Falklands To Gulf War Period Commando FS Knife. Traditional Wilkinson Third Pattern. A Most Interesting Collectors Item In Very Good Condition No Maker Marks

With ribbed grip with swollen bulbous grip end and flattened pommel nut, somewhat more akin to the first and second pattern style. Original cross-grained blade. All blackened finish

The British Fairbairn Sykes dagger officially made, issued service dagger, was created for the newly formed 'Special Forces' commandos. The story about the Fairbairn Sykes Fighting knife starts in England 1940.
In 1940 the British formed special commandos to carry out raids. The initiative came from Winston Churchill in 1940. On the 8 June 1940, Section M09 of the War Office was brought into being. The name commando was taken from small effective mobile Boer units during the war in South Africa 1899-1902.

Two of the first instructors were Captain William Ewart Fairbairn (b. 28 February 1885, d. 20 June 1960) and Captain Eric Anthony Sykes (b. 5 February 1883, d. 12 May 1945). These middle aged gentlemen trained the young soldiers in a new and difficult mode of close-combat fighting at the Commando Basic Training Centre, Achnacarry, Scotland. Churchill described the commandos as 'a steel hand from the sea'

The need for a proper fighting knife, for these commandos, was apparent from the first few weeks of training specialized personnel. As Fairbairn later wrote, "...the authorities did not recognize a fighting knife as part of the equipment of the fighting services. In fact, such a thing as a fighting knife could not be purchased anywhere in Great Britain."

Until now, there had never been an official knife for the British armed services, although many types of knife had been authorised for use in the past. Bowie style knives were carried by some of the Imperial Yeomantry during the South African War of 1900-1901, and in World War I cut-down bayonets, privately purchased hunting knives, or captured German issue folding knives were extensively utilised.

In November 1940 there was a meeting between W. E. Fairbairn, E. A. Sykes and Robert Wilkinson Latham at Wilkinson Sword Company.

Fairbairn and Sykes described the type of knife they envisioned and the purpose for which it was intended. As discussion continued, preliminary sketches were drawn up and modified time and time again. As Robert Wilkinson Latham tells it: 'In order to explain exactly their point, the two men rose to their feet and one, it was Fairbairn my grandfather mentioned, grabbed the wood ruler from his desk and the two men danced around the office in mock combat'. W. E. Fairbairn had also brought with him an example of a suitable fighting knife.


The system they devised utilised techniques drawn from Jiu Jitsu, Gatka, Kung Fu and 'Gutter Fighting'. It proved extremely effective. They were natural choices for the job. Both had served in the Shanghai Municipal Police Force, facing death daily in the dark, narrow streets and alleys of the city against armed thugs and organised gangs. In Shanghai they had made some fighting knives out of bayonets. The meeting resulted in the Fairbairn Sykes Fighting knife that was manufactured by Wilkinson Sword Co. They eventually changed the design a number of times to evolve into the current 3rd pattern. The 1st pattern is by far the rarest, and the fewest types of FS ever made, as the second pattern, and the other variant's were produced fairly quickly after the first pattern's original order from the British Government, issued on the 14th November 1940, was fulfilled by January 1941. Double edged blade in forged carbon steel with blued finish.
Cast metal alloy handle with steel guard. Original design, 3rd Pattern. current post war pattern, Falklands to gulf war period.

No scabbard.  read more

Code: 25960

Original, 1939 Pattern WW2 Free Polish Forces (Army In Exile) Beret Side Cap Badge. Cast With Threaded Stem Mount

