Recently in Acquisitions Category

On the back of the second frame is a browning sheet of paper written in a delicate hand, “Captain James West / Born / Died / My grandfather / Mary Nixon West

We believe the portrait at the top is the younger of the two. What do you think?

[above] Unidentified artist, Portrait of Captain James West (1808-1884), ca. 1840. Portrait miniature on ivory. Graphic Arts collection 2013- in process. Gift of W. Allen Scheuch II, Class of 1976

[below] Sarah Biffin (1784-1850), Portrait of Captain James West (1808-1884), 1844. Watercolor on paper. Graphic Arts. 2011- in process. Gift of W. Allen Scheuch II, Class of 1976, given in honor of Meg Whitman, Class of 1977

Koninglyke Almanach. Beginnende van ‘t jaar 1705 … &c. : waar in zeer duidelyk vertoond word De Loop der Zon des ongerechtigheids, Ofte Tooneel des Oorlogs in Europa, Behelzende de zinnebeelden der VII. Helde-Deugden …. = Almanac royal … Le cours du soleil d’injustice, ou, Theatre de la guerre en Europe … VII. vertus heroiques (Brussels: ten Koste de Compagnie van L.v.S. L.L.T. F.G. M.D. F.d.L. C.l.C. en L.d.D.B. &c., 1705). Series title: ‘t Lust-hof van Momus.

One of a series of satirical pamphlets ridiculing Louis XIV, King of France (1638-1715) and the role of France in the War of the Spanish Succession from 1701 to 1714. The imprint is a fake but the Dutch art dealer, cartographer, and engraver Carel Allard (1648-1709) is assumed to be the publisher. The plates are generally attributed to Allard, Abraham Allard and Balthasar Goris, although several institutions have also attributed them to Romeyn de Hooghe (1645-1708) a Dutch painter and printmaker remembered, in particular, for his political caricatures of Louis XIV.

In the first plate, [above right] Louis XIV is sitting in the middle of the sun with twenty-four rays. For each ray is a crime committed by the king, with verses and explanation in Dutch and French.

Peter Johann Nepomuk Geiger (1805-1880), Peter Joh. Nep. Geiger’s historische Original-Handzeichnungen bestehend in neunzig Blättern mit einem erklärenden Texte (Peter Joh. Nep. Geiger’s original historic drawings consisting in ninety leaves with an explanatory text) Herausgegeben von Anton Ziegler. [Vienna, 1861.] 6 vols, First edition, privately printed. Graphic Arts Collection 2013- in process

Using linear visual narratives, Gieger chronicles Austrian history from the Middle Ages to Archduchess Leopoldina’s 1817 arrival in Rio de Janeiro as Empress of Brazil. The work first began to appear that same year as Historische Handzeichnungen, Vienna, kaiserlich-königliche Hof- und Staatsdruckerei. Graphic Arts recently acquired a compilation of the entire set of Gieger’s history.

Peter Geiger (1805-1880) was a respected history painter and illustrator, producing popular images based on the works of Goethe, Schiller, and Shakespeare, as well as Austrian authors such as Grillparzer and Stifter. It was his work for an earlier project, Anton Ziegler’s Vaterländische Immortellen aus dem Gebiete der österreichischen Geschichte (1838-1840), which first brought him considerable public attention. Although Princeton does not own this multi-volume work, it is available through itunes. A note of caution when searching Geiger online: aside from Royal portraiture and literary illustration, he also had a lucrative business creating erotic art.

The Graphic Arts Collection recently acquired sixty German diploma specimens collected and bound into an album with the gilt title Musterbuch B. Diplome (Pattern Book B. Diploma). Each sample was printed by the company Förster & Borries in Zwickau, which is south of Leipzig. The collection highlights various techniques and mediums, including chromolithographs, collotypes, wood engravings and embossing. The largest are 60 x 48 cm (or approximately 2 feet) and many offer bold art nouveau style borders. Here are a few of the samples:

Current Princeton University diplomas are written in Latin and have the University seal but no border or decoration. Here is Ryan Truchelut, Class of 2008, with his official document.

“…Whenever I make a book,” said Amsterdam-based graphic designer Irma Boom, “I start by making a tiny one. Usually I make five, six or seven for each book, as filters for my ideas and to help me to see the structure clearly. I have hundreds of those small books and am so fond of them.”

Recently, Boom created a miniature flipbook for the Rijksmuseum, incorporating every self-portrait painted by Rembrandt Harmenszoon van Rijn. Is it, as Mark Lamster called one of her miniatures, “a big book that is paradoxically small.”

