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2 p.l., xxxvii & 280; 1 p.l., 340 pages; Two volumes [1796, 1800], old tan half calf over marbled boards, shallow raised bands on spines, gilt lettered labels in black and brown, marbled endpapers, edges of the text blocks marbled to match. This set represents the first edition of a classic with illustrations by Thomas Bewick. The good news is that this set is complete, and in a binding of its time of issue. But is has suffered a bit -- the spine to the first volume has a repair in newer leather at the foot, the marbled paper coving the rear board is eroded at the bottom, and the spine repair has required that the inner hinges were strengthened with narrow exposed strips of black binder's cloth. The bindings are both worn at the tops and bottoms of the spines and the corners. Each title page has a small blind stamp from a former institutional owner at the lower corner (this small stamp in raised letters appears on one sectional title in the second volume, as well). There are faint ink accession numbers stamped on each title page. Finally, card pockets have been removed at some point, leaving damaging marks to the rear marbled endpapers. The title pages are significantly toned, and there is moderate to heavy foxing scattered throughout. Not an ideal set, but complete and sound, and priced according to its condition. .Translated by Gregory Lewis Way. The volumes were printed by Bewick's great life-long friend, William Bulmer. The printer and the great wood-engraver formed a friendship as boys in their native Newcastle. Bewick famously made a short trip to London in early youth, and did not return to the capitol until late in his life. William Bulmer, on the other hand, made his way to London as soon as his Newcastle apprenticeship allowed, where he became one of the two great printers of his age. Thomas Bewick revolutionized the illustration of books with his subtle and sensitive wood-engravings, cut against a cross-grain cut edge of boxwood. These could display significantly greater and finer detail than previous methods of woodcut illustrations used for hundreds of years previously. The Bewick blocks were sturdy and since they were inked on their face, the blocks could be incorporated into printing forms with metal type, so that a page with illustrations could be printed with its illustrations in one pass. The catch is that inking had to be done with great care, and even though the pressure required for the illustrations was much lower than, say, copper-engraved plates -- passing the pages with illustrations through the press required a light and masterly touch. And so, even though it would be a matter of great historical and social interest that William Bulmer and Thomas Bewick were friends from boyhood on, it is even more important to the quality of the unique pinnacle that Bewick's engraved woodblocks represent, that Bulmer was a master of the printer's craft, determined to work to standards that the London trade did not exceed in his time. There were two Bewick-illustrated books produced by Bulmer in 1796. The first volume of this pair of 'Fabliaux' -- and an edition of Somervile's 'Chase'. Each of these fine books had engravings by Thomas Bewick and his younger brother John (who died in 1795). The first volume of this set has the title page in its second setting (as usual, for complete sets of the two-volume issue: "Vol. I" appears at the foot of the title page, and the attribution reads" "BY M. LE GRAND" all in uppercase letters -- rather than "By.") The second volume names the translator G. L. Way (who died between the publication of the two volumes), on its title page: "Selected and translated into English verse, by the late Gregory Lewis Way, Esq., with a preface, notes and appendix, by G. Ellis, Esq." The imprint of this second volume reads: "London: Printed by W. Bulmer and Co. Cleveland Row, St. James's; and sold by R. Faulder, New Bond-Street, 1800." Some of these illustrations also display contributions by former.
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