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179946241Philadelphia: Robert Campbell 1799. First American edition. Hardcover. g to vg. Large octavo 8 1/2 x 5 1/2". xxiii 1 297 1pp Vol. 1; 267 1 xxivpp Vol. 2. Modern brown cloth with gold lettered leather title label to spine. Engraved frontispiece to both volumes. Lacking the separately printed atlas as usual.<br /> <br /> First American edition of this official report on the British Macartney Embassy to China that took place between 1792 and 1794. It was written after the return to England by the Secretary to the mission Sir George Leonard Staunton 1st Baronet 1737-1801 based on his own observations and notes from other crewmembers including his twelve-year-old son Sir George Thomas Staunton 2nd Baronet. <br /> <br /> "The account offers rich insights into the beginnings of British Imperialism in China and thus makes it an important primary source for the historiography of Sino-Western relations. There is an academic dispute whether the account marks a sudden turning point in British-Chinese dynamics or reflects a slow and complex divergence. <br /> <br /> While the political and economic ambitions of the embassy failed the account by Staunton brought back detailed descriptions of and observations on the Chinese culture that were received with curiosity in the West and led to the commercial success of the book and the publication of several translations and subsequent writings on the Macartney Mission." From Wikipedia<br /> <br /> This work is splendidly illustrated throughout with eight stunning engravings by Samuel Seymour two in volume one six in volume two including the frontispieces as called for in the directions to the binder. The xxiv page appendix contains detailed tables and charts dealing with population and socio-economic information.<br /> <br /> Previous owner's stamp E. W. Sage at verso of first frontispiece and at upper margin of first title. Moderate and sporadic foxing / age-toning throughout. Binding in very good interior in good to very good condition. Robert Campbell hardcover
17713835<p>Three engravings by Paul Revere are certainly the most distinctive feature of this Boston almanac for 1772 namely:</p><p>Miss Emma Leach a dwarf born in Beverley Massachusetts on front cover.</p><p>The Patriotic American Farmer John Dickinson.</p><p>Mrs. Catharine M'Caulay.</p><p>Almanac making in colonial America was a rather unscrupulous affair at times. The notion of copyright was unknown among publishers. Indeed almanac piracy or perhaps liberal borrowing was the accepted industry practice.</p><p>The present almanac offers an excellent example of heavy borrowing. The Boston Ames <em>Almanack </em>for 1772 was published in two versions: one by Ezekiel Russell and the other a pirated version by an unnamed printer/publisher. The text and images of the two are very similar although the cuts of the three subjects differ very slightly between the two almanacs. Paul Revere's daybook for December 1771 identifies <strong>two</strong> purchasers of plates for a 1772 Ames almanac Ezekiel Russell and Edes & Gill. Within a matter of a week it's apparent that Revere produced two sets of plates of the same subjects for competing almanacs.</p><p>In an advertisement for Russell's version of the Ames almanac he "hopes that the publick with their usual impartiality will give him preference in buying of his Ames' genuine almanac before any pirated edition." Revere's contributions were in both the original and this pirated edition of the almanac.</p><p><strong>References: </strong> Evans: 11961; Drake <em>Almanacs of the U.S</em>.: 3205; Brigham <em>Paul Revere's Engravings</em>: pp. 202-203; Hamilton <em>Early American Book Illustrators and Wood Engravers</em>: 56; O'Neal <em>Early American Almanacs</em>: 115 mistakenly citing Russell as publisher.</p><p><strong>Condition:</strong> Disbound; leaves are separated with a later paper reinforcement in the gutter of two leaves. Chipping to lower corners of two leaves. Scattered mostly light staining and a few spots of foxing. Good.</p><p>ICN 7815.</p> [Printed by T. & J. Fleet and Edes & Gill. Price 2s. 8d. per dozen, and six coppers single. ]
1790ST19326Amsterdam: H. Keyzer H. Gartman en W. Vermandel 1790. 555 x 345 mm. 21 7/8 x 13 3/4". 2 p.l. 62 folding plates. <br/> Attractive late 19th or early 20th century retrospective polished brown calf by L. Guétant stamp-signed in gilt on tail of spine double gilt-ruled border floral cornerpieces raised bands spine panels with scrolling floral borders and central flower ornament gilt titling. With title vignette and 62 ENGRAVED FOLDING PLATES ALL WITH BEAUTIFUL HAND COLORING AND HIGHLIGHTED WITH GOLD depicting Bible scenes from the Old and New Testament 61 of which are by Jan Luyken. A Large Paper Copy. For earlier editions: Graesse IV p. 308; Brunet III 1245-46; Klaversma & Hannema 159-164. Light rubbing to joints and edges boards just a little marked trivial foxing and faint spots here and there but A REMARKABLY FINE COPY the binding lustrous and showing little wear the paper extremely bright and fresh the margins immense and the paint and gold unusually vibrant.<br/> <br/> The marvelous illustrations of Dutch engraver and poet Jan Luyken comprise this collection of "remarkable stories" from the Bible each depicted with panoramic grandeur and enhanced with a wide range of finely applied colors and gold. Luyken 1649-1712 had written and illustrated erotic poetry as a young man but later became a devout Pietist after reading the works of German mystic Jakob Böhme. He became a member of the Baptist Church in 1673 and thereafter devoted his talents to producing religious works. The vast scenes here are notable in their scale detail and animation. There are a number of battle scenes from the Old Testament as well as dramatic depictions of the plagues and a fascinating episode from the histories of Josephus depicting Herod's soldiers being lowered down the side of a cliff in large boxes suspended from chains in order to attack the thieves hiding in caverns on the cliffside. There is a majestic portrayal of the Queen of Sheba arriving at the court of Solomon a peaceful scene of Adam naming the beasts in the Garden of Eden and a festive celebration of the Feast of Tabernacles. New Testament scenes include a terrifying final judgment a blinding conversion of St. Paul and scenes from that Apostle's travels. The engravings have one common trait: they are heavily populated whether by men or beasts and one of Luyken's special gifts is to render every person in the crowd as an individual with his own concerns and reactions to the events at hand. The engravings while already greatly pleasing in black and white are even more stirring and memorable when seen in the full color and gold used here. Expansive tableaus are given greater definition and clarity and events such as Noah’s flood and the destruction of Sodom and Gomorrah are rendered even more successful in expressing the awesome powers of the Almighty. The illustrations are quite definitely Protestant in point of view: there are no depictions of the Virgin Mary not even a Nativity scene. Except for engravings of the Annunciation to the Shepherds and the Massacre of the Holy Innocents the illustrations focus on Jesus as an adult and on the work of his Apostles spreading the gospel. There were earlier editions containing Luyken's 62 large plates which originally appeared without text as here in 1708 and they appeared again with a text in Dutch in 1729 and in French in 1732. Copies of these editions appear with some regularity in the marketplace but are usually not colored and are often found incomplete or with other major condition issues. We can trace no record in RBH or OCLC of a copy of our 1790 edition and we can find nothing that compares with the quality of coloring and grand height attained by the monumental margins seen here. H. Keyzer, H. Gartman en W. Vermandel unknown