Boom established the Irma Boom Company in 1991 and the following year, joined Yale University as a Senior Critic in the School of Art. Of the 250 books she has created, approximately 70 have been acquired by the Museum of Modern Art’s Department of Architecture and Design.

“I honor the tradition of the book,” said Boom, “but do not want to stop there. My ambition is to develop the significance and the limits of the book. Structures that come from new media, the way that text and images are treated have given the book a new impulse. It is important to experiment … the book will keep its vitality. There’s a lot to explore in a technical way and even more importantly in terms of content and form. Happily through books, the past, present and future can take on profoundly contemporary results and become part of our everyday.”

Thank you to Mathieu Lommen, curator at the Special Collections department of the Amsterdam University Library, for this rare Boom treasure.

To hear the designer talk about her work, see this video from the Walker Art Center in Minneapolis:

The Vereeniging ter Bevordering van de Belangen des Boekhandels (The Association for the Promotion of Booksellers’ Interests, or, the Netherlands Book Trade Society) was founded in 1817 by a group of publishers, book wholesalers, booksellers, importers of books and book-club operators. Based in Amsterdam, its object was to “protect the common interests of booksellers and publishers and to promote cooperation in the book trade in the widest sense, in particular by laying down and administering … standards and practices for bookselling in the Netherlands.”

The Association celebrated its 75th anniversary with an international exhibition held in the Amsterdam Palace of Industry over the summer of 1892. Exhibits featured all aspects of the book trade and the show’s catalogue, pictured here, includes an especially valuable section of advertising such as the page above for the lithographic firm Tesling & Co. Here are a few examples.

Since 1985, the Brighton Press in San Diego, California, has been creating limited-edition artists’ books under the guidance of director Michele Burgess and founder Bill Kelly. Most works are collaborations between contemporary poets and visual artists, together with artisans in the fields of letterpress, bookbinding, papermaking, printmaking, and sculpture. Each work is printed by hand in small editions, signed and numbered by the artists.

Over the past three years, Kelly conceived, wrote, carved, and hand printed Duck Blind, inspired by the musicality of language. “I get an image from the sound of the metaphors,” writes Kelly, for whom the text and the image must be seen in concert.

According to the press website, Kelly studied poet Robert Pinsky’s translation of Dante’s Inferno and built his own ‘selva oscura’ (dark forest) through a series of intricate prints and word ruminations. The poetry and prose that make up the text of Duck Blind helped him carve the woodblocks so he could hear his meanings.

See also:
Snodgrass, W. D. (William De witt), 1926-2009. Lullaby. New York: Soho Press, 1987 (San Diego: Brighton Press). 1 broadside. Rare Books (Ex) Broadside Ludwig 188

Snodgrass, W. D. (William De Witt), 1926-2009. The midnight carnival. San Diego: Brighton Press, 1988. Graphic Arts Collection (GAX) Oversize 2004-0635Q

Sternberg, Harry, 1904-2001. Sternberg: a life in woodcuts. San Diego, Cal.: Brighton Press, c1991. Graphic Arts Collection (GAX) Oversize 2004-0094Q

Westphalen, Emilio Adolfo. Artificio para sobrevivir = Device for survival. San Diego, Calif.: Brighton Press, c1992. Graphic Arts Collection (GAX) Oversize 2011-0165Q

Hanzlicek, C. G. Mahler, poems & etchings. [San Diego, Calif.]: Brighton Press, c1994. Graphic Arts Collection (GAX) Oversize 2004-0004F

Alcosser, Sandra. Sleeping inside the glacier. [San Diego, Calif.]: Brighton Press, 1997. Graphic Arts Collection (GAX) Oversize 2004-0636Q

Alcosser, Sandra. Glyphs. [San Diego, Calif.]: Brighton Press, 2001. Graphic Arts Collection (GAX) Oversize 2004-0093Q

Willard, Nancy. Swimming lessons, poem. [San Diego, Calif.]: Brighton Press, 2001. Graphic Arts Collection (GAX) 2004-0113N

Everwine, Peter. Figures made visible in the sadness of time. San Diego: Brighton Press, 2003. Graphic Arts Collection (GAX) Oversize 2004-0236Q

Tyson, Ian. Ghost. San Diego, Calif.: Brighton Press, c2005. Graphic Arts Collection (GAX) Oversize 2007-0701Q

