First edition. Charles Ryle Fay (1884–1961) was a favourite pupil of Alfred Marshall, and in 1908 was elected to a fellowship at Christ’s College where he later became a reader in Economic History.

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TATE, William.

The modern cambist; forming a manual of foreign exchanges, in the direct, indirect, and cross operations of bills of exchange and bullion; including an extensive investigation of the arbitrations of exchange, according to the practice of the first British and foreign houses. With numerous formulae and tables of the weights and measures of other countries, compared with the Imperial standards. Third edition, with extensive alterations and addtioins [sic].

Third edition, corrected and expanded to reflect changes in the monetary systems of Portugal and Geneva, a new coinage introduced by the East India Company and the opening of trade with China. There is also a new appendix which discusses the mintage regulations for the coins of the United States, reflecting the increasing importance of currency exchanges between the United States and the United Kingdom. The section on trade with China is of particular interest as the Canton system described by Tate only lasted another six years before the Treaty of Nanjing, signed on 29 August 1842, ended the First Opium War and laid the foundation for a new system of Chinese foreign relations and overseas trade that lasted for over one hundred years.

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THE EARLIEST DEFENCE OF AUTHORS’ FREEDOMAGAINST THE BULLYING FORCES OF MARKETS AND PATRONS [RALPH, James].

The case of authors by profession or trade, stated: with regard to booksellers, the stage, and the public. No matter by whom.

First edition, ‘the first protest raised in the eighteenth century against the treatment of authors and dramatists by booksellers and theatre managers’ (ODNB). From this work Isaac D’Israeli extensively quoted (without acknowledgement) in his Calamities of authors, and it is very likely that Oliver Goldsmith drew upon it on writing his Essay on the present state of polite learning in Europe. For the first time writers’ creative dilemmas are laid bare, the low profile of a writer’s profession is lamented, and the public is made aware of the unavoidable fate of servitude that awaits any author: to be enslaved to publishers, or to theatre producers, or to parties: all market forces which, in order to survive, must pander to popular taste.

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