The Polish Army in France, which began to be organized soon after fall of Poland in 1939, was composed of about 85,000 men. Four Polish divisions (First Grenadier Division, Second Infantry Fusiliers Division, 3rd and 4th Infantry Division), a Polish motorized brigade (10th Brigade of Armoured Cavalry, 10me Brigade de cavalerie blinde) and infantry brigade (Polish Independent Highland Brigade) were organized in mainland France. Polish Independent Highland Brigade took part in the Battles of Narvik in early 1940; after the German invasion of France, all Polish units were pressed into formation although, due to inefficient French logistics and policies, all Polish units were missing much equipment and supplies particularly the 3rd and 4th divisions, which were still in the middle of organization. A Polish Independent Carpathian Brigade was formed in French-mandated Syria, to which many Polish troops had escaped from Romania and would later fight in the Middle East. After the fall of France (during which about 6,000 Polish soldiers died fighting), about 13,000 of Polish personnel had been interned in Switzerland. Nevertheless, Polish Commander-in-Chief and Prime Minister General Wladyslaw Sikorski was able to evacuate many Polish troops to the United Kingdom (estimates range from 20,0002 to 35,0004). The Polish I Corps was formed from these soldiers. It comprised the Polish 1st Armoured Division (which later became attached to the First Canadian Army) and the Polish Independent Parachute Brigade, and other formations, such as the 4th Infantry Division, and the 16th Independent Armoured Brigade. It was commanded by Gen. Stanislaw Maczek and Marian Kukiel.

Despite its name, it never reached corps strength and was not used as a tactical unit until after the war, when it took part in the occupation of Germany as part of the Allied forces stationed around the port of Wilhelmshaven. Prior to that date its two main units fought separately and were grouped together mostly for logistical reasons. In 1941, following an agreement between the Polish government in exile and Joseph Stalin, the Soviets released Polish citizens, from whom a 75,000-strong army was formed in the Soviet Union under General Wladyslaw Anders (Anders’ Army). This army, successively gathered in Bouzoulouk, Samarkand, was later ferried from Krasnovodsk to the Middle East (Iran) through the Caspian Sea (in March and August 1942). The Polish units later formed the Polish II Corps. It was composed of Polish 3rd Carpathian Infantry Division, Polish 5th Kresowa Infantry Division, Polish 2nd Armoured Brigade and other units.

Zbigniew Mieczkowski at the unveiling of a statue of General Stanisław Maczek (commander of the famous 1st Polish Armoured Division) in Edinburgh, November 2018 Credit: Barbara Eva Photography  read more

Code: 25959

A Most Rare, Original, 1941 Third Reich Spanish Falangist Volunteer 'Blue Division' {Blaue Division} Badge of The División Azul. the Spanish Volunteers That Fought with Germany on The Eastern Front In Russia Against Stalin

German combat Helmet with Laurel wreath of Victory, against the Spanish Falangist arrow symbol. The rear of the badge was the Blue Division Volunteer's Filangist Member's number and his group, from an early volunteer, one of only 18,000 men.

Approximately only 47,000 men served in the Spanish Blue Division over the course of its existence. While the initial division had 18,000 volunteers, the total number includes all men who served in the unit between 1941 and 1943.
Initial force: The division was established in 1941 with an initial strength of about 18,000 volunteers.
By the end of its deployment, the total number of men who served in the unit reached approximately 47,000

The 250th Infantry Division (German: 250. Infanterie-Division), better known as the Blue Division (Spanish: División Azul, German: Blaue Division), was a unit of volunteers from Francoist Spain operating from 1941 to 1943 within the German Army (Heer) on the Eastern Front during World War II. It was officially designated the Spanish Volunteer Division (División Española de Voluntarios) by the Spanish Army.

Francisco Franco had secured power in Spain after the Nationalist victory in the Spanish Civil War (1936–1939), during which the Nationalists received support from Nazi Germany. Franco's authoritarian regime remained officially non-belligerent in World War II but sympathised with the Axis powers. After lobbying by the Spanish Foreign Minister Ramón Serrano Suñer and by senior figures within the Spanish Army following the 22 June 1941 launch of Operation Barbarossa, Franco agreed that Spanish people would be permitted to enlist privately in the German Army and undertook to provide tacit support. An infantry division was raised from Falangist and Spanish Army cadres and was sent for training in Germany. The unit fought on the Eastern Front, in the 1941–1944 siege of Leningrad, notably in the Battle of Krasny Bor. They eventually withdrew from the front after Allied political pressure on Spain in October 1943 and returned to Spain shortly afterwards. Several thousand non-returners were incorporated into the 121st Infantry Division, the short-lived Blue Legion, and eventually into the Waffen-SS.  read more

