ABA, ILAB, PBFA est.1948

Art, Architecture & Design


70 Micklegate, York, YO1 6LF UK tel: 01904 624414

other subject lists ~

~ ~

ALLEN, Major J. Whitacre. A Short Treatise on Perspective for the Use of Schools. 18pp., 6 plates. A good copy in original blind stamped limp cloth. Scarce, and not in the Yale Center for British Art.

8vo. Simpkin, Marshall & Co. [1886].


The author was drawing master at Cheltenham College, and this appears to be his own copy. Reviews of this book are pasted onto the inner boards, together with a review of “my picture in Royal Institute of Water Colour Painters.” He has also transcribed some further reviews on the end-papers and paste-downs.

ANDERSON, R. R. (ed.) Examples of Scottish Architecture from the 12th to the 17th Century. Volume I. Four parts. A series of reproductions from the National Art Survey drawings, published by a joint committee of the board of trustees for the National Galleries of Scotland and the Institute of Scottish Architects. 72 plates with leaves of descriptive text. A very good clean copy. Each of the four parts in fine condition in original sugar paper printed envelope portfolios, and the whole in the original linen backed portfolio, printed boards with cloth ties. Slight scuff to upper cover. Two further volumes were published.
4to. Edinburgh: George Waterson & Sons Limited, 1921.


ANON. Secrets Concernant les Arts et Metiers: ouvrage utile, non-seulement aux artistes, mais encore à ceux qui les emploient. Four volumes. [2], 814p; [2], 876pp; [2], 784pp; [2], 576pp. A fine fresh set in most attractive full contemporary calf. Gilt spines decorated with ornamental bands and sunburst motifs, red morocco title labels, and black oval morocco volume numbers. With the armorial book-plate of Sir John E. Swinburne, Bart., Capheaton.

12mo. Paris. Chez Moutard. 1790.


First published by Jombert in 1716, this comprehensive ‘book of secrets’ was enlarged throughout the 18th century, and first appeared in English in 1775.

ARTIST'S ASSISTANT, in the Study and Practice of Mechanical Sciences... illustrated with copper-plates. [3], vi-288, [iv]., 10 engraved plates (6 folding)., engraved title-page. Last iv pp are index. An uncut copy in original boards, very neatly rebacked. Some foxing and speckling to the title-page and frontispiece, and the boards are rubbed. Early ownership name of W.H. Scott at the head of the front-end-paper. Scarce.

8vo. [London] printed for the author; and sold by G. Robinson London; and M. Swinney, Birmingham. [1785?].


First published in Birmingham in 1773 of which only one copy is recorded by ESTC (Birmingham Public Library). Birmingham was an early centre for drawing schools, no doubt fostered and partly funded by the wealth of local industry, however this appears to be the only 18th century treatise for artists that was locally produced. The fact that only one copy survives of the Birmingham printed edition is testimony to its small circulation and presumably poor sales; however unlike its Norfolk counterpart (see item...) it did attract a London publisher. The text is take from various sources, that on colour coming largely from Dossie’s Handmaid to the Arts. A number of drawing masters are recorded in Birmingham at this date,

and both James Eagle, and John Giles opened drawing schools and may be candidates for editorship of this anonymous work.

ATKINSON, J. Beavington. An Art Tour to Northern Capitals of Europe. First edition. xii + 455pp. Some occasional foxing but a very good copy in original gilt lettered green cloth. Scarce. Presentation inscription on the half-title, "R. Stuart Poole, from the author in remembrance of a friendship of many years."
The majority of the work is taken up with accounts of Russian galleries and artists.

8vo. Macmillan and Co. 1873.


AUSTRALIA. Completion of Parliament House. Unveiling Ceremony of Commemoration Stone by His Excellency the Governor, at Adelaide on 23rd December 1936. Broadcast messages to commemorate the centenary of South Australia, 28th December, 1936. 44pp., illustrations. Printed compliments slip from the Government of South Australia. A fine copy in original dark blue gilt lettered calf. Booklabel noting this was sold at the Chatsworth House Attic Sale.

4to. Adelaide. 1936.


BARNARD, George. Handbook of Foliage and Foreground Drawing. First edition. viii, 125pp., 60 lithograph plates. A good copy in later 19th century red morocco grain cloth, gilt lettered spine. Some marking to the foot of the spine and the rear board.

8vo. Ingram, Cooke. 1853.


BLOXAM, Matthew Holbeche. The Principles of Gothic Ecclesiastical Architecture. With an explanation of technical terms, and a centenary of ancient terms. Seventh edition. Illustrated with two hundred and twenty-eight woodcuts. xii + 336pp., adverts. Inscribed to "Edw. Pretty Esq, with the author's regards, April 29th 1845.". A near fine copy in original blind stamped and gilt lettered cloth. Edward Pretty, flower-painter, and author of A Practical Essay on Flower Painting in Water Colours.

small 8vo. David Bogue. 1845. £65.00

BOILEAU-DESPREAUX, Nicholas. Oeuvres Diverses du Sr. Boileau Despreaux: avec le Traite du Sublime, ou du Merveilleux. Traduit du Grec de Longin. Nouvelle edition. Two volumes. [24], 315, [1]p; [4], 342, [10]pp., engraved half-titles. A very good copy bound in full contemporary calf, ornate gilt panelled spines with gilt morocco labels, all-edgesgilt. Some occasional faint old waterstaining, but not at all intrusive. Large armorial book-plate of The Right Honourable the Lord Viscount Lymington.
12mo. Amsterdam, chez Henri Schelte. 1702.


BONINGTON, Richard Parkes. His Life and Work. By A. Dubuisson. Number 503 of 1000 copies. xv + (i) + 217pp + adverts., 17 colour plates and numerous black and white illustrations. A very good copy in original cloth backed boards with paper spine label. Dust-wrapper just slightly worn.

4to. John Lane. 1924.


BROWN, RICHARD. The Principles of Practical Perspective; or, Scenographic Projection: containing universal rules for delineating designs on various surfaces, and taking views from nature...to which are added rules for shadowing, and the elements of painting. First edition. [2], xviii, 96pp., 51 plates in etching and aquatint and printed in sepia, with plate number 39 additionally handcoloured to form the frontispiece. A very good clean copy, rebound in handsome half morocco, gilt banded spine, morocco boards.

4to. Samuel Leigh. 1815.


~ “The most elegantly illustrated perspective treatise of the early nineteenth century, and its text ranges over a wide variety of topics, from elementary perspective constructions to principles of picturesque composition in architecture and painting”. (Archer p.225). Richard Brown (fl. 1804-1845), English architect, designer and drawing-master. He appears to have had strong connections during his early life with South
Devon: his earliest known design, exhibited at the Royal Academy in 1804, was of a Villa with a Distant View of the Catwater, Plymouth, and other designs (1807-12) also relate to this county. However, Brown may have been living in London during this period as he ran an architectural academy at 4 Wells Street.

BULLOCK, Albert Edward. Architectural Details from Westminster Abbey and St Margaret’s Westminster. Two volumes in one. Vol I illustrated by 70 phototypes of architectural and sculptural details of the mediaeval and later gothic monuments, with biographical and descriptive texts. Vol II illustrated with 82 phototypes of architectural details of renaissance and later renaissance monuments, memorials and cenotaphs, with descriptive text. A very good clean copy in original black lettered cloth. Limited to 400 sets.

folio. J. Tiranti. 1920.


BURGESS, H.W. Studies of Trees. Title-page, dedication leaf and 12 lithograph plates. A good copy in original dark green cloth with printed paper label on the upper cover. Some browning to the edges of the plates, and the covers unevenly faded on the leading edge, and
with some of the cloth ‘bubbling’ on the rear board.

oblong folio. J. Dickinson. 1837.


First published with just 10 plates in 1828, this enlarged re-issue is now dedicated to Viscount Falkland, who appears to have been receiving drawing lessons from the author. “Your Lordship’s ability in sketching, and the power and freedom of your Lordship’s pencil in delineating the several characters of Forest Trees, renders the honour your Lordship is pleased to confer upon me. the more distinguished.” Burgess was landscape painter to William IV, and drawing master at Charterhouse.

BURN, Robert Scott. Building Construction; showing the employment of brick, stone, and slate in the practical construction of buildings. Two volumes. 135, [1]p; 20 double-page plates. A good copy in original black and green cloth. First published 1873-74. Pages loose in the second volume.

8vo. William Collins, Sons, & Company. 1879 & 1874.


CELLINI, Benvenuto. Memoirs of Benvenuto Cellini, a Florentine Artist; written by himself. Containing a variety of information respecting the arts, and the hiistory of the sixteenth century. Third edition. Corrected and enlarged from the last Milan edition, with notes and observations of G.P. Carpani, now first translated by Thomas Roscoe. Two volumes. xvi, 428pp; xi, [1], 428pp., portrait frontispiece after Vasari. An uncut copy in original boards, neatly rebacked in grey cloth with paper labels. Some foxing to the end-papers, paste-downs and frontispiece.

