Large 8vo, pp. , xii, 66, 4, with hand-coloured lithographic frontispiece and 32 plates; frontispiece a little loose, a few slight spots; a good copy in publisher’s maroon cloth with bevelled edges, upper board and spine blocked in gilt, lower board blocked in blind, all edges gilt; lightly sunned, rubbed at extremities, head and tail of spine reinforced, endpapers renewed.
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Noel. The Genera and Species of British Butterflies, described and arranged according to the System now adopted in the British Museum … illustrated by Plates in which all the Species and Varieties are represented, accompanied by their respective Caterpillars, and the Plants on which they feed.
First edition of these handsome illustrations of butterflies, by the naturalist and artist Henry Noel Humphreys (1807–1879). Noted for its aesthetic appeal, British Butterflies is one of the most attractive of Humphreys’s works, which ‘addressed identification and habitat without sacrificing artistry’ (ODNB). The richly hand-coloured butterflies and caterpillars produce a striking effect against lightly washed lithographic floral backgrounds.
A second edition was published by T.J. Allman the following year.
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Poems on several Occasions.
First authorised edition, preceded by Curll’s pirated collection of 1707. In the preface Prior complains that in Curll’s edition poems by other authors have been misattributed to him and that some of his own poems are ‘transcribed … so imperfectly, that I hardly knew them to be mine’. He divides the poems here into four categories, ‘Public Panegyrics’, ‘Amorous Odes’, ‘Idle Tales’, and ‘Serious Reflections’, but ‘some of its most famous poems (Henry and Emma, An English Padlock, and Jinny the Just) do not easily fit into any one of these categories’ (ODNB).
MYERS, Robin, Michael HARRIS, and Giles MANDELBROTE (eds).
Lives in Book History: Changing Contours of Research over Forty Years.
‘This volume has grown out of one event in a long series of annual conferences on book-trade history – held to mark the fortieth conference in 2018. For this we had asked nine well-known book historians to give a retrospective review of their field, be it manuscripts, incunabula, book binding, and so on, explaining how they had come into book history, who had been the major influences on them, what the field was like then, what it was like now, and how they would, in the light of the changes they had seen, have done things differently. Everyone mentioned the technological revolution, which had completely changed their way of working and brought a wealth of research material to their desks, greatly amplifying but not substituting for (as they were at pains to point out) research in libraries and archives. Thus these papers are a mix of scholarly assessment and personal reminiscence: likely, we thought, to have a wider readership than just historians of the book.’