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LOVEL. HENRY - A medieval chirograph manuscript - 1259.
An esteemed 13th century Royal cook.
In the household of Eleanor of Provence, Queen of England, consort of King Henry III, c.1223-91.
The manuscript is very fine vellum. 242 x 253mm. 24 lines, in a handsome book-hand medieval script in Latin. Indented chirograph deed cut in two proven parts, with one part given to each party. Without a seal. 2 small wormholes, folds, slightly creased, small stain, slightly browned but in remarkable condition bearing in mind the date; 1259. Housed in a strong cardboard folder with marbled paper and large label.
- A charter agreement between Hugh Gernegan and Henry Lovel, the greatly favoured cook of her ladyship the Queen. Hugh has demised to Henry his manor of 'Harpefeld' (actual now: Harpsfield, Hatfield, Hertfordshire) with all its tenants' homages, lands and services; also referring to a rent in St. Albans. as received from Hugh and Ela his wife to farm [lease] for four years from the feast of All Saints to Henry III on 1st. Nov. 1259, for ten marks [£6 13s. 4d.] a year, payable in the King's hall at Westminster. Witnesses: Sir William de Hecham, Robert de Ehelniaresford and others. Quite how Henry Loval came to receive the contents of this charter is not known. Another great gift from the King to Henry Lovel is also mentioned in the Fine Rolls of Henry III. - "5 November 1256, For Master Henry Lovel. The king has granted by his charter to Master Henry Lovel, the queen's cook, a certain place at Crochefeld' in the parish of Bray which contains ten acres and the fourth part of one acre by the king's perch of 20 feet to have to him and his heirs forever, rendering therefor 41d. per annum to the bailiff of Bray who shall be at that time for the king's use for all service etc." We see here that Lovel was already relatively very well-off even before the receiving the contents of the velum manuscript above. - The fine rolls in the reign of King Henry III 1216–1272, was an agreement to pay the king a sum of money for a specified concession. The rolls on which the fines were recorded, provide the earliest systematic evidence of what people and institutions across society wanted from the king and he was prepared to give. The earliest surviving rolls compiled by the English royal chancery exist in almost continuous sequence from 1199. They are preserved in The National Archives at Kew. For Henry III’s reign there are fifty-six rolls, as this one also, are written in Latin on parchment. Since Henry’s regnal year began on 28 October, each roll runs from 28 October in one calendar year to 27 October in the next. Over the course of the King's reign the rolls expanded greatly in length, many having a dozen or more membranes and containing over 30,000 words. They open a large window onto the politics, government, economy and society of England in the hinge period between the establishment of Magna Carta at the start of Henry’s reign and the parliamentary state which was emerging at its end. Eleanor of Provence (c. 1223 – 24/25 June 1291) was a French noblewoman who became Queen consort of England as the wife of King Henry III from 1236 until his death in 1272. She was married at 14 years old. She served as regent of England during the absence of her spouse in 1253 who was away fighting in France. (It was also rumoured that at this time Eleanor granted Henry Lovel a small forested estate). Although she was completely devoted to her husband, and staunchly defended him against the rebel Simon de Montfort, 6th Earl of Leicester, she was very much hated by the Londoners. This was because she had brought many relatives with her to England in her retinue; these were known as "the Savoyards", and they were given influential positions in the government and realm. On one occasion, Eleanor's barge was attacked by angry Londoners who pelted her with stones, mud, pieces of paving, rotten eggs and vegetables. Eleanor had five children, including the future King Edward I of England. She also was renowned for her cleverness, skill at writing poetry, and as a leader of fashion. In 1272 Henry died, and their son Edward became king. She remained in England as queen dowager, and raised several of her grandchildren. She retired in 1286 to Amesbury Priory in Wiltshire, eight miles north of Salisbury. Eleanor died on 24/25 June 1291 at the priory and was buried there. The site of her grave is unknown, making her the only English queen without a marked grave. Her heart was taken to London where it was buried at the Franciscan priory of Greyfriars. It is not recorded when Henry Lovel's period of service started or finished in the Royal kitchens. What is clear, is that he must have been very highly regarded as a servant and cook. He brings to mind Patrick Lamb, another famous royal cook, whose fine cookery book of 1710 (ref:# 11025 on this web-site) mirrors the same royal patronage that elevated Henry Lovel's position in life. Check online; Item # 56 in the Fine Roll C 60/54, 41 Henry 111 -- https://frh3.org.uk/content/calendar/roll_054.html.

