(Updated 7/25/2020 at 11.30 AM EST)
New York, 
PICTORIAL EDITION OF THE Tilton – Beecher TRIAL. A COMPLETE HISTORY, Containing over One Hundred Engravings of this Famous Trial. PRICE, 30 CENTS. No date, no publisher.  29.3 cm x 21.5 cm. Back cover is a full-page advertisement for The Days' Doings! Listing the Days' Doings Co., at 535 Pearl St., N.Y. Four signatures of 16 pages each of machined paper, 64 pages, 72 in-text engravings not the "over one hundred" proclaimed on the cover and first page of text, 73 engravings counting the portrait of Henry Ward Beecher on the front cover. There are 8 full-page engravings, 2 nearly full-page and 62 other text illustrations of varying sizes. The publisher of this large case history in large-pamphlet form was probably Frank Leslie, as he had changed the name of his newspaper, The Last Sensation, to
The Days' Doings in 1867. Two copies of this pamphlet in addition to the copy offered here make three recorded copies of this contemporaneous imprint. This copy is untrimmed and in near-fine condition.
Tilton versus Beecher was the most sensational trial in nineteenth-century America. Tilton brought a legal action his wife's lover, Rev. Henry Ward Beecher, for alienation of affection. The trial was lurid front-page news in every major newspaper in America for months, and the trial ended with a hung jury.
On May 22, 1871, a letter to the editor of the New York World written by Victoria Woodhull was published, in which she said, among other things, adapting Matthew 23:27 to her purpose, "My judges preach against free love openly and practice it secretly; their outward seeming is fair [but] inwardly they are full of 'dead men's bones and all manner of uncleanness.' For example, I know of one man, a public teacher of eminence, who lives in concubinage with the wife of another public teacher of almost equal eminence." The "public teacher of eminence" was Rev. Henry Ward Beecher, and the wife was Mrs. Theodore Tilton.
For the better part of three years, many measures were taken to protect the reputation of Harriet Beecher Stowe's brother from exposure and ruin. As in politics, the cover-up of Mrs. Tilton's adulterous relationship with Beecher was ultimately unsuccessful and Victoria Woodhull had her satisfaction.
Provenances : Hieronymus Münster (fin XVe siècle - attribué à) ; Hieronymus Holzschuher, ami de Dürer (fin XVe début XVIe - attribué à) ; Ferdinand Hoffmann (1540-1607) ; Prinz Ferdinand Von Dietrichstein (1628-1698) ; Paul Harth (11/03/1987) ; Pierre Berès ; Marc Litzler. Nuremberg, Anton Koberger, 8 novembre 1491.In-folio de (353) ff., signés a-z6 (a6 blc), ab-ad6, ae8, A-Z6, Aa-Gg6, Hh10 (Hh10 blc), pts. trous en marge des 4 premiers ff., gde. initiale enluminée au f. aiiii verso, ancien petit travail de vers dans la marge intérieure des cahiers x, y et ab sans atteinte à la gravure, infime mouillure angulaire aux ff. 310-311 et 340. Le dernier feuillet Hh10, blanc, n'a ici pas été conservé. Le texte, orné d'une grande initiale enluminée, a été rubriqué en rouge et bleu.Veau brun sur ais de bois, plats décorés d'un décor estampé à froid de motifs végétaux et animaliers dans des encadrements de filets, aux angles et au centre, cinq bouillons de cuivre, sur le premier plat, titre de l'ouvrage [Schatzbehalt D'Ewige Seligkeit] en lettres dorées usées, dos à nerfs orné d'un motif de roses à froid répété, tranches naturelles, traces de fermoirs ouvragés. Petits défauts à la reliure. Reliure de l'époque. 329 x 228 mm. / Provenances: Hieronymus Münster (end of the 15th century - attributed to); Hieronymus Holzschuher, friend of Durer (end of the 15th beginning of the 16th centuries - attributed to); Ferdinand Hoffmann (1540-1607); Prinz Ferdinand Von Dietrichstein (1628-1698); Paul Harth (11/03/1987); Pierre Berès; Marc Litzler. Nuremberg, Anton Koberger, 8 November 1491.Folio [329 x 228 mm] of (353) ll., signed a-z6 (a6 blc), ab-ad6, ae8, A-Z6, Aa-Gg6, Hh10 (Hh10 blc), small holes in the margin of the first 4 ll., large illuminated initial on the back of l. aiiii, former worm track in the inner margin of quires x,y and ab not touching the engraving, minor waterstain in the corner of ll. 310 to 311 and 340. The last leaf Hh10, blank, wasn't preserved.Brown calf over wooden boards, covers decorated with a blind-stamped decor of vegetal and animal patterns in fillets frames, five copper spandrels in the corners and the center, title of the work stamped in gilt letters on the upper cover [Schatzbehalt D'Ewige Seligkeit], spine ribbed and decorated with a repeated blind-stamped motif or roses, natural edges, remains of crafted clasps. Contemporary binding.
First Edition, First Printing Near Fine. Beautiful bright, clean book with a magnificent near fine vibrant original unclipped FIRST ISSUE dust jacket. Accompanied by an autograph letter SIGNED by William Golding discussing his books! A Near fine beautiful example of this book with stunning ruby red cloth boards with sharp corners and no edgewear. The binding is tight and square. Strong, unfaded white titles to the spine. The end papers are in perfect condition, with a slight touch of foxing, and with no owner names, no bookplates and no bookstore stamps. The internal pages are clean, bright and flat, internally appearing as fresh and unread. Accompanied by an autograph letter SIGNED by William Golding discussing his books! The separate letter n on his letterhead of ?Ebble Thatch Bowerchalke Salisbury Wiltshire. Dated ?4th September? Goldberg writes: ?Thank you for your letter. I?m glad your class has suffered an impact, tell them it?s what wisdom teeth do. Paul I cant answer your questions or tell the story of my life ? I get that request three times a week and still have some books to write. After all there are books about my books! Yours, Williams Goldberg? This ORIGINAL First Issue Dust Jacket with the summary of ?Lord of the Flies? on the front flap, (later editions were changed to blurbs), is vibrant in color and received only a tiny touch of restoration to the upper tip of the jacket spine, not affecting any of the lettering. The jacket presents in magnificent near fine/fine condition. The dust jacket maintains the strong vibrant colors with no rips, no chips, no edgewear, no fading, no foxing and no stains. The dust jacket is NOT price clipped and is priced 12s 6d net. A stunning dust jacket, scarce in this condition. Originally published in 1954, The Lord of the Flies was named to Modern Library?s 100 Greatest Novels List of the twentieth century. In the early 1960s cultural commentators noted that Lord of the Flies was replacing Salinger?s Catcher in the Rye as the bible of the American adolescent. Since then, this masterpiece has established itself as a modern classic. ?This brilliant work is a frightening parody on man?s return to that state of darkness from which it took him thousands of years to emerge. Fully to succeed, a fantasy must approach very close to reality. Lord of the Flies does. It must also be superbly written. It is? (The New York Times Book Review). A very handsome copy of this scarce title in fantastic condition with a superb autographed signed letter by Golding discussing his books! Presents extremely well on the shelf. ADDITIONAL IMAGES AVAILABLE UPON REQUEST. Please see our ABE store for other important Rare Books and Original Illustration art
Ch? Gessho ??? and Kazaore Y?jo ????, artists
Ch? Gessho ??? and Kazaore Y?jo ????, artists. Zoku Koya Bunko ?????, 5 vols. Nagoya, Kansei ?? 10 . 5 volumes 27 X 18cm string-bound, Japanese-style, fukuro-toji. Original format with original covers and title labels, housed in a modern striped chitsu with clasps 27.3 x 19cm. Original monochrome woodblock prints, many double page, with Japanese text. Edited by B?k? ??? A sequel to Koya Bunko ????, done in 1768. The "Sequel to the Koya Library," done by principal artist Ch? Gessho ??? 1765-1832 and Kazaore Y?jo ????, is a remarkable rarity that captures the vibrant world of art and poetry centered on haikai and haiga in Nagoya. It is justly celebrated by critics from Brown to Hillier and was featured in the Library of Congress' major Japanese art exhibition, "The Floating World of Ukiyo-e: Shadows, Dreams and Substance." With hundreds of full-page black and white woodblock images, it is probably the most extensive original example of the Haiga aesthetic in existence. Vol 1 has 52 cho, Vol 2 has 50 cho, Vol 3 has 53 cho, Vol 4 has 53 cho and Vol 5 has 56 cho including colophon. Identical to Volumes held in ARC Koten Seki portal database online (Ritsumeikan University ?????), with the exception of an added modern page to their introduction in Vol 1. In very good condition throughout, worn original covers and title labels, worming on rear wrapper of vol 5, very good impressions. (Mitchell 564).