Code: 25948

Germany - Third Reich: Italo-German African Campaign Medal in Zinc Italo-German Operations in North Africa 1942 1943 by De Marchis & Lorioli

The Italo-German African Campaign medal was a World War II medal introduced by Italy in 1942 to commemorate the Axis forces' involvement in North Africa. The bronze medal features an obverse with two knights and a crocodile, and a reverse with an archway showing an Italian fasces and a swastika. Its ribbon has stripes of green, white, red, white, and black, representing the Italian colours, with black added for the German involvement.

Purpose: Commemorated the actions of the German Africa Corps (DAK) and other Italian and German forces in the North African campaign.
Timeline: Awarded for service between 1940 and 1943.
Obverse design: Two armoured knights standing on the forelegs of a crocodile.
Reverse design: An archway with an Italian fasces on one side and a swastika on the other, surrounded by the inscription "GERMAN-ITALIAN CAMPAIGN IN AFRICA" in both German and Italian.
Ribbon: Features stripes of green, white, red, white, and black.
Awarded to: German and Italian personnel who served in the campaign.

Italy was among the first and most famous Axis countries to join the Germany's cause. Its flamboyant dictator, Benito Mussolini, provided a political example on the seizure of power, which Hitler followed. With many goals in common, they would become Allies and friends.

Italy entered the War in July of 1940 as the French Campaign was drawing to a close. The Italian Army, though unprepared for war, crossed the border in an attempt to reap the spoils. It would be a long road for the Italian soldier, who fought the length of the war often with courage but almost always with inferior equipment. Along with France came Africa, where Italian interests were severally compromised after a series British of attacks. The legendary Afrika Korps, lead by Field Marshall Erwin Rommel, arrived to help in 1941 and wreaked havoc in the dessert during the next two years. The Italian Army went on to fight on many fronts, from the Balkans to Russia.

On July 25, 1943 with the war turning against Italy and the Allies landing in Sicily, Benito Mussolini was deposed and arrested. In September of the same year, Badoglio announced an armistice with the Allies before fleeing along with the King into their custody. Germany, aware of this development in advance, quickly invaded and disarmed the Italian Army. The problem facing them was that Mussolini was being held at an undisclosed location, and any hope of restoring order hinged around him. After a frantic search, he was located, and German Parachutists under the direction of Otto Skorzeny staged a daring rescue mission. El Duce was brought back safely, and on September 23rd, 1943, the "Repubblica Sociale Italiana" (RSI) was founded. Italy, or at least part of it, continued on the Axis camp.

Many experienced units (some veterans of the Eastern front) of the former Italian Army were absorbed into the “Esercito Nazionale Repubblicano” and continued to fight until the end. Because of mistrust on the part of the OKW, they were not extensively used in combat roles but did well when they were called upon. The end of the war found the RSI in existence. In the chaos that reigned in the days prior to the surrender, Mussolini, and many members of the Esercito Nazionale Repubblicano, were butchered by newly formed “partisans” units.

Once Italy capitulated to the allies Hitler forbad it to be worn on the uniform.  read more

Code: 25949

A Fabulous 1953 Pattern Original Headdress Badge For Officers of "The Life Guards", In Gilt with St. Edward's (Queen's) Crown Surmounting a Garter With Blue Enamel Over Red Enamel. Nr Mint Condition

The badges for the 'Household' cavalry regiments (Life Guards and Royal Horse Guards) originated in 1913. In that year's manoeuvres the Regiments wore khaki for the first time, and thus could not, as previously, be distinguished by their uniforms. King George V noted that his Household troops, of all the Army, had no cap badge and offered to supply the deficiency if they so wished. As Household troops the badge was inevitably going to be closely associated with the sovereign. The first design was for the Service Dress cap, showing the Royal Cypher surrounded by a circlet bearing the name of the Regiment, surmounted by a Royal crown. This design was first issued on the outbreak of war in 1914. A second design, with the circlet replaced by a Garter with motto and including no Regimental title, was common to all three regiments of the time (1 & 2 Life Guards and Royal Horse Guards). This was for the Forage cap, which was re-introduced in 1919.