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Antiquarian category

ref number: 11050

Soyer. Alexis Benoit - A rare item of ephemera
An invitation card to the Dublin Soup Kitchen, signed by Soyer.
The cardboard invitation measures approx. 2"x3" It states: Soyer's Model Kitchen. For the Poor. Royal Barracks Esplanade. Admit (in manuscript [??] Jones) & Family. to the opening on Monday 5th April 1847. at half past 2 oClock. Within a simple decorated line border. Soyer's signature in blue ink at the bottom right hand corner.
Also enclosed are a two interesting articles copied from Irish newspapers, reporting on Soyers soup kitchens. Housed in a neat cardboard, marbled folder with a label on the front cover. An extremely rare item of Soyer ephemera.
- George Augustus Sala, on meeting Soyer in the Hungerford Market recalls, -- He wore a kind of paletôt of light camlet cloth, with voluminous lapels and deep cuffs of lavender watered silk; very baggy trousers, with lavender stripes down the seams; very shiny boots and quite as glossy a hat; his attire being completed by tightly-fitting gloves, of the hue known in Paris as 'beurre frais' — that is to say, light yellow. All this you may think was odd enough; but an extraordinary oddity was added to his appearance by the circumstance that every article of his attire, save, I suppose, his gloves and boots, was cut on what dressmakers call a "bias," or as he himself, when I came to know him well, used to designate as "à la zoug-zoug". He must have been the terror of his tailor, his hatter, and his maker of cravats and under-linen; since he had, to all appearance, an unconquerable aversion from any garment which, when displayed on the human figure, exhibited either horizontal or perpendicular lines. His very visiting-cards, his cigar-case, and the handle of his cane took slightly oblique inclinations. This explains precisely why this invitation card on offer here is such an odd shape; it is "à la zoug-zoug". After the Soup Kitchen Act was introduced on January 25th 1847, Soyer was invited by the Government and funded by private subscriptions, to go to Ireland during the winter of 1847 while the Great Famine was raging. The Soup Kitchen was set up on the banks of the Liffey in front of the Royal Barracks, Dublin. The wooden dining room was forty foot long by thirty feet wide. Soyer's soup was cooked and served from a 300 gallon boiler that looked like a traditional steam engine. It also had an oven at the end to bake one hundred-weight of bread at a time. The soup bowls were stuck to the table and the spoons were chained to the bowls. One hundred ate their soup with relish (according to the newspapers) then left when a bell rang, followed by another hundred who came in for their soup and piece of bread. The food was also conveyed by vehicles to distant outlying areas, for infants, the sick and the aged. Newspapers report that on the day of opening the Kitchens to the poor, the Lord Lieutenant of Ireland and other notables were invited to view the Kitchens and Dining room. This invitation card is for one of those guests on that occasion. This Gala opening also caused some outrage in some newspapers, due to the undignified way the poor had to eat the soup in front of the privileged Guests. Never the less Soyer's kitchen was successful and his services were retained by the Relief Commissioners. In the midst of much publicity, Soyer opened a number of 'model' Kitchens in Dublin. Under the Act, soup kitchens were to be established in each of the electoral divisions. By July 1847, 1,850 Soup kitchens were in operation feeding over 3 million people throughout Ireland. Soyer, long gone by this time, received a beautiful snuff box amid great fanfare before his departure.