GRANT, ULYSSES S.
AN HISTORICALLY IMPORTANT LETTER: GRANT DEFINES THE TERMS OF SURRENDER AT VICKSBURG. Background: The climactic fall of the Confederate stronghold of Vicksburg on July 4, 1863, is often regarded as the turning point of the American Civil War, for by destroying the Confederate control of the Mississippi River, the Union Army, led by Ulysses S. Grant, effectively divided the Confederacy in two. As "Sherman told a friend after Vicksburg had fallen, 'they have fought battles and maneuvered fast armies. Here he has achieved a real conclusion." (Donald L. Miller, Vicksburg: Grant's Campaign That Broke the Confederacy). Before the Union could declare victory, however, terms of surrender had to be drawn between General John C. Pemberton, representing the Confederacy, and Grant, representing the North. The main issue at stake was what to do with the approximately 30,000 captured Confederate soldiers. "That evening [July 3], as northern and southern soldiers socialized between the lines, Grant gathered his officers for a war council, one in which he alone would wield ultimate power. The debate hinged on whether the Confederate garrison should be ferried north as prisoners or paroled, sending them home and effectively excluding them from the war. Despite Grant's reservations, his generals convinced him of the wisdom of the parole option; instead of tying up Union soldiers and monopolizing transports to steer more than thirty thousand rebels to northern prisons, Grant's army would immediately be freed up for fresh military adventures. As the years went by and his name became synonymous with reconciliation, Grant tended to forget that he had started out favoring harsher treatment for Pemberton's men. As he wrote in 1884, 'The men behaved so well that I did not want to humiliate them. I believed that consideration for their feelings would make them less dangerous foes during the continuance of hostilities, and better citizens after the war was over.'" (Ron Chernow, Grant, pp.287-88). "Once the war council ended, Grant presented Pemberton with generous terms, which would enable Confederate soldiers to save face and surrender with traditional war honors: 'As soon as rolls can be made out and paroles signed by officers and men you will be allowed to march out of our lines the officers taking with them their side arms and clothing, and the Field, Staff & Cavalry officers one horse each.' Turning up the pressure on Pemberton to accept these honorable terms, Grant slyly leaked the news to Confederate pickets. Once the rebel rank and file realized Grant was offering them a chance to head home, it would be difficult for Pemberton to reject his offer. He largely accepted the terms and said his men would march out the next morning with colors flying and stack their arms. Sometime around dawn [the next morning, July 4,] the siege ended. At breakfast time, Grant sat in his tent, composing dispatches on a small table, when an orderly arrived with Pemberton's submission to his final terms. Wan, exhausted from the siege, Grant stood up and said with tangible relief to his son Fred, 'W-e-e-e-ll, I'm glad Vicksburg will surrender.'' (Chernow). "Regarding Pemberton's captured army, Grant had quickly deduced that parolees were preferable and POWs acceptable, but escapees (armed or unarmed) were neither. To Pemberton's embarrassment, some of his former troops preferred the brutality of Northern prison camps to the future prospect of being conscripted back into the Confederate army, and Grant would not force anyone to sign their paroles. Then as Pemberton and his official parolees marched east to eventually rejoin their comrades and countrymen, most of them stole away into the countryside, never to bear arms again for the Confederacy. By the time Pemberton found Johnston in mid-July, reposing with his army still relatively intact, Pemberton's over 30,000 parolees had reportedly melted away to fewer than 2,000 over the course of two weeks. As Cadwallader observed, 'The wisdom of Grant's releasing them on parole was thus early proven.'" (William Farina, Ulysses S. Grant, 1861-1864). General James B. "McPherson became the point man for the surrender, and Grant had special instructions for him regarding the parole process. He wanted it done quickly to relieve the burden he felt about the Confederate army, but he also wanted it done right. He told McPherson to 'take immediate charge of the paroling of the capitulated Confederate State forces, and hurry the same forward with all possible dispatch.'" (Timothy B. Smith, The Decision Was Always My Own: Ulysses S. Grant and the Vicksburg Campaign, p. 198). The letter: In this July 8, 1863 letter, written from Grant to his "point man" McPherson, Grant clearly and strongly defines the terms of surrender (revealingly noting that there has been "some misunderstanding" on the part of Pemberton) and gives McPherson very specific instructions as to how to handle the prisoners. The text reads in full: Head Quarters, Dept. of the Tenn. Vicksburg Miss. July 8th 1863. Maj. Gen. J.B. McPherson, Comdg 17th Army Corps. Gen: There apparently being some misunderstanding between Lt. Gen. Pemberton and the paroling officers as to the method of conducting the paroling of prisoners I will give you the following rules for your guidance. That there may be no misunderstanding no prisoners will be allowed to leave our lines until all are paroled who will accept. Those who decline will be confined on Steamers anchored in the stream until they accept and consent to march out with officers appointed over them. Declining this they will be sent North as prisoners of War to be held for exchange. When all those able to leave the lines are paroled, and the rolls are approved by Gen. Pemberton, or any officer designated by him, the whole will be required to leave our lines. Those declining to leave will be sent out under guard. Gen. Pemberton's acceptance of the terms proposed to him binds the Confederate Govt. not
RACKHAM, Arthur, illustrator; FORD, Julia Ellsworth BYNNER, Witter RIDGWAY, Arthur (Music)
Snickerty Nick with the Music Near Fine in original Printed Dust Jacket [RACKHAM, Arthur, illustrator]. Snickerty Nick & the Giant. By Julia Ellsworth Ford. Rhymes by Witter Bynner. Music by Charles Arthur Ridgway. Los Angeles San Franciso: Sutton House, . [Third edition, the first with the music included]. Quarto (9 1/2 x 7 3/16 inches; 242 x 183 mm.). [viii], -81, [1, blank], -132 pp. Three full-page monotone plates (facing pp. 16, 20 & 42), eight full-page black & white drawings and two line drawings. Original 'bright yellow' cloth with pictorial stamping in black on the front cover in black. A near fine copy in the original yellow pictorial dust jacket, some light chipping to extremities, some tiny tape repairs, otherwise an excellent example of a dust jacket that we have never seen before. The differences between this and the 1933 edition are as follows: The title-page of the 1933 edition has the imprint Suttonhouse: Los Angeles 1933 whilst the 1935 edition has Suttonhouse Los Angeles San Francisco and no date (the date 1935 is on the verso of the title-page]. The text and illustrations are identical but the 'Suggestion for Production' p. 77- 80 (in the 1933 edition), has now been changed and extended to p. 81. Following p. 81 is an additional title-page for the music which follows from p. 85 through p. 132. "The idea of the Selfish Giant in this play has been taken from the story of Oscar Wilde's Selfish Giant. Spring would not come to his garden because he would not let the children play in it. It was always winter there. One morning he woke up hearing the music of a linnet singing in his garden. He jumped out of bed and saw a most wonderful sight, "flowers were looking up through the green grass and laughing," and in every tree was a little child; but one little boy was too tiny to climb the tree and the Giant's heart melted and he helped the little child into the tree. The little child kissed him and forever after the children played in the Giant's garden, because his heart had softened through love of the little child. The children never saw the child again. But one day he came to the Giant, who saw on the palms of the child's hands "the prince of two nails and the prince of two nails were on the little feet". The little child had come to take the Giant to play in his garden, "which is Paradise." My indebtedness to this story is the character of the Selfish Giant. The little play of Snickerty Nick is not a dramatization of The Selfish Giant. The character of Snickerty Nick is an original character and the play centers around him. The little boy is only a loving and beloved child, and Spring and Winter are personified by faeries and gnomes. To Arthur Rackham I tender my most sincere thanks whose magic touch, as in Peter Pan, Grimm's Faery Tales and Undine, making real all faeries and gnomes, endears all child life to grown-ups as well as to children." (Forward by Julia Ellsworth Ford). This edition with the music not recorded in Riall In over fifty-five years of specializing in the work of Arthur Rackham I have never seen the 1933 edition, and I have only seen one other example of the 1935 before. According to Riall (see p. 180) the 1933 edition is listed as a "reprint of 1919 edition, with same coloured illustrations. Bound in bright yellow cloth. 3 full page illustrations in full colour. 8 drawings in black and white. This edition has the music added at the end of the book." OCLC locates just seven copies of the 1933 edition and twelve copies of the 1935 edition in libraries and institutions worldwide - none of the copies cited have any bibliographical details other than the book has 80 pp. (1933) or 132 pp. (1935). Both of these editions are unknown to The Arthur Rackham Society. The two books were produced in 1933 & 1935 to accompany the first Hollywood production of Snickerty Nick on April 8th, 1933. Julia Ellsworth Ford's famous little 'folk' play was directed by Pauline Parker.