Identical as worn by His Royal Highness, Prince William, The Prince of Wales

Photo of His Majesty's loyal son and his wonderful bride HRH Princess Catherine, The Princess of Wales

Made by Gaunt of London  read more

Code: 25958

A Beautiful & Sacred, Antique Tibetan Buddhist Wall Hanging Featuring A Dragon & Buddhist Symbology. A Simply Stunning, Somewhat Esoteric, Work Of Art

This rare sacred ritual wall hanging is a stunning embodiment of traditional Tibetan craftsmanship, blending deep spiritual symbolism with intricate artistic detail. Measuring 35 inches long, this piece features vibrant turquoise and coral stones, thoughtfully embedded into a brass symbolic cross, to enhance both its visual appeal and spiritual energy. Made with stones, including turquoise and coral, the materials used elevate the beauty and symbolism. This stunning wall hanging serves not only as a beautiful decorative element but also as a meaningful symbol of Tibetan ritual traditions. Its exceptional design, crafted from brass and copper and adorned with turquoise and coral stones, and spiritual significance make it an ideal addition for those seeking to enrich their environment with authentic cultural artistry and serene energy.

It showcases exquisite, intricate detailing that captures the core of Tibetan spiritual traditions. The embedded turquoise stones, renowned for their protective and healing qualities, complement the vibrant coral, which represents life force and vitality, creating a piece rich in symbolism and positive energy. Beyond its striking aesthetic, the wall hanging serves as a meaningful tribute to Tibetan culture and its profound spiritual heritage. Perfect for enhancing the ambiance of your home, meditation room, or sacred space, it brings a sense of tranquility and reverence. This artful creation not only elevates your décor but also invites healing and vitality, making it an essential addition for anyone seeking to deepen their connection with Tibetan spirituality and enrich their surroundings with authentic cultural significance.  read more

Code: 25953

A Simply Stunning & Unique 'Good King Wenceslas' Art Nouveau Original Illuminated Calligrafic Manuscript Watercolour, From The Golden Age of illustration, By Arthur B Packham. In The Manner Of Alberto Sangorsky. Calligrapher and Illuminator for Riviere

This wonderful original illuminated manuscript would make a superb and most pertinent Chistmas Gift, or a singularly fine addition to any collection of rare works of art, especially dedicated to the golden age of illustration

Circa 1897. A.B.Packham's artistry, calligraphy and illumination is incredibly similar to renown calligraphic illuminated manuscript artists Alberto Sangorsky, and William Morris. Sanghorsky was the Calligrapher and Illuminator for Riviere & Son world reknown bookbinders. His works within bound volumes, that are including his original manuscripts, can achieve from £20,000 to over £150,000. Sangorski's profession was as a secretary to a goldsmith until he was 43 years of age, whereupon he began to create works for his brother at Riviere and Sons.

The first two lines and last two lines of the carol's first verse are part of the calligraphy on pure gold leaf.

The painting is in two sections, Good King Wenceslas observing from his window, {the second section} a poor man gathering winter fuel.

Good King Wenceslas looked out
On the feast of Stephen,

When a poor man came in sight,
Gathering winter fuel.

The words to the carol were written in 1853 by John Mason Neale but the melody is much older – it’s a 13th-century tune called ‘Tempus adest floridum’ in praise of the spring.