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Ephemera category

ref number: 10991

David. Elizabeth - A signed copy and with a postcard addresed to E.D.
An Omelette and a Glass of Wine
ELIZABETH DAVID. An Omelette and a Glass of Wine JN A Jill Norman book ROBERT HALE. LONDON
FIRST EDITION. 1984. Front paste-down and end paper with illustrations. [1] Half-title with signature of Author. Frontispiece of E.D. in her Kitchen. Title page. [1] 1pp. Dedication. [1] 7-8 Contents. 9-18 Introduction. 19-309. 310-318 Index. [3] back end paper and paste-down with illustrations. As new, black original cloth boards and spine with gilt lettering. As new D/W. Internally as new. Many in-text illustrations. Immaculate condition. The in-text drawings by Marie Alix. On the front cover of the D/W is a copy of the famous painting of coloured eggs in an earthenware dish by Clark Morris - 1944. Also enclosed is a postcard of Beirut, posted in Menton to Mrs Elizabeth David - 1958. Signed 'love Lett' who was Clark Morris's partner informing her that he is arriving at London airport on the 16th. Further on he invites her to come to B.E. to sit and eat Koubbi, Tabbouli, Labne and Moutabel with Arat. In excellent condition.
- Elizabeth David passed away in 1992; leaving behind an array of masterfully written articles and essays written for The Spectator, Gourmet magazine, Vogue and The (London) Times etc. The majority of them were penned during the 1940's and 50's.. An Omelet and A Glass of Wine is a collection of those essays she collated and incorporated into this book. When reading it, one gets a real sense of her prolific output and her marvelous style as a writer, that garnered over the years, so may devotees. There was only 2000 copies published of this the first edition. As it is also signed and with the interesting piece of ephemera, it becomes altogether a rare E.D. item.

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Modern category

ref number: 11003

Soyer. Elizabeth Emma [nee Jones] - Drawn by the artist when she was fifteen
An Original Drawing.
Exquisite black crayon period portrait of older man seated. Wearing a jacket with wide lapels, a waistcoat and a white neck-scarf. Identity of the sitter unknown. Signed by Emma Jones and dated 1828.
Actual Drawings - 7.5"x 9" = 190 x 228mm. Frame - 11.5 "x13" = 292 x 330mm. Sympathetically mounted on a dark green/grey cardboard backing with glass fronted, gold brushed frame. The edges of the paper slightly cracked but altogether nicely aged. Overall a very rare and handsome item.
- Elizabeth Emma Jones was born in London - 1813. In 1836 she married Alexis Benoist Soyer the famous Chef de Cuisine of the Reform Club, Pall Mall, London. She died on the 29th of August, 1842, aged twenty-nine. Miss Emma Jones acquired the rudiments of her vocation under the guidance of Mons. Simonau, a Flemish artist, who subsequently became her step-father. She showed talent from a very young age and first exhibited at the Royal Academy in 1823, at barely ten years old. This highly accomplished artist focused on portraiture and studies of nature. Her works were popularised through engravings and she went on to exhibit at the Paris Salon from 1840-42. Her reputation in France stood higher than even her native country. She was regarded as unusual and precociously gifted. Her works were admired because they were said to have been marked by great vigour and breadth of light and shadow. This can be seen in the portrait on offer here. Astonishingly, it was completed when she was just fifteen years old and shows a great degree of artistic maturity. The famous portrait of her husband Alexis Soyer wearing his beret, (see below) is a stipple engraving by Henry Bryan Hall originally from a drawing by Emma. It is housed in the National Portrait Gallery. Notwithstanding Madame Soyer's death at such a young age she was a prolific artist who left behind upwards of 400 paintings, which received commendations of the highest character. Soyer's already bright reputation was considerably enhanced by his marriage to Emma. While he was in a meeting in Belguim with the king, Emma became very frightened during a severe thunderstorm and she had a miscarriage and died. Soyer was distraught and never forgave himself for his absence, not even when, in 1850, receiving a letter from Alexis Lemain claiming to be his son - the result of an early liaison in Paris - he accepted paternity. Emma and Soyer are both buried together at Kensal Green cemetery. As of August 2008, Emma and Soyer's impressive but weather-beaten monument has been granted public money for a complete renovation, to be started by the October of that same year. The plot holds four bodies. Besides Alexis and Emma there is Francois Simonau (1859) the artist, mentor and stepfather to Emma mentioned above. Then finally a Lady Watts (1929) who was Francois Simonau's grand niece. Emma (Soyer) Jones's paintings and drawings are very rare and seldom appear at auction or on the market.