A Fine Presentation Copy of Jacques Grandami's Nova demonstratio immobilitatis terrae petita ex virtut magnetica Athanasius Kircher's Correspondent on his Works on Magnetism GRANDAMI, Jacques. Nova demonstratio immobilitatis terrae petita ex virtut magnetica. La Flèche: George Griveau, 1645. First edition. A fine presentation copy presented by the author to an unidentified recipient I.B.' (frontispiece inscribed at foot 'I. B. Auctor D[ono] D' in contemporary hand); subsequently given to the library of the Jesuit domus professae in Antwerp by Daniel Papebroch in 1682 (printed title inscribed at head 'Domûs Professae Soc: Jesu Antuerpiae', front free endpaper with inscription 'Musei SS. in Domo professâ Soc. Iesu Antuerp. Dedit Bibliothecae ejûsdem Domûs R. P. Papebrochius 1682') Quarto (8 3/4 x 6 5/8 inches; 222 x 168 mm.). [viii], -24, 33-40, 43-170 pp. Additional engraved allegorical frontispiece by F. Rousseuille, seven engraved plates (comprising nine figures), one folding, and 24 engravings (on 22 pages) in the text (two repeated from one plate); occasional light marginal dampstaining and a few spots. Contemporary vellum, with contemporary hand-written list, on paper, of 11 books (this being the first) pasted to upper cover. A wonderful example in it's original contemporary vellum binding. Presentation copy of the first edition of this rare and richly illustrated Jesuit anti-Copernican tract by Jacques Grandami (1588-1672), rector of the Jesuit college of La Flèche, which was attended by both Descartes and Mersenne. "Although Kircher's work on magnetism antedated that of Jacques Grandami, the two Jesuits had corresponded about the matter before the publication of either work. Grandami, a French Jesuit who taught philosophy and theology at Bourges, Rennes, Tours, La Flèche, Rouen and Paris, published what he considered to be the definitive work on magnetic astronomy, his Nova demonstratio immobilitatis terrae petita ex virtut magnetica. Prior to its publication he had indicated in a letter his debt to Cabeo for his theoretical thinking: "Although gravity causes the Earth to stand in the centre of the world, it is not able to impede its circular motion around the centre, especially against the daily agitation of all the sea waters in the changing tides and in violent storms. Thus it is that another quality is added and assigned to immobility . This quality is sufficient for effecting this immobility and for restoring the Earth's situation with the poles of the sky if by chance it should be disturbed. I call this quality the magnetic quality since in magnetic bodies the rest and constant immobility on the meridian line (or near it) are seen everywhere." In this work Grandami employs the 'magnetic philosophy' initiated by William Gilbert to refute the heliocentrist position. He also claims to have solved the problem of determining longitude at sea. In the first decades of the seventeenth century 'magnetic philosophy' was used both by heliocentrists and their opponents to support their positions, and Grandami had discussed his views with Descartes and Mersenne, as well as with Huygens, before the publication of this work. "In the seventeenth century debates over the Copernican hypothesis numerous astronomers used magnetism and magnetic theories of attraction to substantiate their theoretical arguments and experimental proofs. William Gilbert initiated the introduction of magnetism into astronomical debate and the analogy between magnets and celestial bodies was subsequently employed in various ways by the heliocentrists, including Kepler and Galileo. By calling up Gilbert's magnetic philosophy in support of Copernican astronomy, Kepler and Galileo influenced the course of astronomical debate by strengthening the analogy and by cementing together the two sciences of magnetism and celestial physics. Yet magnetic arguments and magnetic analogies did not remain the province of heliocentrists alone. Opponents of Copernican theory likewise turned to magnetism, this time to refute the astronomy which common sense and Scriptural authority opposed. The hope of disproving the Copernican hypothesis by means of magnetic studies provided a strong stimulus to such studies in the scientific community" (Baldwin, p. 155). Grandami considered the present work to be a major contribution, continuing to discuss it with Huygens as late as 1669. Very Scarce. According to OCLC there are only five complete copies located in institutions and libraries worldwide: New York Public Library; New York Society Library; Yale University Library (CT, USA); Sachsische Landesbibliothek (Germany); University of Oxford (UK). ABPC/RBH list only two copies sold since 1942 (neither of them presentation copies): Sotheby's, Honeyman Sale November 1979, £700 (cont. calf worn, one plate torn and repaired), this subsequently offered by Howell in 1981 for $3250; Christie's, Beltrame Sale November 2016, £7500 (engraved title torn with loss, modern binding, soiled). The remarkable frontispiece "reflects the Jesuits' preoccupation with magnetic cosmology. At the top two angels symbolize God's providence in imbuing the Earth with a magnetic quality to prevent it moving. The quotation from Ecclesiastes I, 4 emphasizes the unique conformity of Jesuit magnetics with scripture. The central image is of a cherub conducting Grandami's basic experiment to prove magnetic immobility . Navigational interests are again represented. The cherub on the right carries Grandami's allegedly non-declining compass needle, with which he claimed to have solved the problem of longitude at sea" (Pumfrey, p. 52). Provenance: presented by the author to an unidentified recipient 'I. B.' (frontispiece inscribed at foot 'I. B. Auctor D[ono] D' in contemporary hand); subsequently given to the library of the Jesuit domus professae in Antwerp by Daniel Papebroch in 1682 (printed title inscribed at head 'Domûs Professae Soc: Jesu Antuerpiae', front free endp
FIRST PRINTING IN ORIGINAL WRAPPERS OF ONE OF EINSTEIN'S MAJOR WORKS: HIS FIRST PAPER ON THE DERIVATION OF PLANK'S LAW AND PROVIDING THE THEORETICAL BASIS FOR THE LASER. "Einstein commended the 'unparalleled boldness' of Planck's derivation of 1900, meaning not only the problem itself but also the fact that it was based on assumptions that were not entirely free of contradictions. Einstein now succeeded in the first of two papers in eliminating that flaw. More interesting than the derivation itself was the general character of his methods. Einstein proceeded from Niels Bohr's basic--and by then well tested--assumption that the electrons within an atom occupy a number of discrete energy states, and are able, through emission or absorption of radiation, to pass from one of those states to another. Added to this was an assumption of thermodynamic equilibrium between radiation field and atom, as well as a consideration of the 'classical' limiting case at high temperatures--and there was Planck's formula. This brief argument. also covers emission stimulated by the radiation field; thus the formulas already, by implication, contain the theory of the laser, though it was to take nearly half a century to be realized" (Folsing, Albert Einstein, 389). Weil *85. The "implication" containing the theory of the laser was more fully developed in his companion paper "On the Quantum Theory of Radiation" published a few weeks later. In the first paper, Einstein wrestled with the concept that the atomic emission of radiation could be a directed process; in the second paper he convincingly demonstrates that this is indeed the case. IN: Verhandl. D. Deutch. Phys. Ges., Vol 18, pp. 318-323. Braunschweig: Druck und Verlag von Friedr. Vieweg and Son, 1916. Octavo, original wrappers; housed in custom half leather chemise. One thread (literally) resewn on wrappers, a little creasing and soiling. A beautiful copy. RARE IN ORIGINAL WRAPPERS.
