Part-printed form, folio, completed in manuscript, signed at the foot by William Brouncker, John Mennes and William Batten, with their wax seals; on a bifolium with a manuscript docket label; creased where folded, edges thumbed outer faces worn and dusty, old tape repairs to verso.
Added to your basket:
To our worthy friends [Sr Edward Fuss Knt, John Smith, John Stevens, Silvanus Wood and William Selwin Esqrs] Justices of the Peace in the County of [Gloucester] or any two of them …
Unrecorded(?) part-printed warrant; pursuant to the Act for providing carriage by land and by water for the use of his Majesties Navy and Ordnance, the parties names above are requested to provide fourteen carriages to Daniel Furzer for the transport of two hundred loads of timber from ‘in and about the parishes of Barckley [Berkeley] and Uly [Uley]’ unto Berkeley Pill and Frampton Pill on the Severn. The request came in the closing months of the Second Anglo-Dutch War, when the financial position of the Navy was increasingly desperate.
The mathematician William Brouncker, a friend of Pepys, had been asst. comptroller to the Treasurer of the Admiralty since December 1666. Mennes and Batten were thorns in Pepys’s side.
You may also be interested in...
SECOND, ENLARGED EDITION OF A BEST-SELLING ACCOUNT OF RUSSIA AND THE CRIMEA ON THE EVE OF THE CRIMEA OLIPHANT, Laurence.
The Russian Shores of the Black Sea in the Autumn of 1852 with a Voyage down the Volga, and a Tour through the Country of the Don Cossacks ... Second Edition – Revised and Enlarged.
Second edition, revised and enlarged. The diplomat and traveller Oliphant (1829-1888) and his companion Oswald Smith journeyed through Russia and the Crimea shortly before the outbreak of the Crimean War, and his overview of the region also includes details of visits to Nizhnii Novgorod (which is depicted in the frontispiece) and other Russian cities, including Sevastapol, which Oliphant and Smith entered in disguise in order to map its fortifications. Nerhood considers that Oliphant ‘describes places and people in an informative way, especially the long journey down the Volga River, with its peculiar means of transportation and the peoples along its banks’, and this, together with the approach of the Crimean War (which led Lord Raglan to approach Oliphant for information), ensured the work’s popularity. The first edition appeared in late 1853 as the Crimean War broke out (an advertisement on p. 10 of The Times of 25 October 1853 describes it as ‘preparing for publication’) and this second edition was published shortly afterwards (the preface is dated December 1853), with an additional chapter, since ‘[t]he Eastern Question has now assumed so serious an aspect, that facts connected with the Russian Shores of the Black Sea, which at the period of my visit in 1852 were devoid of any special political interest, are invested with the utmost importance, for it is possible that the southern portion of the Empire may shortly become the theatre of war, and considerations, the value of which I scarcely appreciated a few months ago, have since occurred to me as possessing strong claims upon our attention’ (p. [v]). Third and fourth editions, which were reprints of this second edition, appeared in 1854.
CONTROVERSIAL AUTOBIOGRAPHY [HAZLITT, William.]
Liber amoris; or, the new Pygmalion.
First edition of one of the most controversial books in all English literature, a wonderful autobiographical text which has been systematically deprecated since its first publication. It tells the bitterly precise tale of Hazlitt’s infatuation with a servant girl, one Sarah Walker, his landlady’s daughter, in the year of his divorce from his wife. Hazlitt’s mordant narrative, couched as letters to two friends, spares neither himself, the blindly obsessed lover, nor the unworthy, out-classed, victimizing and victimized object of his love and lust. The little book is a classic of intimate autobiography, and a masterful, if perhaps initially unintentional exploitation of the ‘Pygmalion’ theme. ‘We are unusually close to a Romantic ideal of spontaneity … The letters, as they evoke and give lasting value to the writer’s emotions, form a kind of Romantic apologia’ (Jonathan Wordsworth, Visionary Gleam).