HERRICK, Robert (1591-1674). Hesperides; or, The Works both humane and divine . London: John Williams and Francis Eglesfield, 1648. 2 parts in one volume, 8° (167 x 99mm). Engraved frontispiece portrait by William Marshall woodcut device of a crown on title. With the errata leaf, and separate title page to "His Noble Numbers" dated 1647. (Portrait slightly affected by tiny holes and skilfully restored at blank margins, O2, O7 and T4 slightly discoloured and possibly supplied from another copy, some page numerals slightly cropped, occasional soil marks and light marginal waterstains.) Later 19th-century grained calf, sides with single gilt fillet, flat spine ruled, lettered and dated in gilt and with decoration in blind (lower joints worn). Provenance : Edward Farr (contemporary inscription on blank verso of final leaf); (?)his commendation of 'The Weeping Cherry' on B4v, occasional scoring, and minor textual corrections to poems on G6r, K4v, N3r, N4 and 2B3v -- JOHN RUSKIN (1819-1900), with his manuscript notes, scoring and underlining in both pen and pencil, and Brantwood bookplate. RUSKIN'S COPY OF THE FIRST EDITION, first issue with uncancelled leaves C7, M8 and O8. As Herrick ranks among the finest of lyric poets, it is fascinating that this copy of the Hesperides should have annotations by the arbiter of 19th-century aesthetic taste. The index that Ruskin has compiled in pen and pencil over 3 of the blank end pages forms a guide to the subjects whose poetic treatment he particularly admired. Many passages in the text are correspondingly scored or underlined, and there are also some deletions, indicating Ruskin's prudery as well as his taste for Herrick's verse. Besides the scoring and underlining, there are occasional annotations and cross references in the text itself. 'Corinna's going a Maying' is 'lovely,' and the close of the final stanza 'Horatian,' 'His Poetrie his Pillar' consists of 'quiet unaccented iambas,' a hand sketched on both H7v and H8r points to the poems 'To the Rose. Song' and 'Upon a Painted Gentlewoman,' comparison is drawn between 'Oberon's Feast' and 'Oberon's Palace,' the marked passages on K6v are dated '24th Jan 85,' a passage in 'The Mad Maids Song' is 'curious,' 'A Prognostick' on lawyers is 'low,' a couplet on 'Fame' receives a baffled '?' while the first verse of 'The Poet loves a Mistress, but not to marry' receives a treble '???' Almost all Ruskin's attention is devoted to the Hesperides , and there is a minimal amount of scoring in the Noble Numbers . There was no subsequent edition of the poems until 1810. Grolier English 29; Grolier Wither to Prior 441; Hayward 95; Pforzheimer 468; Wing H1596, H1597.
HERRICK, Robert (1591-1674). Hesperides; or, The Works both humane and divine . London: John Williams and Francis Eglesfield, 1648. 2 parts in one volume, 8° (167 x 99mm). Engraved frontispiece portrait by William Marshall woodcut device of a crown on title. With the errata leaf, and separate title page to "His Noble Numbers" dated 1647. (Portrait slightly affected by tiny holes and skilfully restored at blank margins, O2, O7 and T4 slightly discoloured and possibly supplied from another copy, some page numerals slightly cropped, occasional soil marks and light marginal waterstains.) Later 19th-century grained calf, sides with single gilt fillet, flat spine ruled, lettered and dated in gilt and with decoration in blind (lower joints worn). Provenance : Edward Farr (contemporary inscription on blank verso of final leaf); (?)his commendation of 'The Weeping Cherry' on B4v, occasional scoring, and minor textual corrections to poems on G6r, K4v, N3r, N4 and 2B3v -- JOHN RUSKIN (1819-1900), with his manuscript notes, scoring and underlining in both pen and pencil, and Brantwood bookplate. RUSKIN'S COPY OF THE FIRST EDITION, first issue with uncancelled leaves C7, M8 and O8. As Herrick ranks among the finest of lyric poets, it is fascinating that this copy of the Hesperides should have annotations by the arbiter of 19th-century aesthetic taste. The index that Ruskin has compiled in pen and pencil over 3 of the blank end pages forms a guide to the subjects whose poetic treatment he particularly admired. Many passages in the text are correspondingly scored or underlined, and there are also some deletions, indicating Ruskin's prudery as well as his taste for Herrick's verse. Besides the scoring and underlining, there are occasional annotations and cross references in the text itself. 'Corinna's going a Maying' is 'lovely,' and the close of the final stanza 'Horatian,' 'His Poetrie his Pillar' consists of 'quiet unaccented iambas,' a hand sketched on both H7v and H8r points to the poems 'To the Rose. Song' and 'Upon a Painted Gentlewoman,' comparison is drawn between 'Oberon's Feast' and 'Oberon's Palace,' the marked passages on K6v are dated '24th Jan 85,' a passage in 'The Mad Maids Song' is 'curious,' 'A Prognostick' on lawyers is 'low,' a couplet on 'Fame' receives a baffled '?' while the first verse of 'The Poet loves a Mistress, but not to marry' receives a treble '???' Almost all Ruskin's attention is devoted to the Hesperides , and there is a minimal amount of scoring in the Noble Numbers . There was no subsequent edition of the poems until 1810. Grolier English 29; Grolier Wither to Prior 441; Hayward 95; Pforzheimer 468; Wing H1596, H1597.
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.jpg "Source: Christie's")
.jpg "Source: Christie's")