Oppenhiem writes that she sent "19 photographs," signs, "Meret O." and in a post script in pencil adds that she will send her Stockholm catalog. It appears that she wrote the note to Trevor after she had crafted this sketch and fit her words onto the bottom of the page. The drawing with note measures 8.25 x 11.6 and floats on a dark gray mat overlaid with a white mat, framed in black satin finished wood, matted and framed in museum quality materials, framed in 5/8/inch black satin wood. Frame measures 19 1/8 x 16. After her sensational Surrealist art piece "Object in Fur" focused great attention on her, she withdrew from the art word returning later in photography as she mentions here. She developed a unique style apart from a particular movement. Condition: this drawing is rendered on thin paper onto which another piece of paper is attached at the back along top edge. The overall condition is very good, sunning along the right and left margins, two small light age stains near the right edge, center fold visible.
Märt Laarman, with A. Jansen, R. Kongro-Pool, H. Kompus, N. Triik eds
Quarto 22x29 cm., wrappers bound in cloth, Nos. 1-4/5 (all published). Cover design by Gunther Reindorff. One of the most important interwar art journals, Taie continued to introduce the latest art experiments in Estonia as well as the more traditional work to Estonian readers. It was truly international in scope, with a broader outreach than previous journals which emphasized Estonian work almost exclusively. It also explored traditional Estonian crafts and folk art and visual heritage as well as Western European art history. Many of the artists contributed essays and statements in addition to presenting their work. There is a very fine survey of the Latvian avant-garde and modernism; Western Europe primarily is represented by France, both traditional and contemporary. Estonian contemporary architecture is also featured along with building developments in Finland. The journal is well illustrated. Especially interesting as a document of the continuing Estonian Constructivism which persisted up to 1940, unlike its neighbors. This example with the original cover of the first issue (all the other numbers had exactly the same cover). Two library holdings found worldwide. (Princeton. British Museum).
BAYNTUN, binder]; POGANY, Willy; WAGNER, Richard; ROLLESTON, T.W.
A Superb Early Bayntun Inlaid Binding On One of Willy Pogany's Masterpieces BAYNTUN, binder. POGANY, Willy (illustrator). WAGNER, Richard. ROLLESTON, T.W. The Tale of Lohengrin, Knight of the Swan after the Drama of Richard Wagner by T.W. Rolleston. Presented by Willy Pogany. London: G.G. Harrap, n .d. . First trade edition. Quarto (10 x 7 1/4 inches; 254 x 184 mm.). 192 unnumbered pages. Eight tipped-in color plates including frontispiece with original tissue guard, numerous full page color illustrations, calligraphic text, head- tailpieces; an image on every page. Printed on heavy gray stock. Some minor discoloration to first three and last three leaves, otherwise fine. Bound ca. 1930 by Bayntun of Bath (stamp-signed in gilt on front turn-in). Full black morocco, covers with single gilt rule, front cover with multi color morocco inlays reproducing the illustration on page . Spine with five raised bands, decoratively tooled and lettered in gilt in compartments. Decorative gilt board edges, gilt ruled turn-ins, blue cockerel endpapers, all edges gilt. Housed in the original blue cloth over boards clamshell case. The design on the front cover is taken from the illustration on p. . "And then aloud spake she- "O King, a champion waits the hoar To take my part with godlike power, And my Deliverer be. "In dreams I saw him; silver-bright His jewell'd armour shone. His sword was as a beam of light, His crest a silver swan. "He is my Lord, he is my King. And his till death am I. Come, Victor, Lord, the hoar is near- Oh hear thy poor maid's cry!" William Andrew ("Willy") Pogany (born Vilmos Andreas Pogány) (August 1882 - 30 July 1955) was a prolific Hungarian illustrator of children's and other books. Pogany's best known works consist of illustrations of classic myths and legends done in the Art Nouveau style. He also worked as an art director on several Hollywood films, including Fashions of 1934 and Dames. The publication of Pogány's Lohengrin was the final act in his trilogy of masterworks focused on Wagner's Germanic tales, and one of the quintet that is considered his finest work. Pogány clearly approached the commission to illustrate Lohengrin as an opportunity to improve and extend techniques that he had developed through his preceding work, particularly The Rubáiyat of Omar Khayyám, The Rime of the Ancient Mariner, Tannhäuser and Parsifal, the other four books that immortalized his career as an illustrator. That commitment to ongoing innovation resulted in an incredible suite of illustrations, including color lithographs, monotone and marginal illustrations and the delightful tipped-in color plates (produced with a four-color process) included in Lohengrin. Themes of medieval chivalry, erotic love and moral tests are illustrated in a lavish fashion by Pogány with an outstanding use of iconography, form and color.'.
RIVIÈRE & SON binder; POGANY, Willy, illustrator; FITZGERALD, Edward, Translator; OMAR KHAYYAM
An Exceptionally Fine Riviére Rubáiyát Illustrated by Willy Pogany [RIVIÉRE & Son, binders]. Rubáiyát of Omar Khayyám. Presented by Willy Pogany. [The illustrations and decorations in this edition of Fitzgerald's translation of the "Rubáiyát" are by Willy Pogany]. London: George G. Harrap & Co. Ltd., [ca. 1916]. Octavo (8 1/8 x 5 1/2 inches; 207 x 140 mm.). Text printed in blue and black. 112 unnumbered pp.With sixteen tipped-in color plates within decorative borders by Willy Pogany, and numerous text illustrations printed in blue. Bound ca. 1916 by Riviére & Son, stamp-signed in gilt on front turn-in. Full vermillion crushed levant morocco. Front cover with a central oval panel of green morocco with Eve, the serpent and the tree of life inlaid in various color morocco's. This central panel is surrounded by a gilt floral border of flowers and bunches of grapes, which in turn is surrounded by a border lettered "Oh, Thou, Who Man of Baser Earth Didst Make, / And Who With Eden Didst Devise The Snake, / For All The Sin Wherewith The Face Of Man / is Blacken'd. Man's Forgiveness Give - And Take". Rear cover with an oval panel featuring the snake twined around a large chalice, also surroundedby a gilt floral border of flowers and bunches of grapes, which in turn is surrounded by a border lettered "Oh, Thou, Who Man of Baser Earth Didst Make, / And Who With Eden Didst Devise The Snake, / For All The Sin Wherewith The Face Of Man / is Blacken'd. Man's Forgiveness Give - And Take". Spine with five raised bands decoratively paneled, tooled and lettered in gilt in compartments, gilt board edges, decorative gilt turn-ins, decorative floral endpapers, all edges gilt. Housed in the original, felt-lined, red cloth over boards slipcase. A very fine example. Willy Pogany had previously illustrated the Rubaiyat in 1909, but these later illustrations are quite a different interpretation, more westernized and modernized than the earlier ones. "Had Omar Khayyam, the old tentmaker, visioned the beauty of his verses centuries later in Western dress, as embroidered by a Hungarian artist, he might have had a new conception of the meaning of immortality. For Pogany, the Hungarian, had made Omar, the Persian, live again." (Willy Pogany and his Work. eight-page leaflet). Willy Pogány, born in Szeged, Hungary, in 1882, studied at Budapest Technical University and in Munich and Paris. His reputation as a muralist, painter and illustrator was well established in Paris, London and Munich before arriving in the United States in 1915, at the age of thirty-three. Skilled in an unusually wide range of media, he had won gold medals at exhibitions in Budapest, Leipzig, and at the Panama Pacific International Exhibition. "Among Pogány's many murals are those for the Heckscher Children's Theatre in New York City and the Niagara Falls Power Station. As a painter he did portraits of famous people in all walks of life. An expert on scenery design and lighting effects, Pogány also designed sets for ballets and operas, including "Le Coq d'Or," and for many films, such as Modern Times for Charlie Chaplin as well as animated cartoons based on his children's books. "Among his other artistic endeavors Pogány was an accomplished book illustrator. It was this phase of his career, especially as an illustrator of children's books, which gives this collection special relevance for Special Collections & University Archives at the University of Oregon Libraries. Pogány designed and illustrated more than 150 books. His illustrations include those for the Rubaiyat and the Sonnets from the Portuguese, The Song Celestial, The Adventures of Odysseus, Gulliver's Travels, and many others, both classic and original. "Working tirelessly right up until the end, Willy Pogány died in 1955" (University of Oregon, Guide to the Willy A. Pogány Papers 1910-1967).