8vo. Henry Colburn and Co. 1823.


CHATTO, William Andrew. A Treatise on Wood Engraving, historical and practical. With upwards of 400 illustrations, engraved on wood by John Jackson. A new edition, with an additional chapter by Henry G. Bohn. xvi + 664pp., frontispiece after Blake, and wood engraved illustrations throughout. Original quarter red morocco, gilt decorated spine, red pebble grain cloth boards. Covers rubbed and marked, and some foxing, but a sound copy.

"The former edition of this History of Wood Engraving having become extremely scarce and commercially valuable, the publisher was glad to obtain the copyright and wood-blocks from Mr Mason Jackson son of the late Mr Jackson, the original proprietor of the work, with the view of reprinting it. It will be seen by the two distinct prefaces which accompanied the former edition, and are here reprinted, that there was some existing schism between the joint producers at the first time of publication. Mr Jackson, the engraver, paymaster, and proprietor, conceived that he had the right to do what he liked with his own; while Mr Chatto, his literary coadjutor; very naturally felt that he was entitled to some recognition on the title-page of what he had so successfully performed."

4to. Chatto and Windus. [1881].


CHEVREUL, M.E. The Principles of Harmony and Contrast of Colours, and their applications to the arts. First edition. Translated from the French by Charles Martel. xxxi, [1], [5], 6-431, 24pp adverts., 2 folding tables, and 4 folding plates at rear. A very good copy in original blue cloth, gilt lettered on spine. Some slight wear to the joints. Scarce.

8vo. Longman, Brown, Green and Longman. 1854.


COLLECTION OF PRINTS. A Catalogue of the Extensive and Choice Collection of Prints formed by the late Robert Morse ... which ... will be sold by auction by Mr. Thomas Dodd ... on Wednesday, May 15, 1816, & twenty-seven following days, etc. vii, [1], 189, [1]p. A very good copy in later, but not recent, half calf, gilt banded and blind stamped spine, black label. Over 3,500 lots are listed, each having the price realised written in a neat contemporary hand.

8vo. [Smith & Davy]. 1816.


Robert Morse died in 1816 aged about 65. He spent £10,000 in the last 3 years of his life on prints.

COLLING, James K. Art Foliage, for sculpture and decoration; with an analysis of geometric form; and studies from nature, of buds, leaves, flowers, and fruit. Second edition, revised. xii + 84pp., 116 text illustrations and 80 lithograph plates. A very good copy in original dark red cloth decorated in gilt and black. Some scattered foxing, and slight mark to inner margin of the title-page. Reward book-plate for the Bideford School of Art, with their small blind stamp at the head of the title-page.
4to. B.T. Batsford. 1878.


COOPER, John Gilbert. Letters Concerning Taste. The third edition. To which are added essays on similar and other subjects. (16) + 220pp., half title with engraved frontispiece by Grignion on the verso. A very good copy in contemporary calf, expertly rebacked and with corners repaired. Some occasional browning and light foxing. Ownership name of Catherine Nevile Thorney, 1809.

    Although the word ‘taste' had appeared in the title of earlier printed works, Cooper's ‘Letters...' published in 1755 is perhaps the first extended study of this aesthetic concept. The third edition has been considerably enlarged by some 80 pages, and includes new material.

8vo. printed for R. and J. Dodsley. 1757.


CROCE, Benedetto. Estetica. Come scienza dell'espressione e linguistica generale. Teoria e Storia. Terza edizione riveduta. xxiii + (i) + 5881 + (1)p., half-title. Contemporary gilt lettered buckram cloth, endpapers foxed, and spine sunned.

8vo. Bari. Gius. Laterza & Figli. 1908.


DALZIEL, The Brothers. A Record of Fifty Years' Work in Conjunction with many of the most distinguished artists of the period 1840-1890. First edition. xv + 359pp., numerous illustrations and facsimiles of letters. A very good copy in original dark blue gilt lettered cloth. Slight knock to the edge of the rear board.

large 8vo. Methuen and Co. 1901.


DAVENPORT, Richard. The Amateur’s Perspective; being an attempt to present the theory in the simplest form; and so to methodize and arrange the subject, as to render the practice familiarly intelligible to the uninitiated in a few hours of study. First edition. xi, [1], 84pp., 15 large lithograph folding plates by Hullmandel (numbered I-XIV, and “Continuation of Plate XIV”), and 23 diagrams in the text. Original grey paper boards, neatly respined and with new paper label, end-papers, and past-downs. Some foxing to the edges of the plates and to the title-page.
4to. Printed for the author: and sold by J. Hatchard and Son. 1828.


~ The treatise is dedicated to Miss C- A. “My Dear Lady, the following treatise belongs to you. I have not forgotten (and you will probably have sometimes recollected) the promise made concerning it, during our tour in Switzerland and Italy... I very well remember (perhaps you do not) the good humour with which you received criticisms of mine on drawings executed with a nicety very far beyond what I could pretend to... my promise was, that if you would give me your attention for one week, at the rate of one hour a day, the Treatise I would
write for you should put you in possession of all the rules of perspective necessary for an amateur.” A Supplement was published the following year.

DAVIDSON, E.A. Drawing for Elementary Schools. Being a manual of method of teaching drawing. Specially adapted for the use of masters of national and parochial schools. viii, 65, [4]pp., numerous line drawings in the text. A near fine copy in original gilt lettered cloth. Slight marking, but not as visible as on the reproduction shown here. Scarce, and the last copy we sold was in 1989.

8vo. Chapman and Hall. 1857.


DAWE, G. The Life of George Morland. With Remarks on his Works. [2], viii, 238, [2]pp., portrait frontispiece, engraved title-page, and 3 plates. Contemporary tree calf, gilt spine with black morocco label. Expertly rejointed. Some slight foxing but a very good copy.

8vo. Vernor, Hood, and Sharpe. 1807.


DAY, Charles William. The Art of Miniature Painting. Comprising instructions necessary for the acquirement of that art. Eighteenth thousand. 58, 64pp illustrated adverts., frontispiece and 13 text illustrations. A very good copy in original printed glazed yellow linen cloth.

small 8vo. Winsor & Newton. c1890.


DELAMOTTE, F. A Primer of the Art of Illumination for the Use of Beginners; with a rudimentary treatise on the art, practical directions for its exercise, and examples taken from illuminated mss. First edition. 44pp., 20 coloured plates + 1pp. Original blue gilt cloth, rebacked and with new end-papers. Some dustiness to the page edges.

small 4to. E. & F.N. Spon. 1860.


DESCAMPS, J.B. Voyage Pittoresque de la Flandre et du Brabant, avec des reflexions relativement aux arts & quelques gravures. xxii + (2) + 328 + (10)pp index + errata leaf., half-title., folding map & 5 engraved plates. A very good copy bound in contemporary calf, gilt banded spine and black gilt label. Some slight foxing.

8vo. Paris: chez Desaint. 1769.


DODGSON, Campbell. Prints in the Dotted Manner and other Metal-Cuts of the XV Century in the Department of Prints and Drawings British Museum. 34pp., colour frontispiece and monochrome plates. A very good copy in original dark green cloth. Bookplate of Denis Tegetmeier, under which is written ‘The gift of Stanley Morison.'

folio. British Museum. 1937.


DOSSIE, R. The Handmaid to the Arts...teaching a perfect knowledge of the Materia Pictoria; or the nature, use, preparation, and composition of all the various substances employed in painting...the means of delineation...the various manners of gilding, silvering, bronzing, japanning. Second edition. Volume II. xiv, [14, 462, [10]pp index. A good copy of Volume II bound in recent dark green cloth, paper label. Some 19th century recipes for varnish are written on the rear end-papers.

8vo. J. Nourse. 1764.


DUPRE, Giovanni. Thoughts on Art and Autobiographical Memoirs. Translated from the Italian by E.M. Peruzzi. xv + (i) + 456pp., half-title., portrait frontispiece. Original gilt lettered sage green cloth, spine a little rubbed and corners slightly bumped.

8vo. William Blackwood & Sons. 1884.


DUCHESNE, Jean. Notice des Estampes Exposées a la Bibliothèque Royale, formant un aperçu historique des produits de la gravure. Troisième édition. xx, 214pp, advert leaf. A very good copy in original marbled boards with paper spine label. Small hole to two leaves just affecting a few letters, another two leaves with a marginal hole well clear of the text.

8vo. Paris. Charles Heideloff. 1837.


Duchesne worked in the print department of the Imperial Library (later the Bibliotheque Nationale) for 60 years, until he died c1855. In 1828 he published a comprehensive seventeen volume work, “Musée de peinture et de sculpture, ou recueil des principaux tableaux, statues et bas-reliefs des collections publiques et particulières de l’Europe”

DYCE, Alexander. Dyce Collection. A Catalogue of the Paintings, Miniatures, Drawings, Engravings, Rings, and Miscellaneous Objects bequeathed by the Reverend Alexander Dyce. 326pp. Some light browning to the paper. A good copy in original quarter morocco, pebble cloth boards. Spine rubbed.

large 8vo. George E. Eyre. 1874.


