The binding is contemporary red goatskin with green goatskin onlay, tooled in gold. Don Etherington & Matt T. Roberts write, “at one time the most elaborate of the Restoration bindings were attributed to Samuel Mearne.” This book is no exception: his name is written in pencil on the front flyleaf. It may indeed have been bound by Mearne (1624-1683, Royal Binder starting in 1660), or perhaps by one of his apprentices. However, it more closely resembles the work of the craftsman known as Queen’s Binder B. The binding’s decorative motifs, such as the repeating image of the tulip and the so-called “drawer handle motif,” are typical of Restoration bindings.
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In memoriam.
The sphinx
The government of the tongue
The cocker : containing every information to the breeders and amateurs of that noble bird, the game cock
The riches of a hop-garden explain'd
Coloured figures of English fungi or mushrooms
Tractado de las drogas
Kreutterbuch
Cognoscite lilia agri quomodo crescant
A treatise on forest-trees
Poems, chiefly in the Scottish dialect
Tractatus de sacramentis
Regole del seminario reatino ...
De festo Cordis Jesu dissertatio Commonitoria ...
Theocritus Poetae Epigrammata
The farmer's boy.
Vie Anecdotique de Louis-Philippe.
A description of Brighthelmstone, and its vicinity.
Photographic views of interior and gardens, Forest Lodge, Ashstead, Surrey
The Faerie Queene.
The Sonnets of John Keats.
A binding of brown calf on pasteboard, tooled in gold and in blind, with painted black details