Bound without half-titles and terminal blanks. Engraved vignette titles and frontispieces by William Greatbach after Ferdinand Pickering. Contemporary calf, black labels, wide gilt device to bands and blind border to compartments, triple blind rule to covers, grey endpapers, brown speckled edges. William St Clair, The Reading Nation in the Romantic Period, 2004 Katie Halsey, Jane Austen and Her Readers, 1786-1945, 2013 Davoney Looser, The Making of Jane Austen, 2017. "Within his chosen market, Bentley positioned himself as far upmarket as he could go" (St Clair, p. Although less than a fifth of the price of new novels, they were more expensive than titles in the Waverley series and they were twice as expensive as reprints of out-of-copyright novels of similar length.
Bentley's series contained almost all the best fiction of the romantic period, making recent novels available in one volume at a price of 6 shillings, a fraction of three-decker prices, which had seen a sharp increase in the previous decade, and with longer print runs.
For decades, these illustrations would have served to steer readers away from the conclusion that Austen's fiction ought to be understood as social, comic, or didactic" (Looser, p. The Bentley illustrations, by Ferdinand Pickering, played an integral part in the reception of Austen's novels according to one Austen scholar, they "promoted a sense that her novels were best understood as familial, female focused, and sensational. The very first Austen illustration appeared in a French translation of Persuasion (entitled La Famille Elliot) with a frontispiece by Delvaux after Chasselat (Paris: A.
These are also the first English editions to be illustrated. The Bentley editions were frequently reprinted until 1869 "the vast majority of Austen's readers during this period were therefore most likely to have encountered her work in Bentley's edition" (Halsey, p. Sense and Sensibility includes a rewritten and augmented version of Henry Austen's biographical notice of his sister, first published with Northanger Abbey & Persuasion in 1818. As Austen's novels had not been reissued since 1818, these - published by Bentley in his Standard Novels series - constitute early editions: Sense and Sensibility, third edition (pre-dating the first American by a few months) Pride and Prejudice, fourth edition Mansfield Park, third edition Emma, second edition (omitting the dedication to the Prince Regent of the first edition) Northanger Abbey and Persuasion, second edition. In 1832-33, Richard Bentley bought the copyright of Pride and Prejudice from the executors of Thomas Egerton and that of the remaining novels from Henry and Cassandra Austen. First collected edition, and the first illustrated English edition, of Austen's novels.
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