EASTLAKE, C.L. Contributions to the Literature of the Fine Arts. First edition. xiii + (3) + 396pp + (4) + 16pp adverts., half-title. A fine copy bound in original blind stamped and gilt lettered cloth. The volume contains "Extracts from the translation of Goethe's Theory of Colours", which Eastlake had first published in 1840. With the armorial bookplate of William Arthur, 6th Duke of Portland.

8vo. John Murray. 1848.


EGLEY, William (1798-1870). A letter to him written on behalf of a ‘sitter’, Mrs Colonel Ellis, expediting delivery of her picture. “Col. Ellis has set his head upon its being now finished... he will be exceedingly disappointed when he finds Mrs Ellis return to him without it.” Folded sheet, written on three sides and with address panel. Slight holes from removal of the wax seal.

16th July, 1831.

£35.00 + vat

William Egley was employed as a bookkeeper and taught himself to paint in his spare time. By 1824, he had reached a sufficiently high standard to have his work accepted by the Royal Academy; that year he exhibited portraits of Lieutenant Colonel Sir David Ogleby and of actor Frederick Yates. Egley gave up his other employment and became a full-time miniaturist, exhibiting almost every year at the Royal Academy until his death. He produced portraits of many distinguished figures and was particularly adept at portraying children.

ELLIS, Tristram J. Sketching from Nature. A handbook for students and amateurs. Second edition, revised and enlarged. xii, 194, [2]pp., half-title, errata slip., frontispiece and 10 illustrations by H. Stacy Marks, and 30 sketches by the author. A very good copy in slightly rubbed original dark red, gilt lettered, cloth.

8vo. Macmillan & Co. 1887.


ETTY, William. Gilchrist, Alexander. Life of William Etty, R.A. First edition. Two volumes in one. . xii + 367 + (1)pp; viii + 343 + (1)pp., portrait frontispiece, half-titles. Original cloth, rebacked retaining most of the original backstrip. Inner joints repaired, bookplate removed from inner front board, and some scattered foxing. Very scarce.
8vo. David Bogue. 1855.


FARINGTON, Joseph. An interesting and very early letter written by the young Joseph Farington, from Houghton [Hall], dated October 4th 1773, and addressed to Mr [John] Boydell, Cheapside, London. The letter is tipped onto a sheet of card, and the address panel has been window -mounted on the same card.

229mm x 185mm. 1773.

£495.00 + vat

“Sir, I received your letter this morning and the Bill for Thirty Pounds safe !

I am glad to find the drawings are in hand and hope they will be executed well. Brown will do the Paul Brills justice I dare say - We go on here very well and shall hope in a little time to send you good proof of it. The gentlemen of this County speak with great spirit of the work and seem inclined to encourage it properly.

We all renew our compliments and good wishes to the Ladies and yourself.

I am Sr. Your humble servant. Jos. Farington.”

In June of 1773 Joseph Farington went to Houghton Hall, in Norfolk, the seat of Sir Robert Walpole, the Earl of Orford, and stayed there for three years, employed along with his younger brother, and pupil, George Farington, in making drawings of its pictures, which were sold in 1779 to the Empress Catherine of Russia at a cost of £40,555, the value set on the Collection by Benjamin West and Cipriani, to the astonishment of Horace Walpole.

They had been sent by Boydell to draw the paintings for his Collection of Prints after the most capital Paintings in England (2 volumes, 1782). The medium chosen for reproducing the drawings was not the superlatively finished line-engraving of the Woollett school, generally associated with Boydell and his versions of Old Master oil-paintings, but a combination of line-etching and aquatint. This was well suited to Farington's water-colours which were first drawn [as noted in this letter] in diluted brown or black ink, then washed over with a silver-grey tint to convey light and shade, and finished with thin, slight washes of pale colours. The Brill that Farington refers to may be the ‘beautiful landscape’ by Paul Brill that is noted in the collection.

FIELDING, T.H. Synopsis of Practical Perspective, Linear and Aerial. Second edition, enlarged. xii + 156pp., half-title and errata slip., 17 folding plates of diagrams, coloured frontispiece and one engraved plate depicting three views. A very good clean copy in contemporary pebble grain cloth, with indistinct paper spine label.
8vo. W.H. Allen and Co. 1836.


FILDES, Sir Luke, (1844-1927). An autograph note, on card with printed address, to ‘Dear Lethbridge’ in response to an invitation from a friend.

2nd April 1887.

£20.00 + vat

Sir Samuel Luke Fildes, KCVO, RA was an English painter and illustrator born at Liverpool and trained in the South Kensington and Royal Academy schools.

FORD, Edward Onslow (1852-1901), R.A. Autograph letter acknowledging a donation to the Artists General Benevolent Institution. 2 pages, folded note with embossed address 62, Acacia Road, St John’s Wood.

April 13th. 1888.

£15.00 + vat

Ford was a leading sculptor of monuments, busts and symbolical subjects, and exhibited annually at the R.A. from 1875. He made the bronze monument to General Gordon at Chatham 1889–90, the Shelley Memorial at University College, Oxford, 1892, and the colossal figure of Queen Victoria for Manchester 1901. The Artists’ General Benevolent Institution (AGBI) was founded by J.M.W Turner in 1814

FOREIGN PRINTS. A collection of 20 engravings by seventeenth century Dutch & Flemish artists, each plate with a double-page leaf of descriptive text. Some foxing . Early 19th century engravings, bound in contemporary olive green gilt morocco, all-edges-gilt, red morocco label ‘foreign prints’. Joints and board edges rubbed, and corners bumped.

small oblong 4to. 136mm x 200mm. c1837.


The artists include Teniers, Dujardin, Van Ostade, Berghem, Miel, Van der Velde. The album bears the name Amelia Langford, 1837, on the end-paper.

FRANCIS, G. Manual of Practical Levelling, particularly as applicable to Railways and Canals. [8], 86, [2]pp adverts., text diagrams. A very good copy in original blind stamped and gilt lettered cloth. Some even browning to the paper. Scarce.

8vo. Simpkin, Marshall and Co. 1846.


FRITH, W.P. John Leech, his Life and Work. First edition. Two volumes. With portrait and numerous illustrations. A good copy in contemporary half morocco, raised bands and gilt lettered spines, all-edges-gilt. Joints and corners a little rubbed.
8vo. Bentley. 1891.


[GAINSBOROUGH, Thomas]. Armstrong, Walter. Gainsborough and his Place in English Art. 214pp., 62 fine photogravure plates and 10 lithographic facsimiles in colour. A very good copy in original gilt lettered cloth, top-edge-gilt, remainder uncut. Some slight fading to the covers.
folio. William Heinemann, 1898.


GANDEE, B.F. The Artist or, Young Ladies’ Instructor in Ornamental Painting, Drawing etc. consisting of lessons in Grecian painting, Japan painting, Oriental tinting, Mezzotinting, Transferring, Inlaying and manufacturing Ornamented articles for fancy fairs. First edition. vii, 253, [1], [2]pp adverts., chromolithograph frontispiece printed by G. Baxter [“a very successful specimen of a new art”], coloured decorative title-page, 17 lithograph plates and several small text illustrations. Original blind and gilt stamped cloth rather worn and faded. Internally a good clean copy.

small 8vo. Chapman and Hall. 1835.


~ Abbey Life 126. Baxter’s colour printing process was patented in the same year, 1835. In the advert Gandee offers his services as a teacher, together with all necessary materials as described in his book.

GLASGOW EXHIBITION. A commemorative bronze medal of the 1911 Scottish Exhibition, with "Let Glasgow Flourish" and the Glasgow coat of arms on the reverse. It was designed to go on a chain, and has the original brass loop.

24mm diameter. 1911.

£25.00 + vat

The 1911 Scottish National Exhibition was held in Kelvingrove Park in order to endow the chair of Scottish History and Literature at Glasgow University, so the industrial themes of the previous events (the 1888 International Exhibition and the 1901 International Exhibition) gave way to history. The exhibition came at a time when the city`s industrial might was in a less than secure position as it was facing competition from other great cities. This was a Scottish event rather than an international one and it was strong on national image. The main architect was R. J. Walker and Scots Baronial architecture abounded, though there were numerous foreign pavilions, including one for Canadian Pacific whose facade included sculpted engine fronts with enormous cow-catchers.

GORDON, D. A Guide to the Art of Stencilling. Third edition. 64pp., illustrations throughout. Original decorative wrappers a little rubbed, a traces of gold foil on the inner rear cover and two other pages.

8vo. J. Tillyer & Co. c1935.


GREAT EXHIBITION. The Illustrated Exhibitor, a tribute to the World's industrial jubilee; comprising sketches, by pen and pencil, of the principal objects in the Great Exhibition of the Industry of all Nations. 1851. xliv + 556pp., illustrated throughout, 9 folding plates. A good copy in recent cloth with paper label. Lacks frontispiece., and old repairs to several plates.

large 8vo. John Cassell. [1851].


