{"id":9515,"date":"2024-08-22T15:22:13","date_gmt":"2024-08-22T15:22:13","guid":{"rendered":"https:\/\/www.typeandforme.com\/?p=9515"},"modified":"2024-08-22T15:29:50","modified_gmt":"2024-08-22T15:29:50","slug":"thomas-bewick-a-history-of-british-birds-1809-handsome-regency-binding-695","status":"publish","type":"post","link":"https:\/\/www.typeandforme.com\/index.php\/2024\/08\/22\/thomas-bewick-a-history-of-british-birds-1809-handsome-regency-binding-695\/","title":{"rendered":"Thomas Bewick: A History of British Birds, 1809 – handsome Regency binding. \u00a3695"},"content":{"rendered":"\n\n\n\n\n

THE FIRST ONE-VOLUME EDITION OF\u00a0BRITISH BIRDS<\/em>, PRINTED ON A THIN PAPER<\/strong>
WHICH \u2018TOOK AN EXCELLENT IMPRESSION FROM THE BLOCK\u2019, IN A HANDSOME REGENCY BINDING<\/strong><\/p>\n\n\n\n


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BEWICK, Thomas.<\/strong> A History of British Birds … Part I. <\/em>Containing the History and Description of Land Birds <\/em>[\u2013 <\/em>Part II. Containing the History and Description of Water Birds<\/em>].<\/em> Newcastle: Edward Walker for T. Bewick \u2018sold by him, and Longman and Co., London\u2019, 1809. <\/p>\n\n\n\n

2 parts in one volume, octavo in 4s (213 x 131mm), pp. I: [i]-xlii (title, verso blank, preface, \u2018Introduction to the History of British Land Birds\u2019, \u2018An Explanation of the Technical Terms Used in this Work\u2019, \u2018Contents of the First Part\u2019, \u2018Contents of the Second Part\u2019), [43]-327, [1 (illustration)]; II: [i]-xviii (title, verso blank, preface, \u2018Introduction to the History of British Water Birds\u2019), [19]-360, [1]-8 (\u2018Books in the Press, and Other Works Published by Sharpe and Hailes, Opposite Albany, Piccadilly\u2019).\u00a0Wood-engraved title-vignettes, head- and tailpieces, and illustrations, some full-page, all by and after Bewick. (Some scattered spotting and offsetting due to paper stock (vide infra<\/em>), occasional light marking, a few ll. with small marginal chips.)\u00a0Contemporary British straight-grained green roan gilt [?for Sharpe and Hailes], boards with borders of double gilt rules enclosing gilt foliate roll, panel of single gilt rules with elaborate foliate cornerpieces, sides with curved gouges enclosing blind palmette tools, flat spine gilt in compartments, lettered directly in one, others with elaborate gilt decoration, lettered directly with the imprint at the foot of the spine, board-edges ruled in gilt, gilt-ruled turn-ins, all edges gilt, green silk marker. (Spine faded, some rubbing and scuffing, causing small superficial losses, corners bumped.) A very good copy in a contemporary Regency binding.\u00a0Provenance<\/em>: Elizabeth Bligh (early ownership signature on front flyleaf) \u2013 \u2018d. P.0<\/sup>\u00a0a0<\/sup>\u00a0d0<\/sup>\u00a01818\u2019 ([?]purchase note dated 1818 on front flyleaf) \u2013 Raymond Emil Maddison (1931-2003, engraved armorial bookplate and pencilled ownership signature on upper pastedown; a few pencilled notes).
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Fourth edition of Land Birds<\/em> and third edition of Water Birds<\/em>, <\/strong>and the first one-volume edition of A History of British Birds<\/em>. <\/strong>Bewick (1753-1828) was the son of a tenant farmer in Cherryburn, Northumberland, and grew up in the Northumbrian countryside, where he became known among his neighbours for his artistic abilities. In 1767 he was apprenticed to the engraver Ralph Beilby (1743-1817), which entailed a move to the city in order to lodge with his master. After completing his apprenticeship in 1774, during which he developed the skills as a wood-engraver for which he became famous, Bewick spent some time working in Newcastle and then London. Finding the capital disagreeable, Bewick returned to Newcastle and on 17 September 1777 signed an agreement to enter into a partnership with his erstwhile master, Ralph Beilby. The following thirteen years saw the partnership produce a large number of illustrations for books and other purposes, in the course of which Bewick and Beilby planned the first of their works on natural history \u2013 A General History of Quadrupeds<\/em>. In his posthumously published Memoir<\/em>, Bewick recalled that, while he drew the animals and then engraved his drawings in order to illustrate the work, \u2018Mr. Beilby, being of a bookish or reading turn, proposed, in his evenings at home, to write or compile the descriptions. With this I had little more to do than furnishing him, in many conversations and by written memoranda, with what I knew of animals, and blotting out, in his manuscript, what was not truth. In this way we proceeded till the book was published in 1790\u2019 (A Memoir of Thomas Bewick, Written by Himself<\/em> (Newcastle-upon-Tyne and London, 1862), p. 146). A General History of Quadrupeds<\/em> was an immediate success, and it would reach seven editions, selling some 14,000 copies. <\/p>\n\n\n\n