MÖRNER, Carl Gustav Hjalmar
A Remarkable Suite of Sixteen Lithograph Plates - Including Four with Hand-coloring A Wonderful Caricaturists View of Stockholm MÖRNER, Carl Gustav Hjalmar. Stockholmska Scener Tecknade och lithografierade. [Caricature Scenes of Stockholm in Lithograph] Stockholm: Gjöthström & Magnusson, . First Edition in Book Form. Oblong folio (10 1/8 x 13 5/8 inches; 257 x 345 mm.). Sixteen superb, large lithographed plates including four that are hand colored, all by Gjöthström and Magnusson after Mörner. Contemporary quarter dark brown calf over mottles paper boards, pale gray endpapers. Extremities a little rubbed, otherwise an excellent copy. Originally published in four parts, each with three uncolored and one colored plate. Excessively rare with only two copies listed in institutions worldwide: Kunstbiblio Staatliche Museen Zu Berlin (Germany); National Library of Sweden. (both with just four hand colored plates). Not in any of the standard bibliographies although Colas 2141 & 2142 does make mention of the two editions of one of Mörner's other works Scènes populaires de Naples. (1828 edition & 1829 edition). The plates (translated from the Swedish) 1. Kállare - The Cellar 2. Hyrvagn - Slå bak! - A rental carriage with two stowaways 3. Roddare Båt - Rowers Boat 4. Restauration - Jungfru! Ska bli - Restoration - Oh, my God! To be young. 5. Musikaliskt Sállskap - Musical Society 6. [Untitled] - [Two Police Officers escorting a criminal?] (Colored) 7. Si opp! - Get up! 8. Division hallt - Division kept 9. Får jag den áran att proponera - May I propose that year (Colored) 10. Vira - The card game 11. Upphålls váder - Staying wet (Colored) 12. Kládstånd - Clothes Shop 13. Brunns Bal - Wells Ball 14. Thé Visit - The Visit 15. [Untitled] - [A country picnic in the rain] 16. Á ju full? Sa du - Did you say you are full? (Colored) Carl Gustav Hjalmar Mörner, born May 7, 1794 in Stockholm, died September 15, 1837 in Paris, was a Swedish artist. He devoted himself first to the military court and participated in the battles of Grossbeeren, Dennewitz, Leipzig and Bornhöved. As with many other officers at the same time he devoted himself to amateur painting, which is testified by many of his sketches from youth, conviviality and the campaign in Germany. Later he turned seriously to art and traveled in 1816 over Germany and France to Italy, where he stayed until 1828. Mörner tried to paint larger compositions with historical or folklore motifs in oil, but had little success with them. One of the more famous paintings in this genre include Odin's arrival to Sweden's Rosendal Palace. His greatest contribution was made as a draftsman and lithographer. In 1820 he published a series of Roman carnival images in outline etching Il Carnevale di Roma, but these was later transformed into lithographs, which suited his drawing much better, as shown in Italian costume pictures (1825), Scenes populaires de Naples (printed in Naples in 1826, French edition 1828), Travel Memories France, Germany and Italy (1829) and Stockholmska Scenes (1830). During a stay in London from 1830-36, Mörner published a lithographic album, Miscellaneous Sketches of Contrasts (1831). A scheduled work on physiognomy was not completes due to the artist's death in Paris in 1837. Hjalmar Mörner's work is represented in the Gothenburg Museum of Art, Östergötland County Museum, Orebro County Museum, and the University Library in Uppsala.
Kennedy, John F.
Kennedy, whose own family knew all too well the meaning of sacrifice for one's country, consoles a woman whose husband went down on the USS Thresher"It is a sad fact of history that this price of freedom must be paid again and again, by our best men in each generation. Yours husband has joined the other defenders of this Nation who have given their lives for their country."At the time of the Manhattan Project (before the Cold War really began), there was some talk about the possibility of using nuclear power to propel submarines. The idea of arming submarines with nuclear missiles didn't come up until the 1960 launching of the George Washington. When nuclear energy was conceived of as a power source for submarines, that was a jaw-dropper in itself. But when navies gained the ability to launch a nuclear warhead from a nuclear-powered submarine, the world had touched on what was quite arguably the most powerful ? in terms of strength and mobility ? weapons system ever.Creating a modern nuclear Navy to counter the USSR during the Cold War involved not merely outfitting submarines, but aircraft carriers and other ships as well, and increasing the firepower of the fleet with Polaris missiles. Using submarines and missiles, American might could now be delivered to any point in the world; and American submarines could cruise, silently and never surfacing, beneath the waves shadowing Soviet naval movements, collecting Soviet missile telemetry and eavesdropping on Soviet communications. This would, it was believed, give the US an advantage in the Cold War.On January 20, 1961, John Kennedy ushered in a new era in the United States (and indeed the world) with his historic, visionary, and inspirational Inaugural Address. which is widely considered one of the greatest ever, with the new President saying that the inaugural was "not a victory of party but a celebration of freedom", and called for idealistic sacrifice, saying Americans should "ask not what your country can do for you?ask what you can do for your country". Spellbinding to hear, it seemed to leave behind existing attitudes and limitations, while acting as a clarion call to young and old alike to realize their personal potential while helping build a better nation and world. The speech immediately infused energy and excitement, Washington was almost bristling with it, which led to such programs as the Peace Corps, and such major Kennedy policies and achievements as the Nuclear Test Ban Treaty. The Sixties, which followed from that moment would hardly have been possible without it.The USS Thresher, a nuclear submarine, was commissioned on August 3, 1961. At the time it was built, Thresher was the fastest and quietest submarine in the world. SSN 593 was considered the most advanced weapons system of its day, created specifically to seek out and destroy Soviet submarines.In company with USS Skylark, Thresher put to sea on April 10, 1963, for deep-diving exercises. In addition to her 16 officers and 96 enlisted men, the submarine carried 17 civilian technicians to observe her performance during the deep-diving tests. Fifteen minutes after reaching her assigned test depth, the submarine communicated with Skylark by underwater telephone, apprising the submarine rescue ship of difficulties. Garbled transmissions indicated that far below the surface things were going wrong. Suddenly, listeners in Skylark heard a noise "like air rushing into an air tank"?then, silence. Efforts to reestablish contact with Thresher failed, and a search group was formed in an attempt to locate the submarine. Rescue ship Recovery recovered bits of debris, including gloves and internal insulation. Photographs taken by bathyscaph Trieste proved that the submarine had broken up, taking all hands on board to their deaths. This was the first major setback for the US nuclear reactors program and devastated President Kennedy. This was a crucial element of his deterrence campaign.Raymond Peter Foti had taken up Kennedy's call and joined the Navy. He completed his basic training, and attended the Navy's Electronics Technician School at the U.S. Naval Training Center, Great Lakes, Ill. He volunteered for submarine duty and upon being accepted he was enrolled in the Submarine School at the U.S. Naval Submarine Base, New London, Conn. He successfully completed the course of instruction and was assigned to his first submarine, the U.S.S. Medregal (SS 480). He was selected for advance training in nuclear power, and attended the school at the Nuclear Power Training Unit at Windsor Locks, and at the submarine base, New London, Conn. On November 29, 1961, Raymond was assigned to the Thresher, as a member of her crew. He had gone down with the ship.John F. Kennedy was a young commander of a Navy vessel in World War II, the legendary PT-109. His boat was sliced in two by a Japanese destroyer, and some men were killed in the collision. Kennedy then, according to his citation, "unmindful of personal danger?unhesitatingly braved the difficulties and hazards of darkness to direct rescue operations, swimming many hours to secure aid and food after he had succeeded in getting his crew ashore." For his heroism he was awarded the Navy and Marine Medal. His elder brother, Joseph P. Kennedy, Jr., was killed in action in 1944 and received the Navy Cross. The Kennedy family knew firsthand what sacrifice meant.The sacrifices of Foti and others touched Kennedy, and caused him to think deeply on its meaning.Typed letter signed, on White House letterhead, April 19, 1963, to Mrs. Foti. "Dear Mrs. Foti, Mrs. Kennedy and I want to express our very deepest sympathy to you in the loss of your husband aboard the USS Thresher. The loss of Thresher was a great shock to freedom-loving people around the world. The American people feel deeply this tragic loss."It is a sad fact of history that this price of freedom must be paid again and again, by our best men in each generation. Yours husband has joined the other
