Octavo: 12.4 x 7.8 cm. [iv], 269, [7] lvs. Collation: A4, B-2M8, 2N4
“Wits Theater” was produced as part of a publishing project conceived by John Bodenham. The “series” began with Nicholas Ling’s “Politeuphuia: Wits Commonwealth” in 1597, and also included the poetic miscellany “Englands Parnassus” of 1600.
“Wits Theater”
Like the later “Englands Parnassus”, “Wits Theater” was compiled by Robert Allott and may be regarded as the prose equivalent of the poetical “Parnassus”.
London: printed for the Company of Stationers, 1782
$6,500.00
5.8 x 3.8 cm. 24 one-sided engraved lvs.
The text is engraved throughout and four of the leaves form a composite view of the London Pantheon in Oxford Street, an early project of the architect James Wyatt (d. 1813). Its main rotunda was one of the largest rooms built in London up to that time. The venue hosted assemblies, masquerade balls, and concerts.
"Printed at Colen": [i.e. Birchley Hall Press, Lancashire: Roger Anderton?], 1620
$4,800.00
Quarto: [6], 9-463, 462-468 Collation: [par.]⁴(-[par.]3) A-V⁴ W⁴ X-2V⁴ 2W⁴ 2X-3K⁴ [3L]² (Complete with blank leaves G1 and [3L]².)
A good, complete specimen of a book printed on a secret Catholic press. The press was located at the Anderton family’s own Birchley Hall in Lancashire and was likely operated by James Anderton’s brother, Roger Anderton, after the former’s death. The press produced books, including three by James Anderton himself, from 1613 to 1621, when the press was seized by the English authorities.
Two of the most important literary works of the English Renaissance, Together with Ascham’s Essay on Historiography - With Manuscript waste from a 15th c. Breviary with several lines in Middle English
London: Printed by Iohn Daye, dwelling ouer Aldersgate, [1571], London: In Fletestreate neare to Saint Dunstones Churche by Thomas Marshe, 1571, London, Printed by Iohn Daye, dwelling ouer Aldersgate, ca. 1570
$45,000.00
Quarto: Three volumes bound as one: 19.5 x 14.2 cm. I. [manicule]2, B-T4. II. *4, A-H8, III. A-I4
I. “The Schoolmaster”:
“The indispensable link between the earlier Tudor writers and the great Elizabethan and Jacobean writers of English prose”(Ryan, 292)
The Cambridge-educated Ascham, one of the best known of the English humanists, produced two works that had a great influence on the use of English as a literary language as well as on the education of children and the conduct of English gentlemen.
Folio: 32.3 x 21.5 cm. ¶4, A-Z6, Aa-Zz6, Aaa-Zzz6, Aaaa-Dddd6 (lacks blank ¶1).
This second edition was revised by William Crashaw (1572-1626), father of the poet Richard Crashaw, and includes the commentary of Juan Luis Vives (first published in Basle, 1522), which Vives wrote at the suggestion of Erasmus.
"Fifteen years after Augustine wrote the Confessions, at a time when he was bringing to a close (and invoking government power to do so) his long struggle with the Donatists but before he had worked himself up to action against the Pelagians, the Roman world was shaken by news of a military action in Italy.
London: [S. Mierdman] for A Vele and [S. Mierdman], for Iohan Bale, 1550 and 1551
$15,000.00
Octavo: 15.4 x 9.5 cm. [4], 79 lvs; cxx, [4] lvs. Collation: I. *4, A-K8 (with blank K8 present); II. A-P8, Q4
This book consists of two volumes, the first (STC 1273) printed by S. Mierdman for A. Vele, the second (STC 1273.5) by Mierdman for John Bale. As bound, the first four leaves of STC 1273.5, consisting of a general title page ("The first two partes of the Actes..") and the dedicatory epistle, precede the whole of STC 1273, which comprises the first book. The bulk of STC 1273.5 (beginning "The Second Part…" and concluding with the errata) is bound last, as intended by the printer.
London: printed for Joseph Knight, and Francis Saunders, 1688
$12,500.00
Octavo: 18.8 x 11.5 cm. [14], 64, 176, [4] pp. Collation: A8, a-d8, B-M8, [x]2 (Lacking blank leaf A8)
This volume –together with “Poems on Several Occasions”(1684) and “Miscellany, being a collection of poems by several hands” (1685)- is one of only three lifetime publications by Behn to include a substantial number of her poems.
O'Donnell “Aphra Behn, an Annotated Bibliography of Primary and Secondary Sources” BA4.1a; Wing T129 (under Tallemant); Case 184; Grolier, Wither to Prior, 42
With Verses by Aphra Behn. A Fantastic, Large-Paper Copy
London: Printed by H. Hills jun. for Francis Barlow, and are to be sold by Chr. Wilkinson at the Black-boy against St. Dunstan’s Church in Fleet-street, Tho. Fox in Westminster-hall, and Henry Faithorne at the Rose in St. Paul’s Church-yard, 1687
$28,000.00
Folio: 36.3 x 22.8 cm. [8], 40; 40; 17, 2-221, [3] p. COLLATION: π1(printed title), a2, B-L2; B-L2, B-Z2, Aa-Zz2, Aaa-Ppp2.