Kaschnitz, Marie Luise, 1901-1974. Grave deposits. [San Diego, CA]: Brighton Press, 2010. Graphic Arts Collection (GAX) Oversize 2012-0172Q

“If Louis XIV abandoned the traditional pubic state ceremonials of his predecessors,” writes Ralph Giesey, “he created in their stead a private, palace-centered ceremonial life for himself as grandiose as any in the annals of western European history. The cult of the Sun King, elaborated in art and architecture at Versailles and Marly and acted out in a daily ritual lived by Louis XIV for several decades, has not yet received the comprehensive study it deserves…”

“The official emblem of His Majesty is a resplendent sun shining over a terrestrial globe with the device Nec Pluribus Impar, Not Unequal to Many, which means to say His Majesty is equal to many kings. …All the world knows the image of His Majesty as Sun King from the myriad of engravings that have been printed and the host of medals issued from the mint. …”

Giesey continues, “I find myself unable to respect the classical themes in the cult of the Sun King the way I do analogous elements in his predecessor’s ceremonials—as, for example, in royal entries. Revival of the virtues of the pagan world during the Renaissance had meant a broadening of the base of humanitas in western society; Louis XIV made the pagan world seem to be an allegory of his own personal life.”

“The cult of the Sun King postulated Louis’s Divinity on a colossal scale without risking the taint of sacrilege. Louis XIV emancipated himself from old royal ceremonials that had brought the ruler together with his subjects in public forums and created in their stead rites of personality carried out in his private dwellings. L’état, c’est moi whether or not Louis XIV ever uttered those words as a motto of his political conduct, they do catch the ineffable spirit of his ritual life.”

Ralph E. Giesey, “Models of Rulership in French Royal Ceremonial,” in Rites of Power: Symbolism, Ritual and Politics Since the Middle Ages, edited by Sean Wilentz (Philadelphia: University of Pennsylvania Press, 1999). Firestone JA74 .R56 1985

“Letterpress printed on a hand proofing press. Printed in four colors (blue, black, red and yellow) on paper towels. Approximately 190 Printing forms and runs. Sewn binding. Letterpress printed pastedowns and free end pages. In letterpress printed dust jacket.”

“Since the invention of script and the printed word,” writes Hänni, “we have lost access to pictorial statements: we have become character devout. Nonetheless, we still read images. Fluent reading is based solely on prejudices. The knowledgeable rdeaer deos not pecie toghteer indaidviul chaearcrts to from wrods but peircvees wrod imeags in tiehr etitrney.”

“However, when reading images, signs and symbols, we seem to struggle, even though they also represent a source of information with a simultaneous effect on various levels. Initially, our visual perception looks for symmetry and a human face….”

The Graphic Arts Collection also acquired this catalogue about his work:

Romano Hänni, 27 Jahre Bleisatz: Romano Hänni: Handpressbüchlein 1984-2010 = 27 years hot type: Romano Hänni: Handprinted Books 1984-2010 (Basel: Romano Hänni Verlag, 2011). GAX2013- in process

The typography and illustrations in this 1924 anthology on contemporary film are by [Frederick] Arthur Wittig (1894-1962). Contributions include short essays by Heinrich Pfeiffer, E. Redslob, Alexander von Gleichen-Russwurm, Joe May, Emil Jannings, Ernst Lubitsch, Guido Seeber, Alfred Richard Mayer, Dr. Soetbeer, F. Lamp, Carl Forch, Albert Hellwig, Peter Grassmann, Aros, Gottlieb Hermes, Dr. Häentzschel, Curt Wesseling, Richard Ott, Walter Bloem, Otto Boehm, Alfred and Arthur Rosentahl Rupp.

Originally, the book was published in an edition of 500 copies, signed and numbered by Wittig. Subscribers also received an original lithography by Carl Rabus. Princeton’s rare surviving copy is unnumbered and unsigned.

In The English Metropolis, or, London in the Year 1820: Containing Satirical Strictures on Public Manners, Morals, and Amusements, the author writes:

“…When we see persons of genius and eminence stoop to such low[s], and it may even be said such dishonest expedients to beguile the public, the evil strikes at the root of future improvement. The buffooneries of a posture-master, the capers of a dancer, and the persuasions of an auctioneer, or a vender of lottery-tickets, may require the deceptious aid of a puff; but science and native genius ought never to descend from their real elevation, to decorate themselves with the rainbow hues of evanescent glory, and purchaser able praise.”