Adams, John Quincy and Gallatin, Albert
Crawford was given the delicate task of proceeding with discussions for loans with European investors, while being informed the loans might not be wanted in the endIn 1812, the nation went to war without a wide-ranging financial strategy. The federal government's revenue largely came from customs duties and land sales, but war meant that revenue from these sources nosedived. There was no federal taxation of incomes and the Bank of the United States' charter had been allowed to run out in 1811, depriving the government of a major source of loans and credit. The government now had to use state banks and wealthy individuals as the basis for capital for its loans. In July 1813 Congress consented to a series of direct taxes on land and property, and on transactions and products including auction sales, carriages, liquor distilleries, retail wine licenses and refined sugar.All this proved hardly sufficient. By the spring of 1814 Congress authorized Madison to borrow $32.5 million to pay for the war, but by summer the domestic investment climate for U.S. Treasury bonds was weak, and the government's inability to borrow money hampered its ability to pay for the defense of Washington. This money might, however, be found in Europe with those that sympathized with the American cause. American negotiators were already in Europe hoping to negotiate the end of the war. These included John Quincy Adams, the chief US diplomat in Europe, Henry Clay, Albert Gallatin, Jonathan Russell, and James Bayard. The Ghent negotiators were charged with finding the funds, and they hoped that William Crawford, American ambassador In Paris, would assist and succeed. After all, France and Britain had been art war for over a decade.Meanwhile, in April 1814, President James Madison, who had opposed the creation of the first Bank of the United States in 1791, reluctantly admitted to the need for another national bank to finance the war. Some politicians and diplomats placed their hopes on the building of this Bank and other national measures rather than foreign loans.In early December 1814, shortly before the Treaty of Ghent was signed but at a time when an agreement was not at all certain, the Ghent negotiators issued these instructions to Crawford regarding the loans. European lenders were to be assured that the U.S. government was pledged to repay the loans, and the lines to them were to be kept open and flowing, but because of a potential treaty to end the war, and the fact that the investors buying stock in the new Bank of the United States would be a possible alternative source of funds, the foreign loans might not be needed.Autograph letter signed by both Gallatin and Adams, Ghent, December 2, 1814, to Ambassador Crawford, asking him to handle this delicate assignment. "We have received your letter of the 23rd let. We think that our instructions respecting the proposed loan will warrant our pledging the United States for the reimbursement of the principal in Europe. It is however probable that the Secretary of the Treasury hopes to succeed in raising the price of stock in America. There can be no doubt that will happen if his plan for a Bank, which will absorb 24 millions of the new stock, is adopted by Congress. And we may presume that to have been his motive for not sending by the [ship] Fingal the other three millions of stock, as had been intended by his predecessor. Considering also the present state of negotiations at this place, we think it advisable not to make at this moment a definitive arrangement with any house for the sale of the stock in our hands. The rate of 85% is as much as could be expected at this time, and we do not suppose that a short delay will affect that price in any considerable degree. But it is extremely desirable that in the meanwhile the enquiries on the subject should be pursued and the negotiation with the several banking houses of Paris should be kept alive."Of the result of our mission you will of course be immediately informed, and if it proves unsuccessful Mr. Gallatin will proceed to Paris, and take in consent with you the necessary measures on the subject of the loans."The Treaty of Ghent was signed December 24, 1814, thus ending the war. But by then the United States government was essentially bankrupt and loans were hard to come by. The financial difficulties continued, and in 1815 domestic taxes were raised. Hopes for the Bank of the United States were premature, as it was not chartered until 1816. The debt incurred in the war was not paid off until 1837.
[Marie de Rabutin-Chantal Sévigné, marquise de]
A Grignan., M. DCC. LVI.
[Marie de Rabutin-Chantal Sévigné, marquise de] SEVIGNIANA / OU / RECUEIL / DE PENSÉES INGÉNIEUSES, /D'Anecdotes Littéraires, Historiques / & Morales, TIRÉES DES LETTRES / DE MADAME LA MARQUISE / DE SEVIGNÉ ; / Avec des Remarques pour l'intelligence / du Texte. A GRIGNAN : M. DCC. LVI. (1756) First edition. [1 blank ; viii ; 398 pages ; 1 blank ; Fautes à corriger dans les Notes, verso blank ; ERRATA, verso blank ; 1 blank] 12mo. 13.5 cm x 8.3 cm. Bound in dark calf with a wavy ferrous sulfate-induced pattern, with a sprinkled text block. The quality of the paper is fine. The front cover is slightly sprung. The spine is gilt decorated.
Abbé Pierre Barral edited these excerpts taken from the letters of Madame la Marquise de Sévigné written to her daughter to inform her as well as to teach her. The observations committed to paper were wide-ranging, and the letters included the views of Louis XIV as given to Madame la Marquise de Sévigné by Louis XIV, himself, on various subjects and people, like Racine, Corneille, Boileau and la Bruyère. The footnotes of Barral are very useful.
There is a paper flaw pp 49-50, with a partial loss of 3 letters p. 50, not affecting readability. There is another paper flaw pp. 135-136, with no text loss. At page 101, there is a hand text correction: "Elle" is crossed out. The original silk bookmark is intact. Ink spots occur on pages 217 and 313, with no text loss.
Brahms, Johannes. Erste Symphonie (C moll) Johannes Brahms Op. 68 für 2 Pianoforte zu 8 Händen von Robert Keller. Berlin: Verlag von N. Simock in Berlin, G.m.b.H., . Simrock plate number 8032. 34 cm x 26.5. The Brahms First Symphony arranged for two pianos eight hands by Robert Keller. Two scores: Score I, Pianoforte I, Secondo (verso), Primo (recto), pages 1 – 59, complete; Score II, Pianoforte II, Secondo (verso), Primo (recto), pages 1 – 51, complete. Paper wrapper, back cover advertises the Ungarische Tänze von Johannes Brahms für 2 Pianoforte zu 4 händen and the Slavische Tänze von Anton Dvoŕák 2 Pianoforte zu 4 händen.
Here is a small tear to the front wrapper with no text or paper loss, and a small damp stain to the front cover, otherwise the condition is very good. This copy is signed on the title page by Mary I[sabella] Dickson, daughter of Dr. George Dickson, 9 India Street, Edinburgh. Miss Dickson became the wife of Dr. Alan Menzies, a professor of chemistry at Princeton University. Her daughter was Elizabeth G. C. Menzies. One other complete copy of this rare arrangement for eight-hands at two pianos was located at the Nederlands Muziek Instituut, Muziekbibliotheek.
L'un des plus précieux livres du XVIIIe siècle. Au cours du dernier demi-siècle, un seul autre exemplaire sur grand papier relié par le même Derome le jeune en maroquin à dentelle - non mosaïqué - est apparu sur le marché. Paris, chez Lamy, Libraire, 1781.2 volumes in-12 de : 1 frontispice gravé, xxxii pp., 279 pp. ; 149 pp. et 13 vignettes en tête dont 9 sont tirées sur les cuivres de l'édition de 1742. Les vignettes de la seconde partie seule portent un nom d'artiste et sont signées de Martinet.Plein maroquin vert foncé, plats ornés d'une large dentelle dorée formée de cinq diverses roulettes d'encadrement et de trois fleurons d'angle, dos à nerfs richement ornés avec pièces de titre et de tomaison en maroquin rouge et citron, doublures et gardes de tabis rose avec incrustation de dentelle dorée, garde supérieure avec encadrement de mosaïques de maroquin havane orné d'une roulette dorée, coupes décorées, tranches dorées. Reliure de luxe de l'époque de Derome le jeune en maroquin doublé et triplé, décoré et mosaïqué.176 x 100 mm. / One of the most precious books of the 18th century. Over the last half-century, only one other copy on large paper also bound by Derome le jeune in morocco with dentelle - without mosaic patterns - appeared on the market. Paris, at Lamy, Bookseller, 1781.2 volumes 12mo of 1 engraved frontispiece, xxxii pp., 279 pp.; 149 p. and 13 heading vignettes of which 9 are executed from the coppers of the 1742 edition. The vignettes of the second part alone bear an artist name and are signed by Martinet.Full dark green morocco, covers adorned with a wide gilt dentelle made up of five various frame borders and three fleurons in the corners, spines ribbed richly adorned with lettering pieces in red and citron morocco, doublures and guards of pink watered silk with inlay of gilt dentelle, front endpaper with framing of mosaics of light-brown morocco decorated with a gilt border, gilt edges. Luxury binding from the time of Derome the Younger in doubled and tripled decorated morocco with mosaic patterns.176 x 100 mm.