The carol was written for the Feast of St Stephen, better known as Boxing Day. And it celebrates the long tradition of charitable giving on the Second Day of Christmas.

It’s become one of the best loved carols ever written – and was even performed by The Beatles.

A. B. Packham was an architect by profession but illustrated several books based around country properties and walks around Sussex. Being a professional man, apparently, he had no interest in marketing his skillful works, so very few of his watercolurs are recorded. This example has to be one of his premier works.
Whether he followed the art of his famous contemporary, Alberto Sangorski, or followed his own path is not known, but his artistry is superb, and this wonderful piece may have been created for a book that we are currently unaware of.

The combination of "Art Nouveau" and "illuminated manuscript watercolours" describes a modern artistic approach that blends the decorative, organic style of Art Nouveau with the historical techniques of illuminated manuscripts, often using watercolor as the primary medium for modern creations. This fusion results in contemporary works that feature Art Nouveau's characteristic flowing lines, nature-inspired motifs (like tendrils and organic forms), and intricate details, but are created on a modern medium and often utilize watercolor techniques for coloring and shading. It is distinct from the original medieval practice of illuminated manuscripts, which used pigments like tempera and gouache, not watercolors

Key characteristics
Art Nouveau's influence: Incorporates the style's hallmarks, such as sinuous, organic lines, natural forms, and complex decorative patterns.
Illuminated manuscript tradition: Draws inspiration from historical manuscripts, often focusing on decorative initial letters and intricate borders.
Watercolor medium: Uses watercolor for coloring, shading, and creating effects, unlike the historical use of pigments like tempera or gouache.
Nature-inspired motifs: Features designs rooted in nature, such as flowers, leaves, and other botanical elements.

In frame 11.5 inches x 8.75 inches, the manuscript is 8.75 x 5.75 inches

Within its original wooden banded frame {bearing a couple of nicks}

Interestingly it was framed over 125 years ago by our former neighbours, W. Stepney gilders and frame makers in Bond St. Brighton  read more

Code: 25957

1st Edition, The Life And Adventures Of Nicholas Nickleby; With Illustrations by "Phiz." Frontispiece after a portrait painted by Daniel Maclise

Dickens, Charles
Published by Chapman and Hall, London, 1839

Adventures of Nicholas Nickleby, is the third novel by English author Charles Dickens, originally published as a serial from 1838 to 1839. The character of Nickleby is a young man who must support his mother and sister after his father dies.

Background
The Life and Adventures of Nicholas Nickleby, Containing a Faithful Account of the Fortunes, Misfortunes, Uprisings, Downfallings, and Complete Career of the Nickleby Family1 saw Dickens return to his favourite publishers and to the format that proved so successful with The Pickwick Papers. The story first appeared in monthly parts, after which it was issued in one volume. Dickens began writing Nickleby while still working on Oliver Twist.  read more

Code: 25956

Charles Dickens Ist Edition Of Dombey & Son From the Shandon Collection of Robert Napier

There's no writing against such power as this - one has no chance' William Makepeace Thackeray

A compelling depiction of a man imprisoned by his own pride, Dombey and Son explores the devastating effects of emotional deprivation on a dysfunctional family. Paul Dombey runs his household as he runs his business: coldly, calculatingly and commercially. The only person he cares for is his little son, while his motherless daughter Florence is merely a 'base coin that couldn't be invested'. As Dombey's callousness extends to others, including his defiant second wife Edith, he sows the seeds of his own destruction.
Robert Napier, (1791-1876, second son of James Napier of Dumbarton and Jean Ewing of Rosneath was born at Dumbarton on 18th June 1791. Like his cousin David, he was educated at Dumbarton Public School. One of his teachers, a Mr Traill, recognised his aptitude for mechanical and architectural drawing and encouraged him in developing this skill. Being the eldest son (his brother having died in infancy) and in accordance with Scottish custom, the intention had been that he should enter the Church. However, he felt more forcefully drawn towards following the blacksmith’s trade and at the age of fourteen began working for his father. In 1812 he went to Edinburgh, obtaining a post at Robert Stevenson's works. He returned to Glasgow in 1815 and opened a small blacksmith’s business in Greyfriar’s Wynd. His success there led him to lease the Camlachie works from his cousin David, when David moved his own business to Lancefield. At Camlachie his main business was ironfounding and engineering, constructing marine engines for steamships.