“Yet it may be proper here to inform the young student in satirical composition, that most, if not all the pretensions of our successful versifiers, and some of our prose Writers too, depend upon the reiterated puffs by which their publications have been ushered into the world.”

David Hess was a Swiss artist and soldier in the Dutch army. He conceived of a series of anti-French caricatures and negotiated with ‘Humphries’ in London to engrave and print them. This work is assumed to have been accomplished anonymously by forty-year-old James Gillray, at the height of his fame as a caricaturist, and issued in a bound edition of 1200 copies. Three years later, a new edition was released in Venice, with the descriptions translated from Dutch to Italian and printed alongside the French.

We also acquired Revolutions-Almanach von 1799 (Göttingen: Johann Christain Dieterich, 1799), in which six plates are reproduced (stolen?) in a much reduced format. Graphic Arts Collection (GAX) 2013-0210N

Years later in The Athenaeum (London, 1886) the Hess/Gillray publication was still remembered. “The French Revolution had a profound effect upon satirical art, made it fierce as well as furious, and partially renewed that savage and brutal spirit which prevailed in the lifetime of Luther and during the Thirty Years’ War. But it likewise gave new life.”

“The Revolutions - Almanack of 1799, by David Hess, has some unusually good cuts, including one on Bruderschaft in “Hollandia regenerate,” which represents the “brother of mankind” being assailed by his neighbours, who pull his hair, punch him, throttle him, tear his coat, and knock his head with a chair. Meanwhile the heraldic seven arrows are trampled underfoot and a cat tears them to pieces.”

“Hess was a clever satirist whose works must have increased many a man’s resolution to resist the new doctrines. His prints retain considerable value to this day, and should be studied by those who wish to understand the history of opinion at that time. …Of his prints against Napoleon M. GrandCarteret writes:”

“‘Souvent aussi, ces compositions, toujours bien exécuteés, voient leur intérét augmenté par le souffle de liberté qu’elles laissent entrevoir, par cette protestation d’une ame indigneé qui jette, en 1815, un cri de victoire strident, Enfin! et dès lors Hess semble considérer sa mission de combattant du crayon comme terminée.’”

A recent search on Amazon.com uncovered 105 books, videos and recordings teaching you how to win at lotto or other types of lotteries. In 1751, when Austria introduced a national lottery, there was a similar outpouring of books teaching the secret of picking numbers.

Based on the lotto di Geneva, Austria’s game consisted of 90 numbers and each one became connected with an animal or an object or an action. A person’s dreams might provide the basis of the winning number. Princeton libraries already hold several dream books used to decode dreams in order to play lotto but recently, we acquired this wall chart for the convenient study and selection of lottery numbers.

The chart has 90 squares and each one offers four images or terms connected to that number, thereby charting 360 symbols. The number 40, for example, might relate to a rooster, a flowering plant, a swimmer, or a letter.

See also:
George Wither (1588-1667), A Collection of Emblemes, Ancient and Moderne: Quickened with Metricall Illustrations, Both Morall and Divine: and Disposed into Lotteries, that Instruction, and Good Counsell, May Bee Furthered by an Honest and Pleasant Recreation (London: Printed by A. M. for Richard Royston, 1635). Rare Books (Ex) N7710 .W68 1635q

I should let the designers describe this one:
“The book pushes the boundaries of traditional print with its “augmented reality” feature, powered by the Daqri 4D platform. By downloading the free companion app for Android and iOS devices readers will be able to point the camera of their smartphone or tablet at special images and see animated 3D models appear straight from the game. You can test this out by downloading the “Journey AR viewer” and using it with the image from theartofjourney(dot)com, on “The Book” page…”

Looking at the pages through your phone or tablet, the figures move and spin; the buildings jump off the page and allow you move around them 360 degrees; and the landscapes seem to stretch beyond the horizon. I was particularly interested in the designer’s choice to create figures without arms or hands so that they could not fight, which is the usual impulse with gamers.

Bring your own phone, download the app, and enjoy.

John Ford was a bookseller and the publisher of Playford’s Choice Songs and Ayres (1673) in partnership with Thomas Collins. This unrecorded advertisement adds a little to our understanding of his activities, showing him specializing in stationery supplies for musicians. His publishing activities span only a few years, from 1671 to 1673. Ford and Collins’ other publications include Evelyn’s translation of Rapin, Of Gardens and two plays, Shadwell’s The Miser and John Wilson’s The Cheat. —Plomer, Dictionary of Booksellers and Printers 1668-1725, p.119.