GUILLARD, Camille. Methode Nouvelle a la Portee de Tous. La Sculpture sur Bois (demi et bas-relief) en une seule lecon. Notions de modelage. Premiere edition. 63, [1]pp., numerous illustrations in the text. A very good copy in original decorative printed wrappers. Slight wear the backstrip.

large 8vo. Paris. Fernand Schmidt. c1890.


HAMERTON, P.G. The Etcher's Handbook. Giving an account of the old processes, and of processes recently discovered. Third edition, revised and augmented. xi + (i) + 97 + 24pp illustrated adverts for Roberson., 6 etched plates. A very good copy in original gilt lettered cloth. Pencil sketch on the verso of the front-end-paper, and early signature of Lintott.

8vo. Charles Roberson & Co. 1881. £45.00

HAMERTON, Philip Gilbert. Drawing and Engraving, a brief exposition of technical principles and practice. xxii + 172pp., coloured frontispiece, 22 plates, 24 text illustrations. A good copy in original gilt lettered cloth, top-edge-gilt.

8vo. A. and C. Black. 1892. £25.00

HANBURY, Ada. Advanced Studies in Flower Painting. Reproduced from original drawings, specially made for the work. With full directions for copying the examples, general instructions on painting, and a description of each flower. xvi, 56, [4]pp adverts., 12 tipped-in colour plates and 12 outline drawings. A very good copy in original decorative cloth, which is just slightly rubbed at joints and edges. School prize label on the inner front board.

4to. Blackie and Son. 1885.


HAREUX, Ernest. Practical Manual of Painting in Oil Colours. [In Four Parts.] Translated by H.B. Hayes. Four parts (5h, 5th, 4th and 1st editions). 56 + 56 + 60 + 70pp + adverts., 4 frontispieces, numerous text illustrations. A very good copy of an elusive title. Original gilt lettered dark green cloth, all edges gilt.

8vo. George Rowney. c1905. £40.00

HARFORD, John S. The Life of Michael Angelo Buonarroti. With translations of many of his poems and letters. Second edition. Two volumes. 21 engraved plates. A very good copy in original blind stamped and gilt lettered green cloth.

8vo. Longman. 1858.


HAYDON, BENJAMIN ROBERT. Lectures on Painting and Design. First edition. Two volumes in one. xii, 331, [1]p., including 11 wood-engravings; xvi, 295, [1]p., including 2 wood engravings., 3 lithograph plates (1 folding) and 2 folding etched plates. Both volumes with half-titles, and pasted in errata slips. A very good clean copy bound in contemporary calf, expertly rebacked, raised bands and gilt
label. Dedicated to his close friend William Wordsworth.

8vo. Longman. 1844-46.


HAZLITT, William. Conversations of James Northcote, Esq., R.A. First edition. [2], 328pp., engraved frontispiece portrait. A very good uncut and partially unopened copy bound in the original dark green wavy-grained cloth, with paper spine label. Some foxing affecting the two cancelled sections as is often the case, and also the title and frontispiece.

8vo. Henry Colburn & Richard Bentley. 1830.


“Hazlitt's last book, first published in periodical form under the title "Boswell Redivivus," is called Conversations of James Northcote, Esq., R.A. Published in 1830, the year of Hazlitt's death, it is an account of several visits to the studio of a portrait painter renowned for his vitriolic conversation: "that walking thumb-bottle of aqua fortis," Peter Pindar called him. Northcote himself, in a letter to Ruskin's father, claimed that the book had been published against his wishes, that he had done everything in his power to stop it, and that "Hazlitt, although a man of real abilities, yet had a desire to give pain to others, and has also frequently exaggerated that which I had said in confidence to him." But Northcote was a sly man and knew what was going on between him and Hazlitt. He gives an ambiguous consent early on. In the last of the twenty-two conversations he says to his Boswell, "I ought to cross myself like the Catholic, when I see you. You terrify me by repeating what I say." [ref: James Fenton, Hazlitt’s Last Book, 2005.]

HERMANN, Felix. Painting on Glass and Porcelain and Enamel Painting. A complete introduction to the preparation of all the colours and fluxes used for painting on glass, porcelain, enamel faience and stoneware, the colour pastes and coloured glasses, together with a minute description of the firing of colours and enamels. Second, greatly enlarged edition. Translated by Charles Salter. Vii + (i) + 300pp., 18 text illustrations. A very good copy in original gilt lettered cloth.

8vo. Scott, Greenwood, & Co. 1897.


HERZBERG, W. Papierprufung. Eine anleitung zum untersuchen von papier, xi + (i) + 241 + (1)p., 23 plates and 95 figures in the text. A very good copy in original linen backed boards.

large 8vo. Berlin. Verlag von Julius Springer. 1921.


HOGARTH, William. The Analysis of Beauty. Written with a view of fixing the fluctuating idea of taste. [2], 71-229, [1]p. This has been extracted from an early 19th century edition of the works, and bound separately at the time. Contemporary calf backed marbled boards, vellum tips. Spine rubbed, joints cracked but firm, and some wear to the marbled paper on the upper board. In very good clean condition internally. Armorial book-plate of Thomas Hammond Foxcroft.

large 8vo. c1820.


HOWITT, Anna Mary. An Art-Student in Munich. First edition. Two volumes in one. xii + 244pp; (4) + 216pp. Some slight foxing but a very good copy bound in contemporary half morocco with elaborate gilt tooled spine, marbled boards and edges. Some rubbing to the boards. Inscribed on the front end paper, "Isabel Milnes Gaskell from her affectionate sister, July 27th 1854."

8vo. Longman. 1853.


HUBBARD, E. Hesketh. 66 Etchings. Being full page reproductions of etchings, drypoints, aquatints and mezzotints, and a few reproductions of wood-block prints and lithographs by members of the Print Society. With inserted price-list. A very good copy in bright original linen backed boards with paper label. Dust-wrapper a little worn and repaired, but has done its job well. Some very slight foxing.

4to. The Print Society. 1923.


THE INSTRUCTOR. Lessons on Houses, Furniture, Food, and Clothing. Being the second volume of the Instructor. New and improved edition. iv, 288pp. A very good copy in original blind stamped and gilt lettered cloth, new end-papers and some slight foxing. Copac records National Library Wales only.

12mo. John W. Parker. [1844].


[JACKSON, William]. Thirty Letters on Various Subjects. In Two Volumes. vi + 124pp; iv + (1) + 6-120pp. Two volumes in one. A very good clean copy bound in recent quarter green gilt morocco, marbled boards with vellum tips.

12mo. T. Cadell, and T. Evans, in the Strand; and B. Thorn and Son, in Exeter. 1783.


ESTC T65249. An interesting collection of essays including a number on painting, taste, warm colouring, as well as others on music, literature, handwriting, a criticism on Quarles. There is also an essay "On Self Production", which deals with the theory of the origin of species through spontaneous generation. William Jackson (1730-1803), born in Exeter, was a musician and painter, who imitated, not unsuccessfully, the style of his close friend Gainsborough. He exhibited at the R.A, and was one of Gainsborough's closest correspondents.

JAMES, J. Burleigh. Catalogue of the Fine Collection of Engravings, formed by the Rev. J. Burleigh James, M.A. Late of Knowbury, Salop. [4], 358pp., plates. An uncut copy, for the three day sale, rubricated with prices realised added neatly, and a grand total at the end. Contemporary half red morocco, rather dull, joints cracked but firm, and title-page dusty.

4to. Dryden Press. 1877.


Protestant minister and print collector from Knowbury Park, Shropshire. Assembled a very important collection of prints, mainly by Rembrandt and Dürer, that was dispersed at Sotheby's in three sales in 1877. Much was purchased at the sale by Goupil for the British Museum

JARDIN DES TUILERIES. Precis Historique et Fabuleux sur les Statues qui Ornent le Jardin des Tuileries. 19, [1]p. A very good uncut copy, stitched as issued in pale mauve sugar paper wrappers. Shadow a pressed flower on one opening. Scarce, unrecorded in Copac.

8vo. Paris, chez Chaudrillie. An VI [1799].


A variant edition in the Getty Museum notes the author as Blondeau.

JERDAN, William.

National Portrait Gallery of Illustrious and Eminent Personages of the Nineteenth Century; with Memoirs, by William Jerdan, Esq., R.A. Three volumes, large-paper copy, with 108 ‘india proof' plates. A very good set in original dark green moire cloth, with gilt spine labels. Some scattered foxing.

4to. Fisher, Son, & Jackson. 1830.


KAUFFMANN, Angelica. A Biography. By Frances A. Gerard. First edition. Xxiii + (i) + 407pp., portrait frontispiece and 9 plates. A good copy in original dark green gilt lettered cloth. Expert repairs to the head and tail of the spine. Some slight browning, and slight tear to the margin of a preliminary page. Scarce.