LEFEBVRE-DURUFLÉ Jacques Noël / BONINGTON / FIELDING, Théodore.
Magnifique exemplaire, absolument non rogné, très pur et admirablement aquarellé. Paris, J. F. Ostervald, Imprimerie de Jules Didot l'Aîné, 1823 (1823-1825).In-folio de (1) f., (54) ff. de texte, 40 planches sur grand papier indien, chacune montée avec titre imprimé, (1) f. de table.Demi-basane à coins, dos à nerfs refait orné de fleurons dorés. Reliure de l'époque.494 x 310 mm. / A superb copy, entirely untrimmed, very pure and admirably watercolored. Paris, J. F. Ostervald, Imprimerie de Jules Didot l'Aîné, 1823 (1823-1825).Folio [494 x 310 mm], 1 l., (54) ll. of text, 40 plates on large Indian paper, each one mounted with printed title, (1) l. of table. Half-roan, rebacked, spine with raised bands and gilt fleurons. Contemporary binding.
BENEZET, Anthony; SHARP, Granville
Scarce First Edition of this Important Anti-Slavery Work. BENEZET, Anthony. SHARP, Granville. Some Historical Account of Guinea, Its Situation, Produce and the general Disposition of its Inhabitants. With an inquiry into the Rise and Progress of the Slave-Trade, its Nature and lamentable Effects. Also a Re-publication of the Sentiments of several Authors of Note, on this interesting Subject; particularly an Extract of a Treatise, by Granville Sharp. Philadelphia: Joseph Cruikshank, 1771. First edition of this important anti-slavery work. Small octavo ( 6 7/16 x 4 inches; 164 x 100 mm). [v], [1 blank], -4. -144, [1-3], -44, -53, [6, index] pp. Contemporary calf, spine with four raised bands. Binding a little rubbed but quite sound. Housed in a brown buckram slipcase. First edition of the Benezet and first American edition of the Sharp. An important early American publication against the slave trade. Benezet (1713-1784) became a Quaker convert and moved to Philadelphia in 1731. He is described in the Library Company Afro-Americana catalogue (Item 44) as "the colonial anchor-man of the Anglo-American anti-slavery axis." Benezet worked ceaselessly to have slavery abolished by the colonial legislatures, and corresponded with Granville Sharp, one of the most important English abolitionists. When Pennsylvania passed an abolition law in 1780 that granted freedom to children of slaves upon reaching the age of twenty-eight (until then they would enjoy the same rights as indentured servants and apprentices), other states did not immediately follow. Benezet told Benjamin Franklin he found it "sorrowfully astonishing that after the declaration so strongly and clearly made of the value & right of liberty on this continent, no state but that of Pennsylvania & that imperfectly, have yet taken a step towards the total abolition of slavery." On his return to Philadelphia in 1785, Franklin became president of the Pennsylvania Society for Promoting the Abolition of Slavery. Among the works the society distributed were those of the London abolitionist Thomas Clarkson. Benezet had influenced Clarkson's anti-slavery views. In The History of the Abolition of the Slave Trade, Clarkson states: "Benezet's account of Guinea became instrumental beyond any other book ever before published, in disseminating a proper knowledge of the slave trade." A very scarce title, containing two titlepages. Evans 11986.
Inscribed by Charlie Chaplin to his Friend Sam Joseph CHAPLIN, Charles. My Auto-Biography. London: The Bodley Head, . First edition. Inscribed in black ink on the front free endpaper "To E. Joseph.-/Your friend/Charles Chaplin/Sept 30th 64". Octavo (8 1/2 x 5 1/2 inches; 216 x 140 mm.). [xiv], 545, [1, blank] pp. Publisher's red cloth over boards, front cover and spine lettered in gilt. Original dust jacket, spine very slightly darkened. A fine copy in an almost fine dust jacket. The recipient was actually Sam Joseph the partner of Jack Joseph in the renowned bookshop E. Joseph in the famous book street Charing Cross Road. Sam Joseph (1895-1985) married the actress Binnie Barnes (1903-1998) in 1931. Soon after he left the book business and he and Binnie Barnes moved to Hollywood where she appeared in many movies including The Private Life of Henry VIII, in which she had a leading role as his fifth wife Katherine Howard. Their marriage ended in 1936 and Sam returned to London and went back into the book business with his brother Jack. It was during the years in Hollywood that Sam and Binnie became friends with Chaplin who would occasionally visit the bookshop when he was in London. When My Autobiography was published in September 1964, Chaplin visited the bookshop and gave Sam this inscribed copy. Sir Charles Spencer Chaplin KBE (16 April 1889 - 25 December 1977) was an English comic actor, filmmaker, and composer who rose to fame in the era of silent film. He became a worldwide icon through his screen persona, "The Tramp", and is considered one of the most important figures in the history of the film industry. His career spanned more than 75 years, from childhood in the Victorian era until a year before his death in 1977, and encompassed both adulation and controversy. In 1919, Chaplin co-founded the distribution company United Artists, which gave him complete control over his films. His first feature-length film was The Kid (1921), followed by A Woman of Paris (1923), The Gold Rush (1925), and The Circus (1928). He initially refused to move to sound films in the 1930s, instead producing City Lights (1931) and Modern Times (1936) without dialogue. He became increasingly political, and his first sound film was The Great Dictator (1940), which satirized Adolf Hitler. The 1940s were a decade marked with controversy for Chaplin, and his popularity declined rapidly. He was accused of communist sympathies, and some members of the press and public found his involvement in a paternity suit, and marriages to much younger women, scandalous. An FBI investigation was opened, and Chaplin was forced to leave the United States and settle in Switzerland. He abandoned the Tramp in his later films, which include Monsieur Verdoux (1947), Limelight (1952), A King in New York (1957), and A Countess from Hong Kong (1967). Chaplin wrote, directed, produced, edited, starred in, and composed the music for most of his films. He was a perfectionist, and his financial independence enabled him to spend years on the development and production of a picture. His films are characterized by slapstick combined with pathos, typified in the Tramp's struggles against adversity. Many contain social and political themes, as well as autobiographical elements. He received an Honorary Academy Award for "the incalculable effect he has had in making motion pictures the art form of this century" in 1972, as part of a renewed appreciation for his work. He continues to be held in high regard, with The Gold Rush, City Lights, Modern Times, and The Great Dictator often ranked on lists of the greatest films of all time.
COSWAY-STYLE BINDING; SANGORSKI & SUTCLIFFE, binders; YOUNG, Colonel G.F.
An Amazing Sangorski & Sutcliffe Cosway-Style Jeweled Binding [COSWAY-STYLE JEWELED BINDING]. SANGORSKI & SUTCLIFFE, binders. YOUNG, Colonel G.F. The Medici. With Portraits and Illustrations. In two volumes. London: John Murray, 1909. First edition. Two large octavo volumes. (8 5/8 x 5 9/16 inches; 220 x 141 mm). xxv, [1, blank], , [1, blank], -538; xii, 576 pp. 100 black and white plates. A spectacular Cosway-Style 'Jeweled' binding by Sangorski & Sutcliffe ca. 1920 (stamp-signed in gilt on rear turn-in). Full crimson crushed levant morocco over beveled boards, lavishly gilt and inlaid in the Art Nouveau style. Covers with inlaid central oval of royal blue morocco with the House of Medici emblem of eight large gilt circles surrounded by double gilt border. Around the central inlay is a border of eight green morocco oval inlays finely decorated in gilt with eight small flowers. Surrounding the central panel is an onlaid Grolieresque strap-work design in green and black morocco, elaborately decorated in gilt in a floral design, many of the leaves onlaid in green morocco. Spines with five raised bands, decoratively tooled and lettered in gilt in compartments. Four of the compartments have alternating onlaid green and black morocco strap-work borders each surrounding four gilt Medici emblems. Double gilt-ruled board edges and elaborate gilt turn-ins, dark blue watered silk liners and endleaves, all edges gilt. The first volume has a doublure of dark blue crushed levant morocco, multi-ruled in gilt. In the center is a superb gilt framed, hand-pained portrait miniature (3 1/2 x 2 3/4 inches; 90 x 70 mm.) of Catherine de' Medici. The miniature is surrounded by a rectangular recessed frame set with sixteen rectangular strips of abalone, eight rubies and eight pearls, all decorated in fine pointillé. The front cover of volume II has been expertly and almost invisibly repaired. Housed in the original red cloth 'drop-back' case with blue velvet lining and two red morocco spines, decoratively tooled and lettered in gilt. A wonderful early Sangorski & Sutcliffe Cosway-style jeweled binding. The miniature is of exceptional quality and is quite possibly the work of Miss C.B. Currie. This set was specially bound by S & S for Ohio book collector B.C. Hoffman with his initials in gilt on lower front doublure of volume one. "The book, The Medici, embodying the history of that great family, is unique, suggestive of Gibbon's Decline and Fall; it deals with smaller things, to be sure, for Gibbon describes the downfall of an empire while Colonel Young's subject is only a family; he goes further than the greatest historian, however, for he begins with the entrance of the family upon the field of human achievement and he traces it to its zenith before he descends to the ultimate end. "And such a family as it was. Here is the romantic and almost unbelievable account of a line of merchants and bankers who became sovereign Princes and placed representatives upon the thrones of France, England, Spain, Austria, and the empire, whose blood has mingled with that of every royal family in Europe; a family so powerful, wielding such commanding influence, that it was able finally to lodge one of its bastards upon the throne of St. Peter and decorate his brow with a Papal tiara" (NY Times review, April 23, 1910). Sangorski & Sutcliffe, one of the leading bookbinders in London, was established in 1901 by Francis Sangorski (1875-1912) and George Sutcliffe (1878-1943). It is considered to be one of the most important bookbinding companies of the twentieth century, famous for its highly luxurious bindings.