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Ephemera category

ref number: 11091

Soyer. Elizabeth Emma [nee Jones] - Drawn by the artist when she was fifteen
An Original Drawing.
Exquisite black crayon period portrait of an old man seated. Wearing a peaked cap, high necked waistcoat, small knotted neckerchief and a jacket with wide lapels. Identity of the sitter unknown. Signed by Emma Jones and dated 1828.
Actual Drawings - 7.5"x 9" = 190 x 228mm. Frame - 11.5 "x13" = 292 x 330mm. Sympathetically mounted on a dark green/grey cardboard backing with glass fronted, gold brushed frame. The edges of the paper slightly cracked but altogether nicely aged. Overall a very rare and handsome item.
- Elizabeth Emma Jones was born in London - 1813. In 1836 she married Alexis Benoist Soyer the famous Chef de Cuisine of the Reform Club, Pall Mall, London. She died on the 29th of August, 1842, aged twenty-nine. She showed talent from a very young age and first exhibited at the Royal Academy in 1823, at barely ten years old. This highly accomplished artist focused on portraiture and studies of nature. Her works were popularised through engravings and she went on to exhibit at the Paris Salon from 1840-42. Her reputation in France stood higher than even her native country. She was regarded as unusual and precociously gifted. Her works were admired because they were said to have been marked by great vigour and breadth of light and shadow. This can be seen in the portrait on offer here. Astonishingly, it was completed when she was just fifteen years old and shows a great degree of artistic maturity. The famous portrait of her husband Alexis Soyer wearing his beret, (see below) is a stipple engraving by Henry Bryan Hall originally from a drawing by Emma. It is owned by the National Portrait Gallery. The first picture below is a self-portrait drawn by Emma.

