and is quoted from Clarke’s Repertorium Bibliographicum (1819)—
“To all Gentlemen, Ladies, and Others in or near Worcester,—I have had several auctions in your neighbourhood, as Gloucester, Tewkesbury, Evesham, &c., with success, and am now to address myself and try my fortune with you.—You must not wonder that I begin every Day’s Sale with small and common books; the reason is a room is some time a filling, and persons of address and business, seldom coming first, they are entertainment till we are full; they are never the last books of the best kind of that sort for ordinary families and young persons, &c. But in the body of the Catalogue you will find Law, Mathematicks, History: and for the learned in Divinity there are Drs. Souter, Taylor, Tillotson, Beveridge, and Flavel, &c., the best of that kind: and to please the Ladies I have added store of fine pictures and paper hangings, and, by the way, I would desire them to take notice that the pictures shall always be put up by the noon of that day they are to be sold, that they may be view’d by day light. I have no more but to wish you pleas’d and myself a good sale, who am
The sale took place in the evening, commencing at six o’clock and continuing till all the lots were sold.
The existing firms of literary auctioneers, Sotheby, Wilkinson & Hodge; Puttick & Simpson; Christie, Manson & Woods; and Hodgsons, are all of considerable standing, but Sotheby’s is of the greatest antiquity. Samuel Baker, the founder of the house, commenced business in 1744 with sale of Dr. Thomas Pellet’s library (£859) in York Street, Covent Garden. He continued sole member of the firm till 1774, when he entered into partnership with George Leigh (who is styled by Beloe “the finical bookseller”). Baker died in 1778, in his sixty-sixth year, when he left his property to his nephew, John Sotheby, who in 1780 was in partnership with Leigh. In 1800 the style was Leigh, Sotheby & Son, John Sotheby’s son Samuel being taken into partnership. In 1803 the business was removed from York Street to 145 Strand, opposite Catharine Street, and in 1818 to the present house in Wellington Street. The third and last Sotheby, Mr. Samuel Leigh Sotheby, became a partner in 1837, and in 1843 Mr. John Wilkinson entered the firm as a partner. The style was Sotheby and Wilkinson till 1864, when Mr. Edward Grose Hodge became a partner, and from that date the name of the firm has been Sotheby, Wilkinson, and Hodge.
The firm of Puttick & Simpson dates back to the establishment of the business by Mr. Stewart in 1794 at 191 Piccadilly. The business was bought by Wheatley & Adlard on the retirement of Mr. Stewart. For a short time it was carried on by Mr. Fletcher, who was succeeded in 1846 by Messrs. Puttick & Simpson. In 1858 the business was removed from Piccadilly to 47 Leicester Square. Mr. Puttick died in 1873.
The firm of Christie’s was established soon after that of Sotheby’s, and James Christie the elder’s (1730-1803) first sale was on the 5th December 1766, at rooms in Pall Mall, formerly occupied by the print warehouse of Richard Dalton. Christie afterwards removed next door to Gainsborough, at Schomberg House, and died there, 8th November 1803. His son, James Christie the younger (1773-1831), was born in Pall Mall, and was educated at Eton. In 1824 he removed to the present premises in King Street, formerly Wilson’s European Emporium. Mr. Christie died in King Street, 2nd February 1831, aged fifty-eight. Mr. George Christie succeeded his father. Mr. William Manson died in 1852, and was succeeded by his brother, Mr. Edward Manson. In 1859 Mr. James Christie, the great-grandson of the founder, and Mr. Thomas Woods, joined the firm.
CHAPTER III
PRICES OF MANUSCRIPT BOOKS
In a treatise devoted to an inquiry concerning the varying prices of books, it is necessary that at least one chapter should be devoted to manuscripts. There is no field of investigation which offers a more interesting subject for study, and few that are more difficult to master. Manuscripts are really more attractive than printed books, because they are so various, and have been produced over a much longer period of the world’s history. It is therefore strange that so few authors care to trouble themselves about them; that this is so may be seen from the large number of readers at the British Museum who are contented to quote over and over again from the much-used printed books, and the comparatively few who cultivate the virgin soil of the Manuscript Department, where there are endless stores of unused materials.
Manuscripts are usually somewhat miscellaneous in character, for they consist (1) of some of the finest examples of the pictorial art of many ages; (2) of the originals of the great works of antiquity; (3) of a large number of valuable works that have never been printed; (4) of charters, documents, letters, memoranda, &c., which are of great value, but which are not books, and therefore do not come within the scope of our present inquiry. In respect to the prices of the manuscripts, it is very difficult to say anything of much value, because (1) many of the most important manuscripts have been transferred from library to library in bulk, and it is comparatively seldom that they come up for public sale; (2) the buyers of manuscripts are fewer than those of printed books, and therefore it is more difficult to arrive at a real standard price for books which are practically unique, as there is no wide public opinion upon the subject. But for the present purpose, a still more important reason why this vast subject cannot be dealt with in a succinct manner is, that the materials for its history have not yet been thoroughly investigated by experts. The relative prices at different periods are hard to understand, even in England, where money has been better regulated than in most countries; but when we have to deal with foreign countries and foreign coins, we are necessarily at a loss how to convert into their present value coins which may have been depreciated at the time we are dealing with, and have certainly been still more depreciated since: for instance, what idea is communicated to the mind of the modern reader when he is told that “Borso d’Este paid forty ducats for a Josephus and a Quintus Curtius, while his large two-volume Bible cost him 1375 sequins”?13
In dealing with manuscripts, it is most important to distinguish between plain and illuminated manuscripts. The neglect of this caution has led to an exaggerated idea of the cost of books before the invention of printing. Instances have been given of purchases at sums equal to a king’s ransom. Hence it is supposed that books were so dear that they were quite out of the reach of any but the richest personages. But this view is erroneous, for we know that by means of the slave labour at Rome and the organised work in the monasteries, plainly written manuscripts could be obtained at a reasonable price. We know now that transcripts of MSS. can be had at a price which, if dear when compared with the price of a newly-published printed book, is by no means extravagant. What could be done at a centre of civilisation like Rome, where books were produced in large numbers and at low prices on account of the organisation of literary production, could be done at other places. There is evidence that at London, and at those seats of learning, Oxford and Cambridge, where caligraphy was a profession, books were not difficult to obtain. Every church and chapel must have had service-books. Probably during the Middle Ages, when travelling was arduous and expensive, persons living in out-of-the-way places had to pay special prices for their literary treasures.
The late Professor J. Henry Middleton referred to this matter of cost in his valuable work on “Illuminated Manuscripts” (1892). After quoting from Aulus Gellius, he wrote—
“But ordinary copies of newly-published works, even by popular authors, appear to have been but little more expensive than books of this class are at the present day. The publisher and bookseller Tryphon could sell Martial’s first book of Epigrams at a profit for two denarii—barely two shillings in modern value (see Mart. xiii. 3). It may seem strange that written manuscripts should not have been much more costly than printed books, but when one considers how they were produced, the reason is evident. Atticus, the Sosii, and other chief publishers of Rome, owned a large number of slaves, who were trained to be neat and rapid scribes. Fifty or a hundred of these slaves could write from the dictation of one reader, and thus a small edition of a new volume of Horace’s Odes or Martial’s Epigrams could be produced with great rapidity, and at very small cost” (p. 19).
Leader Scott’s “Renaissance of Art in Italy,” 1883, p. 193.
