Folio (17 1/8 x 114/8 inches). Engraved title-page, engraved dedication to Charles II, preface leaf, mezzotint portrait of James Butler, 2nd Duke of Ormonde, by J. Smith after Godfrey Kneller, engraved privilege leaf, and 40 fine double-page views including one folding panorama of Christchurch (close cropped), engraved index leaf at end, all mounted on guards (one or two marginal tears). Fine contemporary red paneled morocco, spine in eight compartments with seven raised bands, gilt lettered in one, the others decorated with small gilt tools, all edges gilt.
Provenance: Armorial bookplate of Sir Thomas Hare, Bart (died 1834), High Sheriff of Norfolk 1803, on the front paste-down; engraved bookplate of Syston Park, the magnificent library of which was sold at Sotheby's in December of 1884, on the front paste-down; Kelmscott Press, Shenley Grange bookplate of John Charrington (died 1939) on front paste-down whose important library of Private Press books sold at auction in 1939, this lot 362 purchased by; Lloyd Kenyon, bookplate on the front past-down.
First edition, and a fine tall copy of Loggan's celebrated work containing magnificent views of Oxford University. Originally from Gdansk, David Loggan (1635-1700?) moved to England in the middle of the 17th century and became engraver to Oxford University, and subsequently to Cambridge University. "The "Oxonia Illustrata" was evidently intended as a companion to Wood's "History and Antiquities of the University of Oxford," published in 1674, for the table of contents gives, opposite each plate, a reference to the page of that work where the history of the building represented is to be found; and the two books were given together by the university to distinguished visitors." (DNB).
From the distinguished libraries of Sir Thomas Hare, Bart, of Stowe Hall in Norfolk, High sheriff of Norfolk in 1803, and possibly the first of the Hare owners to put a book-plate in the book, the book having been in their library for some time. Then from the library at Syston park, the ancestral seat of the Thorold family. The contents of that great house were dispersed at auction in 1884 and in 1923, after which the house was demolished. Then the book was owned by John Charrington (1856–1939), Honorary Keeper of Prints at the Fitzwilliam Museum, who bequeathed a founding collection of prints to the Fitzwilliam: “The Charrington Print Room:- John Charrington, a member of a wealthy local family of coal-merchants, not only gave his collection of portrait prints and bought for the Museum the world’s best collection of mezzotints after John Constable, but he endowed the Fitzwilliam with its own print room. In 1936, the print collection, which had hitherto resided alongside the books in the library, moved to The Charrington Print Room in a new suite of rooms alongside the painting galleries. The collection normally still remains there, bursting at the seams, although the lack of space dictates that prints are also kept in other available pockets of storage throughout the Museum. Since 1936 the collection of nineteenth- and twentieth-century prints has continued to grow, with recent gifts transforming the holdings of the French Impressionists (through the Bequest of A. S. F. Gow in 1978) and, to a lesser extent, the German Expressionist schools” (Fitzwilliam Museum online). Charrington was a great collector of books as well as prints, and his library of private press books sold at auction in 1939. His bookplate was designed by the Kelmscott Press, which was founded by William Morris. Lastly the book is from the library of Lloyd Tyrell-Kenyon (1917-1993), university and museum administrator: born 13 September 1917; succeeded 1927 as fifth Baron Kenyon; President, University College of North Wales, Bangor 1947-82; President, National Museum of Wales 1952- 57; Trustee, National Portrait Gallery 1953-88, Chairman 1966-88; Chairman, Friends of the National Libraries 1962- 85; Member, Royal Commission on Historical Manuscripts 1966-93. Succeeding "Sir Geoffrey Keynes as chairman of the trustees of the National Portrait Gallery, for over 35 years he saw it grow from a small if entirely happy coterie, the natural home of the few who were interested in historical portraiture (whether the sitter or the painter interested them most was immaterial), to become one of the great national galleries, with a distinct identity of its own" (obituary in The Independent, 19th May 1993). Madan 3035; Wing L-2838. Catalogued by Kate Hunter