Gibbon, Edward.

4to (282 x 216mm.), 6 volumes,  first edition, one of 1,000 copies, volume 1 in first state with uncorrected errata and cancel leaves (Norton state 2 with leaves a4 and X4 without signatures), cancels in volume 2 as called for, p.177 of volume 3 correctly numbered, misprint "Honorious" on p.179, line 18 uncorrected, engraved frontispiece portrait by J. Hall after Joshua Reynolds, 3 engraved folding maps, without half-titles, contemporary tree calf, spines gilt, in six compartments with red morocco labels, some leaves spotted, rebacked preserving most of the original spines



A large copy in the first state of Gibbon's "masterpiece of historical penetration and literary style" (PMM).

Thomas Beale, armorial bookplates

Grolier English 58; Norton 20, 23-29; PMM 222; Rothschild 942

Condition is described in the main body of the cataloguing, when appropriate.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Gibbon's great achievement was, firstly,  in fusing "technical advances which originated in widely separated—even opposed—fields of study", and developing "their historiographic potential with a remarkable sureness of touch" (Oxford DNB). A similar independence of vision exists in the vision of the work itself: "It is often assumed that the Decline and Fall is a straightforward lament for departed glory, and that the dominant emotional colouring of the work is that of an elegy. But Gibbon was the enemy of empire as a political form, and a friend to the freedom of nations, for 'there is nothing perhaps more adverse to nature and reason than to hold in obedience remote countries and foreign nations, in opposition to their inclination and interest' (Decline and Fall, 3.142)." (op.cit.)