8vo. Ward & Downey. 1892.


“... it is hoped that the fact of its being the first life of the artist written in English, together with the great interest of the subject, may incline the reader to overlook the short-comings which must manifestly find place in a work of the kind undertaken by an inexperienced writer.” [Preface].

LAPORTE, John. A suite of four large etched views, the final one with contemporary hand-colouring. Stitched as issued in original plain paper wrappers. Scarce.

oblong folio. 231mm x 325mm. Published Jan. 1st, 1812 by G. Testolini, 73 Cornhill, London.


The plates depict:

Near Hanwell, Middlesex. /Near Kingston, Surry. / At Norwood, Surry. / At Wellyn in Hertfordshire.

LAURIE & WHITTLE. A suite of four numbered engravings of cottages. Stitched as issued, and numbered ‘262’ in a contemporary hand in the top left hand corner of the first page. Some speckling to the upper section of the first page, intruding into the top of the image.

160mm x 190mm. June 25th 1804, by Laurie & Whittle, 53 Fleet Street, London.


LAURIE & WHITTLE. A suite of six engravings, mainly of rustic characters & scenery, one of goats, and another a coastal view. Stitched as issued, and numbered ‘243’ in a contemporary hand in the top left hand corner of the first page.

170mm x 195mm. Laurie & Whittle, 53 Fleet Street, Sept 22nd, 1811.


LAVATER, John Caspar. Essays on Physiognomy. Translated into English by Thomas Holcroft. Second edition. To which are added One Hundred Physiognomonical Rules, a posthumous work... and Memoirs of the Life of the Author... written by his son-in-law G. Gessner. Four volumes. iv, cxlix, 240pp; [4], 324pp; [6], 272pp; [2], 273-399, [11]pp., portrait frontispiece and 423 engraved plates. A very good set handsomely bound in full contemporary dark green morocco. Double gilt ruled and blind stamped borders, ornate gilt decorated spines, marbled end-papers and edges. Some slight foxing, and one plate just a little worn at the head of the page, but a very clean set

large 8vo. Printed by C. Whittingham. 1804.


LAVATER, J.H. Essays on Physiognomy; for the promotion of the knowledge and the love of mankind; written in the German language by J. C. Lavater, abridged from Mr. Holcrofts translation. [8], 288, 269-275, [1]p., engraved title-page, frontispiece and 6 engraved plates. A very good copy in recent quarter calf, gilt banded spine with black label, marbled boards. Some slight old waterstaining to the extreme inner margin of the title-page.

8vo. Printed for G. G. J. & J. Robinson [1800?].


lEITCH, R.P. A Course of Water Colour Painting. 31, [1], [4]pp adverts., 24 chromolithograph plates depicting washes and tints as well as landscapes. A very good copy in slightly marked original gilt lettered dark brown cloth.

oblong 4to. Cassell and Co. [1873].


The scarce first edition.

LEITCH, R.P. A Course of Water Colour Painting. Eleventh edition revised. 36, [4]pp adverts., 24 chromolithograph plates depicting washes and tints as well as landscapes. A very good copy in original decorative cloth.

oblong 4to. Cassell and Co. [1883].


LELAND, C.G. Elementary Metal Work. A practical manual for amateurs and for use in schools. xvi + 111 + (1)., half-title., frontispiece and 124 text illustrations. A good copy in original linen backed decorative boards. Some rubbing and slight wear to the corners and board edges.

4to. Whittaker & Co. 1894.


LEMOISNE, P.A. Gothic Painting in France. Fourteenth and Fifteenth Centuries. 166pp., 88 plates. A very good copy bound in later half red morocco, gilt spine, top-edge-gilt. Bookplate removed from the inner board, and some very slight foxing. The scarce original edition.

4to. Paris: The Pegasus Press. 1931.


LIZEROLLES, Pierre-Marie, Jules-Edouard Dufrenoy, Maurice Devries. Dans L'Intimite de Personnages Illustres, 1845-1890. Ornate title page, printed in red and black), 6 leaves of tipped-in photographic prints on both sides of thick paper. With handwritten lithographic captions, of famous French men and women of the 19th century. Ivory-white decorative embossed wrappers, with a mounted photographic print serving as the centrepiece on the front cover. Linen tie.

oblong 4to. Editions M.D. [Maurice Devries], Paris, 1951.


The first in a series of twelve volumes, which covered the period 1845-1950.

MAINWARING, Rowland. Instructive Gleanings, Moral and Scientific, from the best writers, on painting and drawing; arranged as a book of reference to the pupil and amateur; and containing much information for professional students. [8], viii, 169pp., lithograph portrait frontispiece with pink tissue guard. A very good uncut copy bound in original linen backed boards with paper spine label. Some foxing,
particularly to the frontispiece. Scarce. Later ownership inscription.

8vo. Meyler. Bath. 1832.


~ An anthology of writings by Reynolds, du Fresnoy, Richardson, Opie, Gilpin, et al., arranged by subject. Mainwaring had been a naval officer for 37 years, but in ‘these monotonous times of peace’, with ‘an unwilling retirement to halfpay’, had time for such a work.

MALVASIA, Carlo Cesare. Le Pitture di Bologna che nella pretesa e rimostrata fin’ora da altri maggiore antichita, e impareggiabile eccllenza nella pittura con manifesta evidenza di fatto rendono il passeggiere disingannato e instrutto dell’Ascoso Accademico Gelato. Terza Edizione. [36], 384pp., half-title. A good copy bound in full contemporary vellum, hand lettered spine. Some mellowing to the covers and slight wear to the head and tail of the spine. Nineteenth century armorial book-plate of Thomas Weld-Blundell.

12mo. Bologna. Nella Stamperia del Longhi. 1732.


Malvasia was born to an aristocratic Bolognese family. He gained early fame for his poetry and dabbled in painting as an aristocratic pursuit under Giacinto Campana (b. 1600), Giacomo Cavedone and the literary academy dei Gelati. After graduating with a law degree, Malvasia went to Rome in 1639 where he further participated in the literary academies (degli Umoristi and dei Fantastici) and met Cardinal Giovanni Francesco Ginetti, Cardinal Bernardino Spada (1594-1661) and the artist Alessandro Algardi (1598-1654). From 1647 onward he lectured in Law at the university in Bologna.

After publishing an essay related to the theological aspects of a painting, Lettera a Monsignor Albergati, 1652, and obtaining a theology degree in 1653, he was appointed a canon in Bologna Cathedral in 1662. Malvasia’s appointment took him to the capitals of the Italian states and contacts with the cultural administrators of the land, including Marco Boschini and Nicolas Régnier, and Cardinal Leopoldo de’ Medici (whom he advised on his collections) and, in1665, Pierre Cureau de la Chambre, who gained him entré into the French court of Louis XIV and the Académie Royale. During this period, Malvasia collected and researched the artistic life of his native Bologna. This resulted in the 1678 Felsina Pittrice, Malvasia’s narrative art history of painting in Bologna. Arranged as a series of biographies of Bolognese artists, it is the primary document on Bolognese artists of the Baroque. He attempts to place Bolognese art at the forefront, highlighting its innovations. He divided his book into four sections, beginning with the primitives, then Francesco Francia, then the Carracci and, ending with the great baroque artists of Malvasia’s generation, Guido Reni, Domenichino, Francesco Albani and Guercino.

In 1686 he published Le Pitture di Bologna, a “gallery guide” for the artists about whom he had spoken in the Felsina. The guide was tremendously popular and was reprinted seven times in the next hundred years. This edition was edited by G.P.C. Zanotti.

MARTIAL, A.P. Nouveau Traité de la Gravure a L’Eau-Forte pour les peintres et les dessinateurs. 59, [5]pp., half-title., 13 plates. Original printed wrappers rather dusty, and rear cover torn along the upper edge, but a good clean copy internally.

8vo. Paris. A. Cadart, Editeur. 1873.


MENGS, Anthony Raphael. The Works...translated from the Italian. Published by the Chev. Don Joseph Nicholas d'Azara. First English edition. Three volumes in two. iv + 225 + 153 + 162pp., engraved title-pages. Uncut copies in recent boards. Some foxing and browning to the title-pages and a number of leaves.
8vo. R. Faulder. 1796.


MERRIFIELD, Mrs. Practical Directions for Portrait Painting in Water-Colours. Thirtieth thousand. 60, 64pp illustrated adverts. A very good copy in original yellow printed glazed linen cloth.

small 8vo. Winsor and Newton. c1890.


MURRAY, Henry. The Art of Portrait Painting in Oil Colours. With Observations on Setting and Painting the Figure. Fifty-eighth thousand. 72, 64pp of illustrated adverts. A very good copy in original printed glazed yellow linen cloth.

small 8vo. Winsor & Newton. c1890.