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Ephemera category

ref number: 11092

Farley. John & Co-Partners. - Superlatively rare, signed by Farley and two other directors.
An original Indenture for the London Tavern signed by John Farley the famous cook.
Signed individually by all parties, for “ a new partnership in the trade and business of a Vintner of and in the said House and Tavern called the London Tavern in Bishopsgate Street aforesaid for the Term of Seven Years”.
Two large vellum membranes - 711 x 838mm. Folded in typical indenture folds for filing and storage with top outer part showing in fine ink script, dated 1800 and Farley, Terry and Peacock’s names and their ‘Articles of Co-Partnership’. The exterior fold has some light soiling and browning to one outer edge where its has been stored on a shelf for many years, but internally its very clean. The beginning of the indenture has a large elaborate heading in ink and a good cursive hand is evident throughout the whole manuscript. The signatures of Farley, Terry and Peacock are at the bottom, each with a small red seal. Overall an excellent item.
- John Farley was the well-known Head Cook of the London Tavern whose famous cookery book ‘The London Art of Cookery’ was first published in 1783. When he started and finished his tenure there is hard to establish. We do know that his time at the London Tavern extended for many years, and he played a large role in its fine reputation and success. In The Old Bailey trial accounts for the 16th September 1795, it is recorded that a man, Clark Hillard, was indicted on August the 4th for stealing from the London Tavern. The accusers, named as the directors of the Tavern, were John Bleadon, John Farley, Edward Terry and John Henry Peacock. Five years later John Bleadon has left and the three remaining directors have re-applied for, and been granted this Vintner’s licence on August 8th 1800, for a period of seven years at a cost of £1500.oo per annum. The document further states that the directors were fined £400.oo for letting the licence lapse on the June 29th of the same year. It appears the variance in lapse dates happened because John Bleadon had stepped down as a director. The license also notes that if there is going to be a change in the future Vintners partnership it should be done by the fourth year of its term. In John Timb’s book ‘Club Life of London’ we are informed The London Tavern was re-built on the western side of Bishops-gate Street Within on the site of the former White Lion Tavern, which burned down on November 7th 1765. It was completed by Richard B. Jupp, architect, and opened in September 1768. Taking up a large footprint on the site of the current Royal Bank of Scotland PLC, the Tavern was a huge building, 80ft wide and 70ft tall. It boasted many private dining rooms and a very large public room; the Great Dining Room or 'Pillar Room', measuring 40x33 feet. On the floor above was the Ballroom measuring 33 feet in width and extending the whole length of the building. This room could also be converted to a banqueting room that would hold 300 dining guests. The room also had two galleries at each end to allow 150 ladies as spectators. An unusual concept!? After doing further research I could not find any other facts that confirmed this was a common setup in other eating establishments. This strengthens though, the fact that dining out in Taverns and Clubs was the domain of men only. (This setup would only be truly broken when Cesar Ritz designed and run his famous Hotels in the latter part of the nineteenth century for the exclusive comfort of women, in the sure and very astute understanding that when the women came to dine, the men would follow, with the inevitable desire to book rooms as well.) Not only did the London Tavern have many floors, it also had many levels in its basement, which even stretched under the adjoining buildings on both sides. One of basement floors had a number of huge vats installed, that each held two tons of live Turtles. We are further informed that if the Turtles are kept in the same water as they were shipped in they will survive very well for 3 months. To change the water would lessen the weight and flavour of the animal. This beautifully written Vintners license covered a huge cellar. Timb’s description states that the cellar covered one huge basement storey, filled with barrels of Porter, pipes of Port, butts of Sherry etc. There were labyrinth walls of bottles and a huge region of bins, six bottles deep; described as the catacombs of Johannisberg, Tokay and Burgandy. Also in storage, 1200 Champagne, 700 Claret and thousands of genial wines. We are informed those wines also absorb an interest of 5% per annum. All over this vast wine store Timb’s quaintly describes “floors with rivers of sawdust”. The final chapter in the story of The London Tavern happened around 1910 when it was demolished. After 142 years of being one of the most famous and prestigious grand City restaurants, its name was appropriated by the proprietors of the nearby King's Head Tavern in Fenchurch St. Finally, this exceptionally rare, large Indenture is a fantastic piece of ephemera, not only because of John Farley’s rare signature, but as a glimpse of what a serious and expensive business it was to be granted and hold a Vintners license in eighteenth century England.