In 1827 he moved his business to larger premises at the Vulcan Foundry in Washington Street, which was nearer the harbour, and in 1835 he took over the foundry at Lancefield when his cousin David moved to London. Combining this with the Camlachie and Vulcan works, Robert Napier thus pioneered an integrated engineering and shipbuilding firm. At Lancefield between 1836 and 1840 he supplied engines for a number of vessels, including those of the East India Company and vessels which would run between England and New York. In 1840 he first became involved in supplying engines to Samuel Cunard, for vessels carrying mail to North America. At his recommendation Cunard was persuaded to increase the size of these vessels, and to enter into partnership with others, a move which proved to be the origin of the Cunard Company. Robert Napier supplied engines for all the paddle-wheel ships operated by Cunard over the next fifteen years. Napier's business was concerned mainly with supplying engines until 1841, when he opened a shipbuilding yard at Govan, building his first ship, the Vanguard, in 1843 for the Glasgow Dublin route. In 1818 he married his cousin Isabella, daughter of John Napier and sister of David. His sons James Robert and John were taken into partnership in 1853. He owned a country estate at West Shandon, and was a prolific collector of works of art and of pottery, his collection becoming known as the Shandon Collection. He died at West Shandon, Glasgow on 23 June 1876.  read more

Code: 25955

A Unique Leaf From The Published Work of Nicolas Jenson Printed in 1472

A single original surviving leaf from one of the earliest and rarest books ever printed. A complete volume of this work, if were ever to be on the open market could be worth well over a million pounds. Nicolas Jensen, who is roundly considered one of history?s greatest printers and typographers, turned out beautiful volumes from his Venetian workshop in the 15th century. There is a similar leaf from Diogenes Laertius, Lives of the Philosophers by the Jensen Press, 1475. In resides in the Salisbury House Permanent Collection. A great and incredibly rare treasure from the very earliest days of printed text, with original handwritten annotations. This is a Folio. 6pp plus and original unique leaf from Ambrosius Aurelius Theodosius Macrobius's "In Somnium Scipionis Exposito". In Publisher's wrappers. 1 of only 73 ever published folio's that contained an original unique leaf from the master's great work of 1472. In very good condition. In The Manual Of Linotype Typography, the folio containing the rare single leaf was published in 1923, he clearly regarded him as one of the three greatest master printers of all time, alongside Gutenberg and Aldus. To own an original unique piece of Jenson's work, with annotations may be considered by some as one of the greatest privileges afforded to admirers of the printed word. An entire volume would be priceless, or at the least exceeding a million pounds or considerably more. Some hypothesize that Jenson studied under the tutelage of Gutenberg, the man who printed the rarest and most valuable book of all time, the Gutenberg or Mazarin Bible [one was apparently lost on the Titanic]. Jenson worked before the greatest English printer, the legendary William Caxton, and the very first book ever to be printed in English by Caxton was in 1473, "Recuyell of the Historyes of Troye" Jenson's story; In October 1458, while acting as Master of the French Royal Mint, Jenson was sent to Mainz, by King Charles VII, to study the art of metal movable type. Jenson then went to Mainz to study printing under Johannes Gutenberg. In 1470 he opened a printing shop in Venice, and, in the first work he produced, the printed roman lowercase letter took on the proportions, shapes, and arrangements that marked its transition from an imitation of handwriting to the style that has remained in use throughout subsequent centuries of printing. Jenson also designed Greek-style type and black-letter type. By 1472, Jenson had only been printing for two years. Even so, his roman type quickly became the model for what later came to be called Venetian oldstyle and was widely imitated. Though Jenson's type was soon superceded in popularity by those of Aldus and Garamond, it was revived again by William Morris in the late 19th century and became the model of choice for a number of private press printers.