MUYBRIDGE, Eadweard. The Human Figure in Motion. An electro-photographic investigation of consecutive phases of muscular actions. Sixth edition. 277, [1]p., frontispiece portrait, 87 plates with comprising 2337 figures, and 384 figures on original scale. Original red cloth, gilt lettered spine. Covers a little faded and with a few minor marks.

oblong 4to. Chapman and Hall. [c1922].


NEEDHAM, J. Studies of Trees in Pencil and in Water Colors. First [and Second] Series. Two volumes. 50, [2]pp; 52, [4]pp., 18 tipped-in colour plates and 33 black and white drawings. Original decorative blue cloth, of similar colour but each with a different design as published.

4to. Blackie and Son. [1880].


NEEDHAM, J. Studies of Trees in Pencil and in Water Colors. First [and Second] Series. Two volumes. 50, [2]pp; 52, [4]pp., 18 tipped-in colour plates and 33 black and white drawings. Original decorative blue cloth, of similar colour but each with a different design as published.

4to. Blackie and Son. [1880].


The First Series offers ‘Lessons in Foliage Contrasts. Oak, Ash, Beech, &c.’ The Second deals with ‘Fir, Lime, Elm, Beech, Larch, Birch, Chestnut, Poplar and Willow.’

NEEDHAM, J. Studies of Trees in Pencil and in Water Colors. Second Series.52, [4]pp., 9 tipped-in colour plates and black and white drawings. Original decorative blue cloth, some slight rubbing.

4to. Blackie and Son. [1880].


The Second Series deals with Fir, Lime, Elm, Beech, Larch, Birch, Chestnut, Poplar and Willow.

NEEDLEWORK. Of Silver, & Silk, & Gold, & Pearls, & Precious Stones. New and unprecedented chef-d’oeuvre of needlework, to be seen only once in a life time! The most superb and magnificent assemblage of Tapestried Needlework in the Universe. The Proprietor having by singular and extraordinary good fortune come into the possession of these superb and unparalleled works of art, which adorned the walls of the voluptuous monarch, Louis XIV, feels that it would be a reflection upon him as an Englishman if he allowed them to leave this country without indulging his countrymen with the sight of them. At the earnest desire of the most distinguished connoisseurs in the kingdom, who, having seen, have been astonished and delighted with these marvels of art, the Proprietor has been induced to retain them for a few months longer in his possession, and exhibit them publicly. A negotiation is pending with a foreigh prince for the purchase of these splendid productions, so that the exhibition will of necessity be limited. Visitors from the country are especially invited - the opportunity once lost can never be retrieved. Cosmorama, No. 209 Regent Street. Open from Ten to Six. Admission One Shilling.

125mm x 188mm. c1830.


~ London’s first Cosmorama was opened in 1820 at 29 St James Street, and moved to Regent Street in 1823, remaining open until the 1850’s, where it presented “correct delineations of the celebrated remains of antiquity, and of the most remarkable cities and edifices in every part of the globe. The subjects are changed every two or three months; it is, altogether, a very beautiful exhibition. [Mogg’s New Picture of London and Visitor’s Guide to it Sights, 1844].

NEVE, Richard. The City and Countrey Purchaser, and Builder's Dictionary: or, the Compleat Builder's Guide. Shewing the qualities, quantities, proportions, and rates or value of all materials relating to building; with the best method of preparing many of them. The second edition, with additions. (12) + xx + 142ff + (4)pp adverts. Rebound in full speckled calf, blind ruled borders, and spine gilt ruled. Some old light waterstaining and inner hinge of the title-page stained by old paste. Harris 596.

Harris suggests that the anonymous editor is most probably John Ozell. "To make the dictionary ‘fit for Gentlemen's Use, as the former edition was for Workmen', Ozell has carefully corrected Neve's quotations from Wotton and increased the number of architectural terms...." pp 332.

8vo. D. Browne. 1726.


[PARIS, John Ayrton]. Philosophy in Sport made Science in Earnest; being an attempt to illustrate the first principles of natural philosophy by the aid of popular toys and sports. New edition, with additions. Three volumes bound in two. xviii, 316pp; viii, 314pp; [4], 217, [1]p., title-page vignettes and woodcut illustrations by Cruikshank. A very good copy bound in contemporary dark blue half calf, broad raised bands with gilt decoration, gilt volume numbers, and red morocco title labels. Marbled edges. Some slight foxing. With the armorial bookplate of John Headlam, of Gilmonby Hall.

8vo. Henry Colburn and Richard Bentley. 1831.


~ The first edition of 1827 “includes the first printed description of a thaumatrope (p. 5 - 7 of Vol III), a toy which, in its reliance upon, and
demonstration of, the principles of persistence of vision, is recognised as an important antecedent of cinematography and in particular of animation. Paris is considered to be the probable originator of this toy, although some accredit the design to Herschel - nevertheless it is most certainly Paris who made the toy popular. The first of various toys based upon persistence of vision, it was the simplest in design. On one side of a round board was drawn a bird; on the other was a cage. When the board was held at the sides by two strings and spun, both images merged and the bird appeared to be in the cage. The object of this most appealing work, according to the preface was to ‘inculcate that early love of science which can never be derived from the sterner productions. Youth is naturally addicted to amusement, and in this item his expenditure too often exceeds his allotted income. I have, therefore, taken the liberty to draw a draft upon Philosophy, with the full assurance that it will be gratefully repaid, with compound interest, ten years after date’ (p. ix). Paris follows in the tradition of Jane Marcet and Maria Edgeworth, and provides instruction through a series of amusing dialogues and conversations, and in so doing introduces the reader to a basic understanding of gravitation, motion, elasticity, pendulums, flight, sound and optics, all through the medium of toys and games.”

[Ref: Marlborough Rare Books, catalogue entry].

PENLEY, AARON. The English School of Painting in Water-Colours: its theory and practice. With several stages of progression. Accompanied with forty-seven illustrations in the first style of chromo-lithography. New and revised edition. viii, [2], 130pp, lithograph dedication leaf , chromolithograph half title, 4 colour charts with 24 hand coloured samples to each card, 42 chromolithograph plates on 21 leaves, all mounted on thick card. A very good copy in bright original decorative green gilt cloth, custom made slip-case. Some foxing, mainly to the borders of the plates, and with later end-papers.

large folio. c22" x 15". Henry Sotheran & Co. 1880.


PENLEY, Aaron. Sketching from Nature in Water Colours. With illustrations in chromolithography after original water-colour drawings. 36, [8]pp adverts., chromolithograph half-title, 13 chromolithograph plates, and 2 lithograph plates (1 hand-coloured). A very good clean copy in original green gilt decorated cloth, all-edges-gilt.

folio. Cassell and Co. c1880.


PERSPECTIVE MANUSCRIPT. A large early 19th century sketchbook, the paper watermarked 1827. The inside front cover has a large hand-coloured illustration titled ‘Perspective’, and this is followed by 14 pages of perspective drawings, some with shading or additional wash colouring. Most likely a student exercise. Original sugar paper card covers in very good condition, with just some minor dustiness to the leading edges in places.

oblong folio. 257mm x 370mm. c1827.


PHILADELPHIA EXHIBITION. Westcott, Thompson. Centennial Portfolio: a souvenir of the International Exhibition at Philadelphia, comprising lithographic views of fifty of its principal buildings, with letter-press description. 52pp of text, a map of the centennial grounds, floor plans, and 52 lithographic plates of the ornate exhibition buildings printed in tints. A very good clean copy in original brick red gilt decorated cloth. Very slight wear to the corners and the head and tail of the spine.

oblong 4to. Philadelphia: Thomas Hunter. 1876.


PRINCIPLES OF LANDSCAPE. A bound collection of 38 fine engraved plates, each with caption, issued by C. Taylor between 1791 and 1793. The first plate is intended as a title-page and is engraved Principles of Landscape, this wording also features within the plate mark at the upper right hand corner of eight of the plates. The captions are Rural Subjects: D,E,H,H,I,K,L,M,O,P, Shooting: I,II. The remainder are identified views in the North of England, Snowdon, Rome and Geneva.

The publisher and dating of the plates would suggest that this was issued by Taylor possibly from the remainder stock of plates inserted in his Landscape Magazine of 1791-93. The full title of that work does accurately describe the plates present here. The Landscape Magazine: containing perceptive principles of landscape: also, a series of interesting landscapes; and views of remarkable objects, and places; grottoes, caverns, rocks, mountains, buildings, and ruins; selected from original drawings, from the works of the best masters, and forming a complete system of that delightful art. The Magazine is very scarce, ESTC recording only the BL copy in this country, and 4 copies in America. A very good copy in contemporary half red roan, head and tail of the gilt spine neatly repaired. The plates are all fresh and clean. With the contemporary ownership name of Mrs Tournay, Bath, on the inner front board.

small oblong 4to. C. Taylor. 1791-93.


RANDAU. Paul. Enamels and Enamelling. An introduction to the preparation and application of all kinds of enamels for technical and artistic purposes for enamel makers, workers in gold and silver and manufacturers of objects of art. Translated from the German by Charles Salter. 186 + (16)pp adverts., 16 text illustrations. Some browning to the title-page, and offsetting from a publishers' slip tipped in concerning the published price of the volume. A very good copy in original gilt lettered cloth.