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Antiquarian category

ref number: 11217

Warner. Richard - With a signed hand written letter from Warner.
Antiquitates Culinariae;
or Curious Tracts relating to the Culinary affairs of the Old English, With a preliminary discourse, Notes, and Illustrations, By The Reverend Richard Warner, of Sway, near Lymington, Hants. Printed for R. Blamire Strand, London, 1791.
FIRST & SOLE EDITION. Large 4to. 1feps with a tipped in hand written letter from Richard Warner. [1] Frontispiece - an aquatint plate of 'A Saxon Entertainment' Engraved title-page. [2] 1 double-paged aquatint plate of the famous 'Peacock Feast'. (1)ii-lvii Preliminary Discourse. [1] (1)-l The Contents. [1]2-137. [1]1fep. Occasional very minor spotting, else a very well-preserved wide-margined large paper copy. Rare original cloth boards and leather spine with gilt lettering. Both ends of the spine slightly rubbed and a crack on one side but still solid. The tipped in 1p hand written letter from the Rev.Richard Warner to 'Mr Dear Sir' asking for a facsimile "of the words per me Ric. Abbem at the foot of the acknowledgement of supremecy of Hen: VIII." 110x160mm with very minor blemishes just above the signature. Dated 14th August 1825 - Weston super Mare, Somerset.
- Richard Warner (1763–1857), divine and antiquary, born in Marylebone, London, on 18 Oct. 1763, was the son of Richard Warner, ‘a respectable London tradesman.’ Early in his sixth year he was sent to a boarding-school near London, and remained there until his father removed, with his family, to Lymington in Hampshire, described by him in his ‘Literary Recollections’. On 19 Oct. 1787 he matriculated from St. Mary Hall, Oxford, and kept eight terms at the university, but left without taking a degree. About 1790 Warner was ordained by William Markham, archbishop of York, his title being the curacy of Wales, near Rotherham, where he stayed for three months, the curacy of his vicarage of Boldre, near Lymington for nearly four years. The influence of Gilpin's tastes was afterwards perceptible in the topographical writings of Warner. Then the more lucrative curacy of Fawle for over two years; but the situation did not agree with his family. The chapel of All Saints, Bath, in the parish of Walcot, was opened for divine service on 26 Oct. 1794, and Warner was placed in charge of it as curate to John Sibley, rector of the mother parish. In April 1795 he accepted the curacy of the populous parish of St. James's, Bath, and he continued in that position for about twenty-two years, preaching his farewell sermon on 23 March 1817. For many years after his settlement at Bath, Warner was the best-known man of letters in that city, and he knew all the literary men who frequented it. Warner was appointed on 13 May 1809 to the rectory of Great Chalfield in Wiltshire, which he enjoyed until his death. In the 1826 list of fellows of the Society of Antiquaries his name appears as elected, but he was never admitted. He died on 27 July 1857, when nearly ninety-four years of age, and was buried on 11 Aug. 1857 in the chancel of Chelwood church, a monument being erected to his memory. The widow, Anne [‘Pearson’], died at Widcombe Cottage, Bath, on 23 March 1865, aged 85, and was buried at Chelwood. One daughter, Ellen Rebecca Warner, was also buried there on 18 Sept. 1833. Warner's voluminous writings comprised over 44 various volumes. Given this huge output, one wonders if the people of his many parishes knew what he looked like. This, his infamous book, ‘Antiquitates Culinariæ: Tracts on Culinary Affairs of the Old English,’ 1791 attracted the attention and ire of John Carter (1748–1817) who prosecuted him for pirating in this work his print of the ‘Peacock Feast,’ and got a verdict for 20l guineas. The print was therefore torn from all the copies then unsold. This action cost Warner 70l guineas in all. Interestingly, Warner had been told that Carter had given permission for the reproduction. This fine original copy has survived with the ‘Peacock Feast’ plate intact.