For this second edition of his magnificent production, Barlow commissioned Aphra Behn, then at the height of her popularity as a playwright and poet, to write verses to be engraved on the 110 plates illustrating the fables. In order to substitute Behn’s verses for those of Thomas Philipot (d. 1682), the lower area of the plate needed to be burnished down and the new verses engraved onto the plate in place of the earlier ones.
London: In Paules churche yarde at the sygne of the holy Ghost, by Ihon Cawoode, prynter to the Kynge and Quenes Maiesties, 1556
$30,000.00
Quarto: 20 x 14 cm. [A]4, B-Z4, Aa-Ff4 (blank Ff4 lacking)
Dedicated to Queen Mary Tudor, Coleville’s English translation of Boethius’ masterpiece is the only early English translation to include the original Latin text, indicating that, in addition to those readers with no knowledge of Latin, the author took into consideration the more educated, Latin-literate English audience. Coleville provides interesting marginal glosses and explanatory notes, including the tale of the sword of Damocles.
London: Printed by R. Bishop, for R[ichard]. B[est]. or his assignes, 1640
$9,600.00
17 x 11 cm. [48], 318, [8] p., [1] leaf of plates Collation: [A]1, a-c⁸, B-X⁸ (with blank X8), Y⁴
This copy conforms with Pforzheimer and lacks the bifolium “Postscript” (Z1-2) “Apparently supplementary and frequently wanting”(Grolier). It is found only in the Huntington and Harmsworth (Folger) copies in the U.S. Quire Y contains the poems "Menippus his Madrigall, to his coy-duck Clarabel” and “Loves Festivall at Lusts Funerall”.
London: Printed for Jo. Harris, at the Harrow, over against the Church in the Poultry, 1685
$15,500.00
Duodecimo: 14 x 8 cm. [8], 202 p. A4, B-I12, K7 (with the first blank. Lacking final blank).
Printed one year after the appearance of the second part of “The Pilgrim’s Progress” and in the same year that the Bedford magistrates ordered penal laws against nonconformists to be enforced, Bunyan’s “Discourse upon the Pharisee and the Publicane” is a fiery critique of the tyranny of the Church of England and of those among his readers who, like the residents of Vanity Fair and the Pharisee in the parable, prided themselves on superficial religiosity.
There were two series of woodcut illustrations used in 15thand 16thc. editions of the "Canterbury Tales": one by William Caxton, used in his 1483 edition, in 1498 by Wynkyn de Worde, and the 1532 and 1542 editions of the "Works". The second set, modeled on Caxton's, was made for Richard Pynson's 1492 edition of the "Tales". For the second Pynson edition (1526), some of the original 1492 blocks were used while others were re-cut on new blocks.
Pforzheimer 176; ESTC S107206 (STC 5075); Langland to Wither, 42; Literature: E.P. Hammond, Chaucer, p. 119-122; David Carlson, "Woodcut Illustrations of the Canterbury Tales, 1483-1602", The Library, Vol. s6-19, Issue 1 (1 March, 1997), pages 25-67; David Carlson, "Woodcut Illustrations in Early Printed Editions of Chaucer's Canterbury Tales", in Chaucer Illustrated: Five Hundred Years of The Canterbury Tales in Pictures; Joe Dane, "Press-Variants in John Stow's Chaucer (1561) and the Text of Adam Scriveyn" (with Seth Lerer). Transactions of the Cambridge Bibliographical Society 11 (1999): 468-79.
Folio: 31.5 x 20.3 cm. [36], 660, [24] pp. Collation: pi2, A4, a-c4, B-Z4, Aa-Zz4, Aaa-Zzz4, Aaaa-Rrrr4, Ssss2
The contents are: “The Canterbury Tales”, together with the “Prologues”; “The Romaunt of the Rose”; “Troilus and Criseyde”; “The Legend of Good Women”; Chaucer’s translation of Boethius’ “Consolation of Philosophy”; “The Dreame of Chaucer”; “The Assemblie of Foules”; The Flower of Courtesie”; “How Pitie is Dead”; “La Belle Dame sans Mercie”; “Annelida and false Arcite”; “The Assembly of Ladies”; The Conclusion of the Astrolaby”; “The Complaint of the Black Knight”; “A Prayse of Women”; The House of Fame”; “The Testament of Love”; “Jake Upland”; John Lydgate’s “Siege of Thebes” and a number of other minor works.
London: Printed for G. Kearsley, at Johnson’s Head, No. 46, Fleet-Street, 1788
$3,800.00
Octavo: 21 x 13 cm. pp. [ii], ii, 178, [18]. Collation: [A]2, B-Z4, A1. With an added engraved frontispiece of the Duchess, with breasts exposed "as she appeared at the Venetian Ambassador
Duchess of Kingston, granddaughter of the poet Mary Chudleigh (1656-1710), from whom “she seemed to have inherited no notable literary tastes or talents”(Rizzo) Elizabeth was notorious for her sexual escapades, daring, and profligacy. She studiously cultivated this image, referring to herself (in the third person) thus: “She was both wasteful and penurious; the most enormous sums were expended to gratify her love of display, at the same time that she refused to incur some trifling necessary expense in her household….
