HORATIUS FLACCUS, Quintus (65-8 B.C.). Opera. Parma: Bodoni, 1793.
2 volumes, 4° (294 x 212mm). EXTRA-ILLUSTRATED WITH TWO ORIGINAL WATERCOLOURS OF ITALIAN SCENES BY JOHN 'WARWICK' SMITH (1749-1831). Interleaved copy with manuscript notes by Walter Fawkes on paper watermarked 'Edwards & Pine 1801.' (Without 15 preliminary leaves called for by Brooks in the one-volume edition, one watercolour detached.) FINELY-BOUND BY BARTHOLOMEW FRYE OF HALIFAX FOR WALTER FAWKES in early 19th-century straight-grained red morocco gilt, covers with central armorial enclosed by gilt panels, inner panel with corner-pieces made up of massed dots, floral wheel, and other small floral tools, outer border with green morocco onlay tooled with Greek key pattern and with floral wheel at corners, elaborate spines in six compartments divided by raised bands and green morocco onlays, two compartments with black morocco lettering-pieces, others filled with massed volutes surrounding a central floral wheel, turn-ins with metope-and-pentaglyph roll, blue watered silk liners with roll-tool floral border, contemporary calf boxes lined in red baise (one lettering-piece slightly frayed). Provenance: Walter Ramsden Fawkes of Farnley Hall, Yorkshire (1769-1825, armorial binding, his interleaved manuscript notes of 1803 in red and black ink, and gift inscription, dated March 2 1816, to his godson:) -- George Walter Wrangham -- thence by direct descent to the present owners.
A COPY REMARKABLE BOTH FOR ITS FINELY-PRESERVED BINDING BY BARTHOLOMEW FRYE AND THE INCLUSION OF TWO 'WARWICK' SMITH WATERCOLOURS AS FRONTISPIECES. Walter Ramsden Fawkes, for whom the binding was executed, was 'a cultivated writer, and, above all, a great lover and patron of the arts ... the intimate friend and one of the earliest patrons of Turner' (DNB) who was a frequent guest at Farnley Hall in Wharfedale. Fawkes's eye for watercolours can be judged from these two fine Italian views by 'Warwick' Smith, both pastoral scences beneath foothills. The artist gained the patronage of Lord Warwick in about 1775 and worked in Italy from 1776 to 1781. He was one of the first artists to escape from the tinted tradition of grey underpainting, and his colouring shows a preponderance of attractive blues and greens. Brooks 493, citing only a one-volume quarto edition, based on the folio edition of 1791. (2)