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Antiquarian category

ref number: 11056

Secundus. Dick Humelbergius
Apician Morsels;
OR, TALES OF THE TABLE, KITCHEN, AND LARDER: CONTAINING A NEW AND IMPROVED CODE OF EATICS; SELECT EPICUREAN PRECEPTS; NUTRITIVE MAXIMS, REFLECTIONS, ANECDOTES, &C. ILLUSTRATING THE VERITABLE SCIENCE OF THE MOUTH; WHICH INCLUDES THE ART OF NEVER BREAKFASTING AT HOME, AND ALWAYS DINING ABROAD. BY DICK HUMELBERGIUS SECUNDUS. "O vow qui stomach Iaboatis, accurate, et ego vow restaurabo!" Vide p.106. "Always breakfast as if you did not intend to dine; and dine as if you had not broken your fast." -- Code Gourmand. New York: PRINTED BY J. & J. HARPER, 82 CLIFF-ST. SOLD BY COLLINS AND HANNAY, COLLINS AND CO., G. AND C. AND H. CAR-VILL., W. B. GILLEY , E. BLISS, AND O. A. ROORBACH; --PHILADELPHIA. CAREY, LEA, AND CARRY, J. GRIGG, TOWAR AND HOGAN, U. HUNT, R.. COWPERTHWAITE, E. LITTELL, AND BROTHERS, AND M'CARTY AND DAVIS; -- ALBANY, O. STEELE. 1829.
12mo. 190X116mm. Paste-down and end-paper marbled paper. [1] 1fep. [1] Frontispiece of Mr Eatingtown. Title page. [1] 2p Contents, xxv chapters. [2]9-212. 1fep. [1] End-paper and paste-down marbled paper. Half tan calf with black and tan speckled paper boards with nice patina. the spine has raised bands, gilt lines and gilt tooled devices. with a red label and gilt lettering. Internally very lightly age-browned throughout. A scarce book.
- Dick Hemelbergius Secundus, was actually a sixteen-century annotator named Gabriel Hummelberger making a comeback in this tome of 1829. In 'The Literary Gazette and Journal' for the year 1829, in the book review section, the critic pans the author of 'Apician Morsels' for his performance as not equal to that of a true man. He further takes an arrogant broadside at the author and other scribes of the day, for their use of French or other languages, which they do not understand. He goes further, boldly stating --- "Their style is as full of French and other phrases as a plum pudding is of plums and currants -- you cannot tell which is the radical tongue or the principal ingredient. It might be supposed that the English was copious enough to express all the ideas of the learned, imaginative, and highly gifted, and infinitely too copious to be needed by these literary shrimps, who have neither original thought nor ideas of any kind to express; ----- of these faults our Apician scribe affords us plenty of specimens". Strong stuff indeed. Apician Morsels; or Tales of the Table, Kitchen and Larder has been attributed to the Gothic novelist William Beckford, though others suspect the hand of Richard Chenevix, reviewer for the Edinburgh Review, (which may account for the venom in the critique of The Literary Gazette). 'Apician Morsels' announces "a New and Improved Code of Eatics," with "Select Epicurean Precepts," and "Nutritive Maxims, Reflections, Anecdotes . . . illustrating the Veritable Science of the Mouth." In addition to original essays on various aspects of cookery and good-living, Humelbergius takes his "Nutritive Varieties" (without attribution) from Grimod, along with other treatments of meals, invitations, and bonne chère.

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Antiquarian category

ref number: 11154

Kitchiner. William - The rare first with a letter signed by Kitchener
APICIUS REDIVIVUS; OR, THE COOK'S ORACLE:
Wherein especially THE ART OF COMPOSING SOUPS, SAUCES, AND FLAVOURING ESSENCES IS MADE SO CLEAR AND EASY, BY THE QUANTITY OF EACH ARTICLE BEING ACCURATELY STATED BY WEIGHT AND MEASURE, THAT EVERY ONE MAY SOON LEARN TO DRESS A DINNER, AS WELL AS THE MOST EXPERIENCED COOK; Being Six Hundred Receipts, THE RESULT OF ACTUAL EXPERIMENTS INSTITUTED IN THE KITCHEN OF A PHYSICIAN, FOR THE PURPOSE OF COMPOSING A CULINARY CODE FOR THE RATIONAL EPICURE, AND AUGMENTING The Alimentary Enjoyments of Private Families; COMBINING ECONOMY WITH ELEGANCE; SAVING EXPENSE TO HOUSEKEEPERS, AND TROUBLE TO SERVANTS. "I have taken as much pains in describing, in the fullest manner, how to make, in the easiest, most agreeable, and the most economical way, those Dishes which con-tribute to the comforts of the middle rank of Society, as I have in directing the preparation of those piquante and elaborate relishes, the most ingenious accom-plished "Officers of the Mouth" have invented for the amusement of Grands Gourmands. These are so composed, as to be as agreeable and useful to the stomach, as they are inviting to the appetite; nourishing without being inflammatory, and savoury without being surfieting" - vide PREFACE. page 3. LONDON; PRINTED FOR SAMUEL BAGSTER, NO.15, PATERNASTER-ROW, By J. Moyes, Grenville Street. 1817.
FIRST EDITION: 154x98mm. Unpaginated -- [a-b]12 [c]2 [B-Q]12 [R]4 - 210 Leaves. Four engraved plates. two with illustrations, two with text, describing quartering the ox, the calf, the sheep and the pig. With 2 feps. A good clean copy with some small ink stains on the Title page. Some manuscript notes on margins of Preface Page. Full dark brown nineteenth century calf with neat cross checked blind tooling with gilt lines at the edges. The spine with early elaborate gilt tooling sometime neatly re-laid. With a dark red label and gilt lettering. There are some ink marks to the title page that do not detract also some manuscript notes on the next page that do not affect the text. A nice copy of the very scarce 1st edition, elevating it to rarity with the topical letter signed by Kitchiner.
- The autograph letter signed 'Wm. Kitchiner', to 'My dear friend' thanking him for his zeal on behalf of Mr Harris. He goes on --- "You will be glad to hear that your old friend 'The Cook's Oracle' has recovered a state of health that he hardly ever hoped for, and in the course of this next week will pay a visit to Longmans about your book" Dated 8th Oct 1826. Measuring 4x3" x 2 folding pages, in good condition, with a newspaper advertisement for Ude's 'The French Cook.'

