The Lyell Lectures 2015 are given by Professor Michael F. Suarez, S.J., under the general title The Reach of Bibliography: Looking Beyond Letterpress in Eighteenth-Century Texts.
28 April: ‘Engraved Throughout: Pine’s Horace (1733) as a Bibliographical Object’. Video podcast, link here.
30 April: ‘True Colours: A Natural History of Louis Renard’s Poissons (1719)’. (Link to podcast)
5 May: ‘Proliferating Images: Diagrams of the Slave Ship Brookes (1789)’. (Link to podcast)
7 May: ‘Singular Multiples: Comprehending the General Evening Post (1754–86)’. (Link to podcast)
12 May: ‘Naming Names: Underwriting Patronage in Tonson’s Cæsar (1712)’. (Link to podcast)
14 May: ‘Abridging Histories: Capt. James Cook and the Voyages of Reading (1784–)’. (Link to podcast)
The natural history of Carolina, Florida, and the Bahama Islands: containing the figures of birds, beasts, fishes, serpents, insects and plants: particularly the forest-trees, shrubs, and other plants, not hitherto described, or very incorrectly figured by authors. Together with their descriptions in English and French.
MDCCLIV. | London: : Printed for C. Marsh, in Round Court in the Strand; T. Wilcox, over-against the New Church, in the Strand; and B. Stichall in Clare-Court.
Vol. II, p. 15, ‘The great Hog-Fish/Le grand Pourceau’. Bodleian Arch. Nat. Hist. M. 5
The Gazetteer and London Daily Advertiser. Number 9883. Thursday, December 18, 1760. Bodleian Johnson a.122
An engraved picture plate from Caesar’s Commentaries (1712) published by Jacob Tonson the elder shows the arms of Simon Harcourt (1661-1727), Lord Chancellor in 1713. For the Harcourt family papers, see Bodleian Western Manuscripts collection
Silius Italicus, The second Punick war (1661), translated by Thomas Ross, was dedicated to Charles II. The captions to the numerous plates honoured prominent loyalists. (Bodleian Mason I 228)
Bodleian Vet. A4 e.2816 and Vet. A4 e.350, two different pirated editions of Daniel Defoe’s satirical poem, Jure Divino. The edition on the left was actually published before the official folio edition. The frontispiece is the portrait of Defoe originally engraved for Defoe’s Works in 1703, and here copied (in woodcut for the abridged version on the right). The frontispiece of the legitimate folio edition of Jure Divino was a different portrait.