See also: A.B. Méguin, Art de la réglure des registres et des papiers de musique: méthode simple et facile pour apprendre à régler: contenant la fabrication et le montage des outils fixes et mobiles, la préparation des encres et différens modèles de réglure: suivi de l’Art de relier les registres, ouvrage utile aux papetiers, imprimeurs, relieurs, etc. [Art of Ruling Records and Music Papers: A Simple and Easy Method to Learn: Containing the Manufacture and Installation of Fixed and Mobile Tools, the Preparation of Inks and Different Models of Ruling: Monitoring Art Link Registers, Useful Papermakers, Printers, Bookbinders, etc.] (Paris: Audot, éditeur, rue des Maçons-Sorbonne, no. 11, 1828). Graphic Arts Collection (GAX) 2012-0696N

In the fall of 1954, the Swiss-born photographer Robert Frank applied to the John Simon Guggenheim Memorial Foundation. He asked for a fellowship “to photograph freely throughout the United States and make a broad voluminous picture record of things American.” Frank was successful and in the summer of 1955, set out in a used Ford to photograph America.

Frank drove over 10,000 miles in the next eighteen months, shooting 767 rolls of film. 1957 and 1958 were spent developing and printing the film; selecting shots; finding the appropriate author to write an introduction (Jack Kerouac); and printing the final book, which was called Les Americains (1958) and The Americans (1959).

One of the first photographs Frank made in the summer of 1955 was “Fourth of July- Jay, New York, 1955”. That original negative has been reprinted several times over the years and in 2009 Jon Goodman used it to print 500 photogravure frontispieces for The Limited Editions Club’s printing of the Declaration of Independence.

The Declaration of Independence. Photograph by Robert Frank; afterword by David Armitage. New York: The Limited Editions Club, 2010. Graphic Arts Collection. Copy 20 of 500.

Print:
Designed by Sir John Gilbert (1817-1897); Drawn by Frederick John Skill (1824-1881) and William Walker the Younger (1791-1867); Engraved by William Walker and Georg Zobel (1810-1881); Printed by J. Brooker. The Distinguished Men of Science of Great Britain Living in the Years 1807-8. Published by William Walker, London. 4 June 1862. Stipple engraving. 65 x 111 cm (25 ½ x 44 in). Graphic Arts Collection GA2013- in process.

Book:
William Walker (1791-1867), Memoirs of the Distinguished Men of Science of Great Britain living in the years 1807-08 (London: W. Walker & Son, 1862). “Originally compiled for the purpose of accompanying the engraving of The Distinguished Men of Science of Great Britain Living in 1807-8, assembled at the Royal Institution, to which the outline at the commencement of this work is intended to serve as a key.” Graphic Arts Collection GAX 2013- in process

“We are glad to be able to inform our readers, that a large engraving has just been completed by Mr. Walker, of 64, Margaret-street, Cavendishsquare, in honour of the men of science who have done so much towards the establishment of our present commercial prosperity.”

“This work, which may well be called historical, represents fifty-one illustrious men, living in the early part of the present century, assembled in the Upper Library of the Royal Institution. The picture is divided into three groups, and comprises authentic portraits of our greatest inventors and discoverers in astronomy, chemistry, engineering machinery, and other departments of science.”

“The grouping of so large a number of figures must have been a difficult task; this has, however, been successfully accomplished by John Gilbert, the designer of the original picture, who, by a skilful combination of various attitudes, has given both grace and ease to the figures represented.”

“Among those present are Henry Cavendish (1731-1810), discoverer of hydrogen and the decomposition of water; John Dalton (1766-1844), discoverer of atomic theory; Humphry Davy (1778-1844), discoverer of sodium, potassium, barium, and magnesium; William Herschel (1738-1822), discoverer of Uranus; Edward Jenner (1749-1823), creator of the smallpox vaccination; Count Rumford (1753-1814), the American science teacher named Benjamin Thompson, who founded the Royal Institution; and James Watt (1738-1819), inventor of the steam engine.”

See: Archibald Clow, “A Re-examination of William Walker’s ‘Distinguished Men of Science’,” Annals of Science, xi (1955), pp. 183-93
and the extended essay in Oxford Dictionary of National Biography: http://www.oxforddnb.com.ezproxy.princeton.edu/view/theme/97115?backToResults=list=yes|group=yes|feature=yes|aor=8|orderField=alpha

The Graphic Arts Collection received several thoughtful gifts from Lawrence W. Ray in memory of Dr. Marion Brown and Myrtle (Jean) Williamson. Among them is a miniature copy of The Book of Common Prayer, and Administration of the Holy Communion: The Order of Publick Baptism of Infants; The Order of Confirmation; and Form of Solemnization of Matrimony, According To the Use of the Church of England (Oxford [England]: Printed at the University Press; London: Henry Frowde, Oxford University Press Warehouse, Amen Corner, 1900). Graphic Arts Collection GAX 2013- in process.