8vo. Scott, Greenwood and Co. 1900.


RANKIN, Herbert A. Simple Lessons in Colour. 158pp., 38 colour plates. A very good copy in original pictorial cloth. Lacks the front end paper.

8vo. Sir Isaac Pitman & Sons Ltd. c1930.


RAPHAEL. His Life, Works, and Times. From the French of Eugene Muntz. Illustrated with one hundred and fifty four engravings in the text, and forty-three full-page plates. Edited by Walter Armstrong. 621pp. A very good copy in original quarter morocco, gilt lettered spine, top-edge-gilt, remainder uncut. Some foxing to the fore-edges, and also to the frontispiece & title-page.

4to. Chapman and Hall. 1882.


REYNOLDS, Joshua. Life and Times of Sir Joshua Reynolds: with notices of some of his cotemporaries (sic). Commenced by C.R. Leslie, continued and concluded by Tom Taylor. Two volumes. xvii + (i) + 532pp; vii + (i) + 646pp., 11 plates. A very good clean copy in recent gilt lettered cloth. Scarce.

8vo. John Murray. 1865.


REDGRAVE, Samuel. A Descriptive Catalogue of the Historical Collection of Water-Colour Paintings in the South Kensington Museum, with an introductory notice. viii, [2], 242pp., 21 plates (including 10 chromolithographs). Some marks to page 45, and occasional foxing, and small ink mark to the head of the title-page. A good copy in contemporary morocco backed, green pebble grain cloth boards. Some marks to the upper cover.

large 8vo. Chapman and Hall. 1876.


RICHMOND, W.D. The Grammar of Lithography. A practical guide for the artist and printer in commercial and artistic lithography, and chromo-lithography, zincography, photo-lithography, and lithographic machine printing. Second edition. xiii, [3], 254, 1f blank, 12pp adverts., text illustrations. Original blind stamped and gilt lettered cloth a little marked. Bridson and Wakeman D67.

8vo. E. Mencken. 1880.


ROBERT, J.B. Manuel du Mouleur en Medailles, ou l’art de les mouler en platre. En soufre, en cire, a la mie de pain et en gelatine, ou a la colle-forte, suivi de l’art de clicher ou de frapper des creux et des reliefs en metaux. Nouvelle edition. [4], vi, [2], 9-144pp., folding plate. A very good copy in contemporary gilt lettered quarter calf, marbled boards. Some foxing throughout. A manual on fabricating medals in relief, first published in 1833.

12mo. Paris. A la Librairie Encyclopedique de Robet. 1843.


ROYAL INSTITUTE OF PAINTERS IN WATER COLOURS. A programme for a “The Salon at Home”, held on Tuesday, May 16th, 1893. Decorative front cover by the architect R. Phené Spiers, with a list of Honorary Members, and a programme of the music for the evening. Spiers was the vice-chairman of the Salon. Folded sheet.

225mm x 144mm. Harrison and Son. 1893.


ROYAL SCOTTISH ACADEMY. Statement for the Royal Institution for the Encouragement of the Fine Arts in Scotland, with reference to certain claims recently advanced on the part of the Royal Scottish Academy, prepared by direction of a committee of the directors. 35, [1]p. A fine copy, stitched as issued in original printed wrappers.

8vo.William Blackwood & Sons. 1847.


Scarce, unrecorded in Copac which notes a single copy (National Library of Scotland), of the ‘Answer’ to this Statement.

RUSKIN, John. Mornings in Florence; being simple studies of Christian Art, for English Travellers. Second edition. A very good copy in the original six parts. Bound in the original leatherette boards, all edges gilt. Some slight chipping to the backstrips.

8vo. George Allen. 1881-1883.


RUSKIN, John. The Elements of Drawing in three letters to beginners. Second edition. xxiii, 359, [1],p 48 woodcuts. A very good copy in full contemporary gilt calf prize binding. Spine gilt decorated in compartments, with black morocco label.

8vo. Smith, Elder. 1857.


RUSKIN, John. Ariadne Florentina. Six Lectures on Wood and Metal Engraving. 233pp., 12 plates, 4 full-page wood engravings, and a table. A very good copy bound in original gilt lettered russet brown cloth.

8vo. New York: John Wiley & Sons. 1886.


RUSKIN, John. Mornings in Florence: being simple studies of Christian Art, for English travellers. First edition. Six parts bound in one, with the title-pages bound in at the end. A very good copy in contemporary dark blue calf, raised bands and gilt titled spine. Some slight rubbing.

8vo. George Allen, Orpington. 1875.


SAWARD, Blanche C. Decorative Painting. A practical handbook on painting & etching upon various objects & materials for the decoration of our homes. [10], x, 214, [2]pp adverts., half-title., printed in maroon ink on blue-gray and terracotta tinted red paper., numerous decorative text engravings. A good clean copy, but in rather rubbed original decorative blind stamped cloth.

8vo. Upcott Gill. c1883.


SILK, WOOLLEN & COTTON DYER. A fine hand-bill advertisement issued by Joseph White, Silk, Woollen & Cotton Dyer, Clothes Cleaner and Finisher, (from Leeds), No. 15, Fish-Street, Hull. He solicits patronage, dyes all sorts of silks and satins - bed and window curtains washed & glazed - scarlet cloaks, gentlemen’s clothes, and ladies’ riding habits, cleaned and dyed - Leghorn, Chip, Dunstable,
and Cane Bonnets dyed any colour. In fine condition. Unrecorded in Copac.

188mm x 106mm. John Hutchinson, Printer, Silver-Street, Hull. June, 1823.


STICKNEY, Sarah. Contrasts. A Series of Twenty Drawings, designed by S. Stickney. Title-page and 20 plates, lithographed by Geo. Smith, Liverpool. Stitched in original printed wrappers, covers a little dusty, and page corners creased in places. Some light foxing, but not intrusive. Very scarce, Copac recording a single copy (V & A). There is also a copy at the Yale Center for British Art.

4to. published by R. Ackermann. 1832.


Sarah Ellis [née Stickney], (1799–1872), writer and educationist, was born at Ridgmont, in Holderness, Yorkshire, the youngest of the five children of William Stickney (d. 1848), a Quaker farmer. No detailed account of her life remains apart from a memoir entitled The Home Life and Letters of Mrs. Ellis Compiled by her Nieces (1893).

Sarah Stickney's family were in comfortable circumstances during her girlhood, and, apart from attending the Quaker school at Ackworth between 1813 and 1816, she was educated mainly at home. As well as receiving a thorough training in practical housewifery, and helping to bring up her younger siblings, she was encouraged to read widely in literature by her father, a man of scientific interests and patriarchal authority. Sarah Stickney also learned to ride and train her own horses and developed a love for animals, natural beauty, and art; in many ways her upbringing, much more free and easy than that of many nineteenth-century girls, fostered her considerable resilience of physique and independence of mind. The latter quality, clearly present in the letters quoted in her nieces' memoir, cannot have made it easy for her to submit to the subordinate position her writings later encouraged women both to accept and to alleviate by their moral influence.

Sarah Stickney also became proficient in drawing, water-colour, and oil-painting, and was briefly taught drawing by John Sell Cotman, as she recalled, to the painter's gratification, in The Poetry of Life (2 vols., 1835). However, Sarah Stickney always considered the loss of her mother when she was four as having had the most profound influence on her later life. Certainly her experience of maternal bereavement influenced her later writings on the importance of a mother's role within the middle-class family.

William Stickney's financial position worsened during the agricultural depression of the 1820s, and Sarah Stickney determined to earn money herself, first by painting portraits in oils and by selling illustrations to Ackermann, who published her Contrasts, a series of drawings with a moral theme, in 1832; no further published illustrations by her are recorded. Working as an artist was not sufficiently remunerative, and in 1830 Sarah Stickney published the anti-slavery tale The Negro Slave: a Tale Addressed to the Women of Great Britain, and was at work on a series of short stories.

TARBUCK, Edward Lance. The Encyclopaedia of Practical Carpentry and Joinery : comprising the choice, preservation, and strength of materials, explanations of the theory and practical details, a complete system of lines for the carpenter, joiner, & staircase builder, together with an account of the improvements effected in England and on the continent, and illustrations of the most remarkable executed works. [2], 236, xiv pp., half-title., lithograph frontispiece and 127 lithograph plates, some coloured (as required by Copac collation). Some slight foxing but a very good copy in contemporary half calf, blind and gilt decorated spine with green morocco label.

4to. Leipzig and Dresden. c1859.


Ref: Weinreb, 19th Century Architecture, 807, 1986.

TIFFIN, Walter F. Gossip about Portraits, including Engraved Portraits. Second edition. vi, [2], 223, [1]p., half-title., errata slip. A fine copy in original blind stamped and gilt lettered dark green cloth. A family copy, with the name Emily C. Tiffin at the head of the title-page.
Scarce. First published by Bohn in 1866.