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Antiquarian category

ref number: 10970

TOKLAS. ALICE B. A rare signed presentation inscription from the Author.
Aromas and Flavors of Past and Present.
PRESENT (small printer's device) Alice B. Toklas WITH INTRODUCTION AND COMMENTS BY POPPY CANNON (small printer's device) HARPER & BROTHERS PUBLISHERS, NEW YORK
FIRST EDITION. 1958. 215x145 mm 1fep with signed inscription " For Patricio and John Lucas - In friendship - Beautifully Alice". [1] Half-title. [1] Title page. Verso with K-H to printer's details. 1p Contents. [1] vii-xxiii Introduction by Poppy Cannon. [1] xxv-xxvi Preface. Another Half-title. [1] 1-160 161-164 Index. 1fep. Near fine D/J with 1x5mm small chip. Price-clipped. Quarter red cloth spine with gilt lettering. Blue paper covers. On the bottom of the front inside cover under the d/j is a tipped-in simple book-plate of JOHN S. LUCAS. Text block as new.
- Toklas's 'Aromas and Flavors' was her second cookbook following the huge popularity of her 'Cook Book' pub: 1954. (see item # 11098 above). In Poppy Cannon's introduction, she describes the rich years of Toklas's and Gertrude Stein's close relationship as one in which Miss Stein wrote and talked, while Miss Toklas cooked and talked. It appears, by Toklas's output of two cookery books, that she also inherited some of Stein's skills. She is also praised by Cannon for being steeped in the traditions of classic French cuisine and a great respect for seventeenth-century gastronomy. A scan of the recipes throws up some unusual dishes: An intriguing Ham & Oyster pie, a diet defying Sweetbread Salad, a humble Sauerkraut with Pig's Trotter, a Duck with Delicate Aspic to be served in candlelight, possibly with Cabbage Pancakes to accompany. One other recipe to catch the eye is Puff Pastry made with Olive Oil instead of butter. One gets a sense of a very serious cook who does a lot of research and is attracted to eccentric dishes. One can imagine the constant company of great artists such as Picasso, Matisse et al, that she and Gertrude Stein regularly entertained, in whom the norm is anything but; therefore one sees in her interesting and unusual cook book the gastronomic norm that the eccentric but creative Toklas embraces. No other recipe in her book personifies this but the "Kidneys in Champagne'. Recommended firstly to use pig or veal kidneys, but failing this, instead of purchasing the nicer tasting Lamb kidneys she recommends Chicken Livers. One can see the influence of early French cuisine that one senses Toklas had a great respect for and she seriously tries to offer this in her cook book. A noble effort. This is initially a very scarce Toklas 2nd title made rare, as no other signed copy has been traced nor appeared in auction.

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Modern category

ref number: 11335