Here are two explanations of Amen Corner:

Amen Court is a short distance from Paternoster Row, where monks finished their Pater Noster (a Christian prayer) on Corpus Christi Day before walking in procession to St. Paul’s Cathedral. The ritual started at Paternoster Row, with the monks reciting the Lord’s prayer in Latin to the end of the street. When they reached the corner or bottom of the Row they said ‘Amen’.

and in an history of the Oxford Press:

“The publications of the Oxford University Press are familiar in every part of the world, but only the vaguest ideas obtain as to the Institution itself. It was with the hope of gaining more information … I called upon Mr. Henry Frowde at the Warehouse, Amen Corner. … The popular publisher to the University was born in 1841. He entered the service of the Religious Tract Society in 1857, and subsequently had considerable experience in the Bible and Prayer.”

“Book business. At the close of 1873 he was invited by the Delegates of the Press to undertake the management of their London businesses, which included the Oxford University Press Warehouse, at 7 Paternoster Row, and the binding business at Barbican. He entered upon his new duties on March 25, 1874. At that time the learned and educational publications of the Clarendon Press were issued by Messrs. Macmillan, but in June 1880, the Delegates of the Press transferred them to their own warehouse at 7 Paternoster Row, and appointed Mr. Frowde “Publisher to the University.” The publishing business was subsequently removed to Amen Corner, and the binding business to Aldersgate Street, and Mr. Frowde opened wholesale branches in Edinburgh and Glasgow.”
“Publishers of To-Day, The Oxford University Press,” in The Publisher, Volume 10, Issue 63 (1895)

incorporated into the covers lined with endpapers of the editions of the original Mallock book that I used with a base incorporating the spines of two of the old boxes.” Princeton University Library is fortunate to have acquired one of these five special bindings.

Teresia Constantia Phillips (1709-1765) was a notorious London courtesan who wrote several memoirs during her lifetime. A portrait painting by Joseph Highmore became the source for numerous engravings and mezzotints, published as frontispieces and sold individually with great success.

“It is probable that she commenced a life of intrigue at a very early age,” begins her biography in the DNB. “To avoid arrest for debt, on 11 Nov. 1722 she went through the form of marriage with a Mr. Devall, who had previously been married under another name, and with whom she never exchanged a word. According to the ‘apologist’ of Lord Chesterfield, although her amours were soon ‘as public as Charing Cross,’ she married, on 9 Feb. 1723, Henry Muilman, a Dutch merchant of good standing. In the following year Muilman managed to obtain from the court of arches a sentence of nullity of marriage, but he agreed to pay Constantia an annuity of 200l. This was discontinued upon her cohabitation at Paris with another admirer (Mr. B.). Henceforth the sequence of her adventures becomes bewildering.”

“…After many experiences in France, England, and the West Indies, she determined to blackmail her friends by publishing ‘An Apology for the Conduct of Mrs. Teresia Constantia Phillips, more particularly that part of it which relates to her Marriage with an eminent Dutch Merchant.’ A motto from the ‘Fair Penitent’ adorned the title-page of the book, which, in consequence of the difficulty of finding a bookseller, was printed for the author in parts, subsequently bound in three volumes, in 1748. A second edition was called for at once, a third appeared in 1750, and a fourth in 1761.”

See also:
Oxford scholar, The Parallel; or, Pilkington and Phillips Compared: Being Remarks upon the Memoirs of Those Two Celebrated Writers (London: M. Cooper, 1748). Rare Books (Ex) PR3619.P442 Z4683 1748

Teresia Constantia Muilman (1709-1765), A Letter Humbly Addressed to the Right Honourable the Earl of Chesterfield (Dublin: printed by George Faulkner, 1750). Rare Books (Ex) 2007-0519N

Lynda M. Thompson, The Scandalous Memoirists: Constantia Phillips, Laeticia Pilkington and the Shame of Publick Fame (Manchester, UK; New York: Manchester University Press; New York: Distributed exclusively in the USA by St. Martin’s Press, 2000). Firestone Library (F) PR756.W65 T48 2000