a blind roll encased within quite extraordinary gilt corner tooling, gilt dentelles and all edges. Each volume has the bookplate of John Maberly, the remarkable business man and Member of Parliament. On the reverse of the free endpaper is written in pencil ' bought at sale of Mrs G. R. Smith's books at Christie's Feb. 1880. All the poems are early editions, including some firsts, most being extra illustrated with engraved plates by Westall. Some foxing to and facing the plates, otherwise clean. A fabulously bound collection of these great works.

London: Strahan and Cadell, 1788-1790. 12 volume set, 8 1/2 inches tall. A fabulous 18th century tree calf with gilt bands, splendid twin labels and superb gilt tooling to the panels. The tree calf boards are framed within a neat gilt roll. Engraved frontispiece portrait, 3 folding engraved maps and the half titles to volumes 7-12, not called for in volumes 1-6. This is the first complete London octavo edition comprising the reprint of volumes 1-6 (first issued 1783, now dated 1788 and the first appearance of volumes 7-12, dated 1790. With the bookplate of J. Cresswell and his stamp at the foot of the title page. A superb set of "this masterpiece of historical penetration and literary style has remained one of the ageless historical works which.....maintain their hold upon the layman and continue to stimulate the scholar". "Gibbon brought a width of vision and a critical mastery of the available sources which have not been equalled to this day; and the result was clothed in an inimitable prose that was elevated, cadenced, and graceful'. (P.M.M.).

London: Chapman & Hall, 1887. 34 volumes, 8 1/2 inches tall. A superb late Victorian set bound by Zaehnsdorf with gilt raised bands, twin labels and very fine gilt tooling to the panels. The Monogram and coronet of The Marchioness of Londonderry is gilt embossed on the upper boards framed within a double fillet. With her bookplate. A letter is slipped in reading: "June 24th 1889. My Dear Lady Londonderry, I send you a set of Carlyle's Works - Please accept in memory of such kindness received from Ireland's best of Kings & sweetest of Queens.....Edmund Talbot". A few marks and scratches but a superb set in near pristine condition. A fine set of the best edition of the works of one of the greatest influences of the Victorian Age.

Paris: Tenon, 1828-29. 4 volume set, 8 1/4 inches tall. First Edition. A splendid full calf of the period, an ancient catalogue slip attributes it to the great C. Lewis, with dense gilt tooling and olive labels on smooth backs. The arms of the 3rd Earl of Clare are gilt blocked onto the boards. Signed by Vidocq in the first 3 volumes as called for. Eugene Vidocq was an adventurer and detective who helped create the 'secret police' in France and is considered the father of modern criminology. Dismissed in 1832 for a theft that he allegedly organised, Vidocq created a police agency 'Police de Sûreté", the prototype of modern detective agencies. Known all over France as a remarkably audacious man, Vidocq was a friend of such authors as Victor Hogo, Honoré de Balzac, Eugène Sue and Alexandre Dumas père and influenced Edgar Allen Poe. The figure of Vidocq is believed to have inspired Balzac's creation of the criminal genius Vautrin, one of the most vivid characters to appear in his novelistic series La Comédie Humaine. From the residual library of Charles Butler (1821-1910) of Warren Wood in Hatfield. The majority of his library was sold at Sotheby's on 5th April 1911. A wonderful set of this great work In the original French.

Birmingham: G. Baskerville, 1773. 4 volume set, 11 3/4 inches tall. A magnificent set in 18th century full straight grain morocco with gilt bands, extraordinary centre tools, dentelles and all edges gilt. A delightful gilt roll frames the boards. With the bookplates of Sir William Eden Bart. From the library of a County Durham Country House. With an engraved portrait frontispiece and a further 46 engraved plates. Curiously, an extra suite of plates from another edition, after Cipriani, Moreau le jeune, Eisen and Cochin has been quite crudely pasted onto the reverse of the plates. These additions were obviously made before the book was bound as the shape of the volumes is perfect. Very slight rubbing, some marks to the binding and a superficial area of staining to the upper board of volume 4. There is a degree of foxing, in particular around the plates. A tall and superb set of the most celebrated English printing of this epic 16th century Italian poem in the original Italian.