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280 x 152 mm. (8 1/8 x 6"). 1 p.l., 43 [1] pp. VERY PRETTY DARK GREEN CRUSHED MOROCCO, ELABORATELY GILT IN PERIOD STYLE, BY RIVIERE & SON (stamp-signed on front turn-in), covers with double frames formed of floral sprigs, drawer handles, and other small tools, the frames enclosing an elegant central wreath; raised bands, spine panels densely gilt with stippling, floral tools radiating from small central flower, gilt lettering, turn-ins densely gilt with scrolling foliate tools, all edges gilt. With an attractive woodcut headpiece and tailpiece; one foliated woodcut initial. Front pastedown with the bookplate of Winston Henry Hagen and book label of William A. Strutz. Griffith 2; Rothschild 1564; Foxon P806; Day, "History of English Literature 1600-1837," pp. 73-4. Sheets uniformly a little toned because (carefully) washed, the usual offsetting on facing flyleaves from turn-ins, but a very pleasing copy--the text without signs of use, and the exceptionally pretty binding lustrous and virtually unworn. This first printing of Alexander Pope s first independent publication, called by Day "one of the most quoted poems in English," offers a sumptuous binding in the style of the period, retains its scarce original half-title, and boasts an impressive provenance. Pope (1688-1744) composed "An Essay on Criticism" early in his career, possibly when he was just 18. In this poem, which introduced several expressions now common in the lexicon, including "to err is human; to forgive, divine," and "fools rush in where angels fear to tread," Pope provides his philosophy on what makes good criticism, and, by extension, good poetry. Of it, Day writes: "no one can claim originality for the content of 'Essay on Criticism,' but all must admit the incomparable mastery of verse and language." This copy retains the half-title which is often missing, primarily because it was often used as part of the volume's wrappers. (Our copy does lack the final leaf of ads, as almost always with copies of this edition.) The strikingly attractive binding, done in an elaborately gilt style reminiscent of a Roger Payne design, is the work of Riviere, one of the foremost names among English binderies. Our copy has belonged to two notable collectors. According to Dickinson, Hagen (1859-1918) was a collector whose library, especially strong in English literature, "reflected a highly developed intelligent connoisseurship." Beverly Chew wrote in the foreword to the catalogue for the Hagen sale (at Anderson Galleries, 13 May 1918) that the library, which featured high spots bought at the Lefferts and Poor sales, "was one of the best ever submitted to the public at auction." William A. Strutz (1934-2024) was a North Dakota attorney and passionate bibliophile who assembled a library of over 15,000 rare and important literary works. Our first printing of "Essay on Criticism" is not easy to find in the attractive condition seen here.
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