London: printed by W[illiam]. B[owyer]. for Bernard Lintott at the Middle Temple Gate in Fleetstreet, 1703
$15,000.00
Octavo: 19.5 x 12 cm. [16], 125, [17], 73, [1] pp. Collation: A-O8, P4
Mary Chudleigh was a friend of Elizabeth Thomas and an admirer of Mary Astell, with whom she corresponded and whose ‘Defence of the Female Sex’ she tried to emulate. Dedicated to Queen Anne, her ‘Poems on Several Occasions’ was widely noticed, achieving a second edition in 1709. The poems include a wide range of subjects, from lyrics and satires of the age of Dryden, to philosophical and more contemplative verse in keeping with the solitary and often melancholy life that she led in Devon.
London: printed by W. Onley, for A. and J. Churchill, at the Black Swan in Pater-Noster-Row, and M. Gillyflower in Westminster-Hall, 1702
$10,500.00
18.8 x 12.3 cm. [48], 276, 130, 20 p. With 9 added engraved plates. Collation: [a]-[b]2, [aa]-[bb]2, B-Z8, Aa-Dd8, Ee4, Ff1. Without the advert leaf Ff2.
"François Massialot was at home in all three culinary métiers: cuisine, pâtisserie, and confectionery, which made him a rarity in any generation in any country. Even today, only a few outstanding cooks are equally proficient in the patient exactitude demanded by pastry and sugar work and the hurly burly of savory cooking, and in the days of the open fire, mastering both disciplines was even more difficult…
"The same classic preparations that appeared in the books of Lune and La Varenne turned up forty years later, modernized and refined in Massialot's 'Le cuisinier roial et bourgeois' (The Royal and Bourgeois Cook, 1691) and 'Nouvelle instruction pour les confitures, les liqueurs, et les fruits' (New Instruction for Preserves, Liqueurs, and Fruits, 1692).
London: By Iohn Day, dwelling ouer Aldersgate, beneath Saint Martines, 1564
$16,000.00
Quarto: 18 x 13.5 cm. [8], 46, 49-689, [5] p. Collation: A4, B-C8, D8(-D8), E-I8, K8(-K6), L-Y8 2A-2X8, 2Y8 + [hand]Y4 (Leaves D8 and K6 are canceled, as intended.)
An important collection of writings by English Protestants, many of whom had been martyred, compiled and with a preface by Miles Coverdale. There are letters by Lady Jane Gray (1536/7-1554) (a letter written “to her syster the Ladye Katheryne, immediately before she suffered”), John Bradford (1510?-1555) (including a partial reprint of \"An exhortacion to the carienge of Chrystes crosse\", STC 3480.
London: In the Savoy, Printed by T.N. for Henry Herringman at the Blew Anchor in the Lower Walk of the New Exchange. 1670
$7,500.00
Octavo: [16], 112, 115-208, [2] p., [1] leaf of plates. Collation: A-O8 (O8 blank and present.) With an added, engraved frontispiece of the temple.
Along with Donne, Herbert and Marvell, Crashaw was one of the most important of the Metaphysical poets. "Compared with one another, Crashaw represents more of Donne's ecstasy, and Herbert more of his reason" (George Williamson). The son of a Puritan clergyman who eventually converted to Catholicism, Crashaw is best known for the intensity of his religious poetry.
London: Printed by J. Flesher, for Richard Marriot, and are to be sold at his shop in St Dunstans Church-yard under the Dyall. 1651
$12,000.00
Quarto: 17.5 x 13 cm. [5] (title page plus dedicatory epistle), 318 pp. Collation: A4 (-blank leaf A1) B-Z4, Aa-Ss4 (with blank leaf Ss4 present). With the added engraved portrait.
Provenance: This copy was once the property of the author and essayist Sir Thomas Pope Blount (1649-1697) and bears his familiar ms. note “Tittenhanger library” on the free endpaper. Blount inherited the Tittenhanger estate in Hertfordshire in 1678. In his “Essays on Several Subjects” (1692), Blount wrote: “If learning happens to be in the possession of a Fool, ‘tis then but a Bawble, and like Dr.
London: Printed by M[iles]. F[lesher]. for John Marriot, and are to be sold at his shop in St Dunstans Church-yard in Fleet-street, 1639
$16,500.00
Octavo: 13.5 x 9.1 cm. [8], 300, [4], 301-388, [32] pp. A-Z8, Aa-Dd8. With the engraved frontispiece portrait.
“The poetry of Donne represents a sharp break with that written by his predecessors and most of his contemporaries. Much Elizabethan verse is decorative and flowery in its quality. Its images adorn; its meter is mellifluous. Image harmonizes with image, and line swells almost predictably into line. Donne’s poetry, on the other hand, is written very largely in conceits— concentrated images that involve an element of dramatic contrast, of strain, or of intellectual difficulty.