Twentieth century commercial interpretations include Centaur and Cloister lightface, and most recently, ITC Legacy and Adobe Jenson. The books of Johann and Wendelin de Spira were printed with a new fount, a roman
type; this was a style of type that is familiar to the present day, but was at the time a radical innovation. A year later, in 1470, a new, slightly lighter and more elegant version appeared in books with a new imprint, that of Nicolas Jenson. In the colophons of books
printed from 1470 his name appears along with praise for his typographical skills. It is here that we see for the first time statements that leave no room for doubt. Jenson hasrightly become famous as the designer and cutter of the punches for the new roman typefaces as well as other founts that for a long time were the standard for legal and
theological works. Confirmation of his status as typographer is found in his last will and testament, written in 1480, where he made careful dispositions for what should be done
with his punches, the tangible results of a life?s experience and work that he wished to be protected. All these circumstances together lead to the notion that it was Jenson who improved the production of movable type by cutting excellent punches, a skill that he
had brought from the traditions of the Mint in Paris, and that he may first have applied inMainz to the long-lasting types used by Fust and Schoeffer.It is only in the last ten years of his life that Nicolas Jenson abandoned his anonymity,
and became prominent as a printer of magnificent books. Executed in sober, almost sculptural layouts they became models for centuries of printing. A famous example is the monumental edition of Pliny?s classical encyclopaedic work, his Historia naturalis, published by Jenson in 1472. An Italian translation, also published by Jenson, appeared in 1476 . The translation and printing were commissioned by the Florentine merchant Girolamo Strozzi, who also took care of the marketing.
Following in the tradition of Thomas Jefferson, whose library contained numerous works on European history, politics, and culture, the Library of Congress has many comprehensive European collections. The rarest of these works come to the Rare Book and Special Collections Division.
A special category of the division's European holdings is its collection of incunabula--books printed before 1501. Printed during the first decades of printing with movable type, these very rare and valuable books cover the whole spectrum of classical, medieval, and Renaissance knowledge and represent many of the highlights of the division's European materials. Over its nearly two-hundred-year history the Library of Congress has collected nearly 5,700 fifteenth-century books, the largest collection of incunabula in the western hemisphere. When Congress originally established its Library in 1800 and saw its collections destroyed by fire in 1814, it had no fifteenth-century books. Neither did the collection that Thomas Jefferson sold to Congress in 1815. This is not surprising because the books in the first Library served the need for general literature, and Jefferson primarily collected modern, scholarly editions in handy formats.

For the first fifty years or so after the acquisition of Jefferson's collection, the Library acquired incunabula very sparingly. The 1839 Catalogue of the Library of Congress lists only 2 incunabula: the Chronecken der Sassen (Mainz: Peter Schoeffer, 6 March 1492) and Ranulphus Hidgen's Polychronicon (Westminster: Wynkyn de Worde, 13 April 1495). The earliest incunabulum with a recorded date of acquisition is a 1478 edition of Astesanus de Ast's Summa de casibus conscientiae (Venice: Johannes de Colonia and Johannes Manthen, 18 March 1478).
The date that marks the real beginning of the incunabula collection at the Library of Congress is April 6, 1867, when the last shipment of Peter Force's library was received at the Capitol. His personal library held approximately 22,500 volumes, including 161 incunabula. The collection had some important books. The earliest imprint was Clement V's Constitutiones (Mainz: Peter Schoeffer, 8 October 1467); also included were a copy of Hartmann Schedel's Liber chronicarum (Nuremberg: Anton Koberger, 12 July 1493) and Jenson's printing of Pliny's Historia naturalis (Venice: Nicolaus Jenson, 1472).
Gutenberg, Aldus and Jenson  read more

Code: 22403