8vo. John Russell Smith. 1867.


TOPHAM, John. A Description of an Antient Picture in Windsor Castle, representing the Embarkation of King Henry VIII at Dover, May 31, 1520; preparatory to his Interview with the French King Francis I. Read at the Society of Antiquaries, June 21, 1781. [2], 42pp., engraved plate. Title-page browned, but a good copy in later plain wrappers, with hand-written label on the upper cover. Lacks one plate.

4to. printed by J. Nichols. 1781.


TURNER, J.M.W. The Harbours of England. Engraved by Thomas Lupton from original drawings made expressly for the work by J.M.W. Turner, R.A. With illustrative text by J. Ruskin. First edition. 53, [1]pp., half-title., 12 mezzotint plates. A fine bright clean copy in very good original red gilt cloth.

folio. E. Gambart and Co. [1856].


VIGEE-LE-BRUN, Elisabeth Louise. The Memoirs... translated by Gerard Shelley. 217 + (1)pp., plates. A good copy in original dark blue gilt lettered cloth. Spine a little faded and slight wear to the joints. Scarce.

8vo. John Hamilton.


VILLIERS, Edward., 1st Earl of Jersey, Knight Marshal of the Royal Household. A warrant addressed to Earl Montague, Master of the Great Wardrobe, requiring him to give orders for the cleaning “the tapestry hangings in his Majesties Drawing Room at Kensington also for harnishing and mending all the frames of the looking glasses, tables, stands, chayrs, stools and cabinets in all the lodgings there...” Folded folio sheet, with docket title on the rear panel. Some slight dustiness but in very good condition. It is dated 20 Sept. 1701, in a later hand at the head.

288mm x 188mm. 1701.


Kensington Palace was built as a private country house called Nottingham House in about 1605. It was purchased by William III and Mary II in the summer of 1689 from William’s trusted Secretary of State, Daniel Finch, Earl of Nottingham, at a cost of £20,000, and was adapted for royal residence by Sir Christopher Wren. In 1697 an inventory of the tapestries made for Kensington Palace was made, and a number of the original examples from William III’s chambers still survive. John Vanderbank is recorded as supplying nine pieces in the ‘Indian manner’ for the Palace.

WESTMINSTER HALL. An Act for further amending and enlarging the Powers of an Act of the Forty-sixth Year of His present Majesty, for consolidating and rendering more effectual the several Acts for the Purchase of Buildings, and further Improvement of the Streets and Places near to Westminster Hall and the Two Houses of Parliament. 14pp., engraved plan. Some slight foxing, disbound.

folio. London: 21st June 1810.


~ Clearances of buildings in the Parliament Square area took place in 1810 in order to create the railed grass area to the north of St Margaret’s Church.

WEBB, Daniel. An Inquiry into the Beauties of Painting; and into the merits of the most celebrated painters, ancient and modern. The third edition. xvi, 200pp. A very good copy in full contemporary calf, raised and gilt banded spine with red morocco label.

foolscap 8vo. R. and J. Dodsley. 1769.


One of the key contributions to the debate on whether professional painters were inherently better judges of art than gentleman amateurs. Webb, himself an artist, advocates that practical knowledge of painting itself, rather than being an advantage to appreciation, carries with it dangers of mental imbalance, which must be overcome for an artist to join the ranks of the truly genteel connoisseur. see. Pears, I. The Discovery of Painting.

WILKIE, David. Cunningham, Allan. The Life of Sir David Wilkie; with his journals, tours, and critical remarks on works of art; and a selction from his correspondence. First edition. Three volumes. Portrait frontispiece to volume one. Original cloth, rebacked with the original spines relaid, paper labels chipped and the backstrips rather sunned. New edn-papers and paste-downs.

8vo. John Murray. 1843.


WHEELER, Monroe. Modern Painters and Sculptors as Illustrators. First edition. 116pp., illustrations throughout. A fine copy in original decorative boards.

4to. New York: Museum of Modern Art. 1936.


WILKIE, David. Cunningham, Allan. The Life of Sir David Wilkie; with his journals, tours, and critical remarks on works of art; and a selction from his correspondence. First edition. Three volumes. Portrait frontispiece to volume one. Original cloth, rebacked with the original spines relaid, paper labels chipped and the backstrips rather sunned. New edn-papers and paste-downs.

8vo. John Murray. 1843.


WOOD TURNING. Modern Automatic Wood Turning and Drilling Machinery. W.A. Fell, Ltd. Bridge Iron Works, Windermere. Illustrated trade catalogue. 160 pages., illustrations throughout. A good copy in original decorative wrappers.

8vo. Windermere. c1935.


YORK. Views of the Parish Churches in York; with a short account of each. (4)pp., 23 mounted india paper lithograph plates by R.B. each with leaf of desciptive text. Some foxing, rather heavy in places, and a little chipping to the fore-edges of some leaves. Recent wrappers with the original printed front wrapper bound in. A scarce collection of views, Boyne 77.

large 8vo. York. A. Barclay. 1831.


YOUDALE, W.H. A most interesting late 19th and early 20th century manuscript kept by an amateur artist, and film-maker. It contains notes on technique, materials, and concludes with a record of 191 of his pictures in oils or watercolours which were painted between 1873 and 1922. They are named, dated, with dimensions, some are priced, and when sold the purchaser and date is also recorded. Original diced limp cloth. Contents a little loose in the binding, but in good condition, with just some dustiness to some inserted notes at the end. With his name stamp on the front-end-paper.

4to. 224mm x 188mm. c1880-1922. £650.00

William Henry Youdale was born in Gateshead on 22nd May 1858, and was by trade a draper in Cockermouth. His breadth of interests was immense, and as well as an accomplished amateur artist he also experimented with film & photography, microscopy, and herbariums. Two of his films are recorded in the British Film Institute, both dated 1899 (Sheep Washing & Train Station), and he is also noted in the Encyclopaedia of Early Cinema, 2004, where Richard Abel writes that his ‘amateur productions’ show little difference from professional work of the late 1890's. His other interests included microscopy; he was a member of the Royal Microscopical Society, and acquired the famous collection of slides prepared by Thomas Henry Hennah which included Sir William Parry’s ‘soundings’ from the 1818 Arctic expedition. His collection re-appeared in the late 1990's and was sold to a member of the Microscopical Society. Liverpool Museum has a number of his herbarium specimens, and an article was published in 1990 on ‘The Cumbrian Herbarium of W.H. Youdale.’

He died 10th December 1922, just a few weeks after the last entry in this manuscript. Interestingly he appears not to have painted any works between 1896 and 1901, which may have been the period when he turned to film making. I have found an image of one of his paintings ‘The Wood Carver’, which is recorded in his inventory as Number 72, noting the sitter to be Mr Hy. Peile. It was sold to Miss Berin of Maryport. Another, a winter scene, ‘Boats on a Lake’ 1920, which was sold at auction in 2013, may be Number 180, ‘Derwentwater from Friar’s Crag, Winter.’

The first 9 pages have the right hand edges tabulated to form an A-Z of chemical composition of artists’ oil & watercolour paint colours... the best brushes to use for certain colours, and also notes giving the colour name and the page number to go to, with advice on their use... ‘Antwerp Blue should never be used with Indian yellow.’

The next ten pages (1-10) are arranged as double-page tables of ‘Watercolours in alphabetical order ...qualities specified.’, with columns detailing name, tone, permanency, power, washes, and remarks.

Pages 11-24 contain notes that he has written down from other books; O’Neill’s Guide to Pictorial Art; The Art of Landscape Painting in Water Colours by Rowbotham; and A Guide to Water Colour Painting by R.P.Noble.

From page 25 to 75 he has titled this section Technical Notes, which details palettes by leading artists such as Sir John Gilbert, and Samuel Palmer’s List of Colours. There are also lengthy notes on the deterioration of oil paintings.

A number of pages are then left blank, and it recommences at page 83 to 90 with the list of his paintings. The first is ‘Napoleon Crossing the Alps, May 30/73 ..... 8 x 6 .... 1 copy ..... no price .... remarks says Oil. No.6 and 7... ‘Early Mill on the Thames’ , 2 copies.. Oils ..one of these in America......No.49 & 50.. 2 Studies after Turner, 3 and half x 5 .. in watercolour....No. 100 Study of Piper for Mr Cahill ...painted for Mr Cahill it says...this was done between Xmas 1878 and January 1879.

Other pictures include local scenes - Cockermouth Castle, Keswick Lake, Portrait of W. Youdale, Dec 1880, Workington from the Sea.

On the rear inner page it has a recipe for a paint colour - Cochineal 3 ounces - salt of tartar 1 and half - alum 3 and half ...mix and boil with 16 ounces of water, &c &c.

There are also 4 additional pages loosely inserted which are titled ‘Historical & Chronological Table of the Principal Professors of Painting.’

Contact Ken Spelman Rare Books at ask@kenspelman.com