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Very Important Antique Samuel Pepys 1666 Large Library Bookcase After Original

$25,726.95

$34,302.5925% Off

£18,750

£25,00025% Off

€22,089.16

€29,452.2125% Off

CA$35,388.70

CA$47,184.9325% Off

A$39,422.22

A$52,562.9625% Off

CHF 20,794.60

CHF 27,726.1425% Off

MX$478,006.66

MX$637,342.2125% Off

NOK 264,537.32

NOK 352,716.4325% Off

SEK 246,433.27

SEK 328,577.6925% Off

DKK 164,948.31

DKK 219,931.0925% Off

About the Item

We are delighted to offer this highly collectable, fully restored, Victorian circa 1860, Pitch Pine Library Bookcase based on the original Samuel Pepys 1666 pieces currently on display in Oxford University This bookcase is basically the birthplace of the free-standing bookcase as we know it today, in 2016 they celebrated their 350th anniversary, these are mid 19th century examples hand made by a master craftsman, every single piece of wood has been hand cut, it is exquisite craftmanship that you rarely see in period pitch pine I will include below the history of the pieces in their original form, these bookcases are historically important, the originals are in the Samuel Pepys Library in the Magdalene College of Oxford university, there is one in the Victorian and Albert Museum. This piece has been fully restored by my master craftsman carpenter and Victorian trained French polisher, it is the finest example available for sale anywhere in the world today Dimensions Height:- 196cm Width:- 110cm Depth:- 39.5cm Please note all measurements are taken at the widest point Samuel Pepy 350th Anniversary year 2016 marks the 350th Anniversary of the Great Fire of London, which Pepys so famously recorded in his diary. This year also marks the 350th birthday of Pepys’ first two bookcases, or ‘presses’ as he called them. Pepys noted in July 1666 that he had lost the use of his books due to their being stacked up on chairs. Instead of emulating a library in an aristocratic house by fitting shelving to the walls in his modest lodgings on Seething Lane, Pepys decided upon a flexible (and affordable) approach to the storage of his books. He commissioned a ship’s Master Joiner, Thomas Simpson, to help create a radical new design. The freestanding ‘flat pack’ oak book presses, which can be dismantled and moved using the carrying handles fitted to the sides, indicate Pepys’ ambition to move into bigger and better accommodation. During Pepys’ lifetime, the presses were moved around as he changed his place of residence. However, the presses have never been moved from the Pepys Building since their arrival at Magdalene in 1724. During the Great Fire of London in September 1666, when the first two book presses were almost brand new, Pepys had them sent across the River Thames to Deptford for safe keeping. A few weeks after the fire, Thomas Simpson returned to help ‘set them up’ again in Seething Lane. The book presses are a representation of Pepys’ understanding of book conservation and a reflection of his astuteness. By employing the services of a ship’s master joiner, Pepys used his naval connections to ensure a ‘good deal’ for the materials and workmanship, and the presses are reminiscent of ship’s furniture, for example the deep carving patterns in the wood. The wooden feet prevent damp and rodent damage, and the glazed fronts allow the books to be shown to their best advantage. This type of book storage was revolutionary, and the presses are now considered to be the oldest of their type with these particular features. Of course, books in the 17th century were still a symbol of status and the notion of books as aesthetically beautiful objects to enhance a room’s decoration was an important one. This idea, combined with Pepys’ love of order and organisation, leads to an obsession with achieving aesthetic perfection, and the overall look of the library was extremely important to him. The books are stored in order of height, going against contemporary practice of shelving books by subject matter. Although this seems a very illogical idea, we can be grateful to Pepys for his predilection for symmetry of form: by having books of the same size next to each other, the books are well supported and thus the bindings remain in a good condition to the present day. Pepys repeatedly vowed to himself in his diary that he would not buy any books which he did not have room for in his presses, but throughout his lifetime and as his wealth increased, he commissioned more presses to be made in the same design to house his ever-growing book collection. Although at first glance the presses look identical, there are slight differences: the later presses do not have adjustable shelving, whilst the early ones do. This item is available for collection from our Pulborough warehouses Condition Please view the very detailed pictures as they form part of the description pertaining to the condition. Please note vintage period and original items such as leather seating will always have natural patina in the form of creasing and wear, we recommend annual waxing to ensure no moisture is lost, also hand dyed leather is not recommended to sit in direct sunlight for prolonged periods of time as it will dry out and fade.

Dimensions:
Height: 77.17 in (196 cm)Width: 43.31 in (110 cm)Depth: 15.56 in (39.5 cm)
Style:
High Victorian (Of the Period)
Materials and Techniques:
Glass,Pine,Hand-Crafted
Place of Origin:
England
Period:
1860-1869
Date of Manufacture:
1860
Condition:
Refinished. Wear consistent with age and use.
Seller Location:
West Sussex, GB
Reference Number:
1stDibs: LU2823326031852

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