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The success of their first collaboration encouraged the two partners to begin work in 1791 on a new book:\u00a0A History of British Birds<\/em>. The work was divided into two parts (dealing with land birds and water birds), and the first volume,\u00a0Land Birds<\/em>, was, once more, written by Beilby and illustrated by Bewick. The wood-engravings for the work comprised not only the illustrations of the species, but also numerous vignettes of daily life in the form of tail-pieces, since \u2018as instruction is of little avail without constant cheerfulness and occasional amusement, I interspersed the more serious studies with\u00a0Tale<\/em>-pieces of gaiety and humour; yet even in these seldom without an endeavour to illustrate some truth or point some moral\u2019 (T. Bewick,\u00a0History of British Birds<\/em>\u00a0(Newcastle and London, 1826), I, p. [iii]).\u00a0Land Birds<\/em>\u00a0was published in 1797 to great acclaim, but that year also saw Bewick\u2019s dissatisfaction with the partnership reach a level which led to its dissolution (the book\u2019s publication had been preceded by a last-minute disagreement about whether Beilby\u2019s name should appear on the title-page as the author). Therefore, responsibility for the second volume,\u00a0Water Birds<\/em>, fell entirely on Bewick\u2019s shoulders, who drew upon the books of\u00a0Pennant, Willughby, Buffon, and other contemporary ornithologists. He was also\u00a0assisted in writing the descriptions of the birds by the Reverend Henry Cotes and others, while the creation of the illustrations was undertaken with the assistance of Bewick\u2019s apprentices.\u00a0<\/p>\n\n\n\n


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Water Birds<\/em> was published in 1804, thus completing A History of British Birds<\/em>, and although \u2018the text of the work contains little of originality or importance\u2019, its \u2018great popularity [arose] solely from the brilliance and \ufb01delity of the woodcuts […]. The success of the History of British Birds<\/em> was immediate and complete; six editions were issued in Bewick\u2019s lifetime […]. The Birds<\/em> marked Bewick\u2019s high-water mark as an artist\u2019 (Mullens and Swann, pp. 62-63). As Jenny Uglow notes, \u2018Water Birds<\/em> crowned Bewick\u2019s achievement\u2019 (Nature\u2019s Engraver: A Life of Thomas Bewick<\/em> (London, 2006), p. 306), and A History of British Birds<\/em> was remarkable for its impact on British literary and visual culture over the following centuries; among the many influenced by Bewick were Wordsworth, who praised \u2018the genius of Bewick\u2019 in \u2018The Two Thieves\u2019 (1800); Alfred Lord Tennyson and Charles Kingsley, who were enthusiastic juvenile readers, as was Charlotte Bront\u00eb, whose Jane Eyre <\/em>would open with the eponymous heroine reading A History of British Birds<\/em>; and the young Beatrix Potter, who copied Bewick\u2019s engravings of animals. Bewick\u2019s fellow natural historians were similarly laudatory, and John James Audubon\u2019s Ornithological Biography, or An Account of the Habits of the Birds of the United States of America<\/em> (Edinburgh, 1835) <\/em>includes \u2018Reminiscences of Thomas Bewick\u2019, which narrates his meetings with Bewick while travelling through England, and concludes   \u2018My opinion of this remarkable man is, that he was purely a son of nature, to whom alone he owed nearly all that characterized him as an artist and a man. Warm in his affections, of deep feeling, and possessed of a vigorous imagination, with correct and penetrating observation, he needed little extraneous aid to make him what he became, the first engraver on wood that England has produced\u2019 (vol. III, pp. 303-304). <\/p>\n\n\n\n

This present edition published in 1809 comprised 1,500 copies, and it was the first to be published in one volume, combining the fourth edition of Land Birds<\/em> and the third edition of Water Birds<\/em>, based on the texts of the preceding editions with minor revisions and editions. Roscoe notes that this edition was printed on \u2018a very thin and rather poor paper\u2019 which was, however, \u2018from the point of view of an artist anxious to show his work to the best advantage, more satisfactory than most of the papers previously used \u2013 it took an excellent impression from the block\u2019 (p. 88). Bewick had evidently taken great trouble over the book and was pleased with the results, writing that \u2018the prints in that Edition, look better than any that were done before \u2013 but this would not have been the case, if I had not overlook\u2019d the printing of the Book & insisted upon the pressman\u2019s doing as I wished\u2019 (quoted in Tattersfield). These efforts seem to have been appreciated by his readers, and Tattersfield comments that \u2018[a]s evidence of its popularity, copies of this edition are comparatively scarce and rarely occur in fine condition\u2019.<\/p>\n\n\n\n


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This copy is in a handsome Regency binding, executed between the book\u2019s publication in 1809 and 1818, when a note of that date was written on the front flyleaf. Unusually, it has an eight-page catalogue of books published by Sharpe and Hailes of London bound in at the end of the volume. The bookselling and publishing partnership of John Sharpe and N. Hailes seems to have been established in c<\/em>. 1806 and they gave their address as \u2018opposite Albany, Piccadilly\u2019 in the imprint of Thomas Secker\u2019s Family Sermons<\/em>, which they issued in 1810. On the evidence of other imprints, the partnership remained in Piccadilly until at least 1814, but the structure seems to have changed by 1818, when William Bingley\u2019s Biographical Conversations on the Most Eminent & Instructive British Characters<\/em> was published with the imprint \u2018printed for John Sharpe, at Haile\u2019s Juvenile Library, London Museum, Piccadilly\u2019. Since Sharpe and Hailes are not known to have published any of Bewick\u2019s books, it seems most probable that they were the booksellers who retailed this volume, raising the possibility that it was bound for them (the quality of the binding indicates that it was the work of a London binder rather than a provincial workshop). Certainly, on p. 7 of the present catalogue it states that volumes in the \u2018Biographical Notices\u2019 series \u2018may […] be had elegantly bound in Calf, or in Morocco Leather, of any Colour. And separate Authors are constantly kept in a variety of Bindings, at 186, opposite Albany, Piccadilly\u2019.<\/p>\n\n\n\n

Mullens and Swann, p. 63; Roscoe 20; Tattersfield TB 1.18.<\/p>\n\n\n\n

\u00a3695<\/strong><\/p>\n\n\n\n


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