First Edition, First Issue, in the Original Cloth DICKENS, Charles. A Christmas Carol. In Prose. Being a Ghost Story of Christmas. With Illustrations by John Leech. London: Chapman & Hall, 1843. First edition, first issue: i.e., "Stave I"; text entirely uncorrected; green-coated endpapers; blue half-title; red and blue title. Foolscap octavo (6 7/16 x 4 1/8 inches; 163 x 104 mm). [i-viii], -166, [2, publisher's ads]. Four inserted hand-colored steel-engraved plates by and after Leech and four black and white text wood-engravings by W.J. Linton after Leech. Original cinnamon vertically-ribbed cloth. Covers decoratively stamped in blind, and front cover and spine decoratively stamped and lettered in gilt. Cover with perfect "D" in "Dickens." All edges gilt. Covers slightly soiled. Binding slightly skewed. Minimal wear to head and tail of spine. A little wear at spine hinges. Some occasional minor soiling to leaves. Previous owner's small bookplate on front pastedown. Previous owner's old ink inscription on half-title, dates 1852. A very good copy. Housed in a brown cloth clamshell case with morocco and gilt spine label. The green hand-colored endpapers represent Dickens's original choice for his lavish gift book. But the endpapers, which are a chalky, light yellowish green, proved a disappointment to him. On inspection they dusted off and smudged, and so the endpapers were changed before publication date to yellow, which did not require hand work. Probably in the middle of binding, as demand grew faster than the current endpaper stock, it was hurriedly decided to use the green paper, and thereafter it was used indiscriminately with yellow, but discarded again when the initial supply of green became exhausted. Therefore first impression, first issue copies occur in the earliest binding with either yellow or green endpapers, some collectors preferring the green endpapers as the original pre-publication choice. Smith, Dickens, II, 4. Eckel pp. 110-5. HBS 68336. $20,000
Original Autograph Letter Signed by French Filmmaker George Melies. Written on a single 8 7/8Ó x 6 7/8Ó sheet which has been folded into four panels, three of which are written upon. The letter is written entirely in French and translates in full: ÒJuly 13, My dear Mr. Drioux, My letter which will arrive with this one stayed for several days Ôin the bottleÕ, I didn't have your address in Nice, only received yesterday evening. (ItÕs the one containing the Carmelli article.) Since I have completed Main Jaune [Yellow Hand], which I am sending you; unfortunately this number requires, for its comprehension, numerous illustrations. Mr. Ventura is certainly going to wish me to the devil! For, as I know it will cause trouble to recopy all of it, I didnÕt exert myself on the drawings; they are clear, thatÕs all, but executed in haste. Mr. Ventura, with his usual reliable hand, will give them the required clarity. I myself am doing this on my knees, and messed up as always, then you talk about easy work! The article ÔPour VousÕ double center page, with photos, which was devoted entirely to me, appeared last Thursday. Good free publicity for me; but full of errors; they said the French couldnÕt remain in America due to the Edison Patents, and, quite the contrary, Pathe and I were solely authorised in this country. In one photo where IÕm pictured at 31 years old, with Renlos my associate of the period and the famous servant Marius, in front of a handmade poster, they put; Melies and his aides showing off!!!! Finally, they treat me like an old man! Certainly, IÕm not young, but really, I am not yet, thank God, gaga, drooling, impotent, crotchety, senile and doddering!! That will come, perhaps, unfortunately, itÕs the common lot, but really, for the moment, I am still pretty strong and lively. Enclosed are the text for Main Jaune and the corresponding drawings, then the announced tableau, published by Noverre. There will be others. Right now heÕs writing his 1st brochure on my life, I have the proofs, it will be very interesting. When they come out I will send you a copy of each of them. Cordially yours, and beg Mr. VenturaÕs pardon for me for the ÔchoreÕ which will be his. G. Melies.Ó With a hint of age-toning and minor creases from folding, else fine. Georges Melies (1861-1938), arguably the most innovative early filmmaker in the world. Early in his career, Melies purchased the Theatre Robert-Houdin in Paris as a venue for his magic and illusion show, which inspired him to develop his interest and talent in creating unusual and fantastical visual imagery in a cinematic format. George Melies is perhaps best known for his 1902 film, A Trip to the Moon. In 1931 he was awarded a Legion of honor medal for his rich and valuable contribution to the art of film.
First Edition. Signed presentation copy inscribed by the author, Tom Kromer to the famous muckraking journalist Lincoln Steffens, who promoted and sponsored the book, as acknowledged by the publisher on the front flap of the dust jacket. Inscribed: ÒTo Lincoln Steffens. In deepest appreciation of the great help you were to me, Tom Kromer.Ó With a few penciled notes in SteffensÕ hand. Some cloth fading, a little outer edge foxing, else very good in a very good dust jacket with some light chipping and edge wear. One of the finest novels of the Great Depression, this autobiographical work of a young man thrown out of work, Òa bum living in mission houses, riding in freight cars, shuffling out of dark doorways to beg a dime for a cup of coffee and a crust of breadÓ written in a straight-forward narrative.
Original drawing signed by French filmmaker George Melies of his classic character Mephistopheles, so documented as ÒMephistoÓ in the upper left corner. Neatly signed below the image, ÒG. MeliesÓ. Mephisto is drawn in black ink, wearing tights and flourishing a cape in MeliesÕ characteristic dramatic style. With a trace of age-toning and a few faint spots, else fine. A rare and desirable item. The drawing is a reference to MeliesÕ 1897 silent film The Laboratory of Mephistopheles, based on the dark Faustian legend of the demon Mephistopheles who lures people into his laboratory where they meet their demise. In the end, though, it is the demon himself who becomes trapped in his own cage by a resourceful intended victim. Georges Melies (1861-1938), arguably the most innovative early filmmaker in the world. Early in his career, Melies purchased the Theatre Robert-Houdin in Paris as a venue for his magic and illusion show, which inspired him to develop his interest and talent in creating unusual and fantastical visual imagery in a cinematic format. George Melies is perhaps best known for his 1902 film, A Trip to the Moon. In 1931 he was awarded a Legion of honor medal for his rich and valuable contribution to the art of film.
KORNGOLD, ERICH WOLFGANG - ERROL FLYNN - THE ADVENTURES OF ROBIN HOOD FILM
Original 322 page private in-studio conductorÕs score printed in purple ink used by Erich Wolfgang Korngold in recording his musical score for the classic film Robin Hood. With occasional annotations and markings by Korngold in pencil. Additionally, each musical sequence is marked with red pencil for recording. This score was presented to Hal Wallis, the producer of the film with a large remarkable two page Korngold written inscription: ÒTo Hal Wallis, with many thanks in friendship and admiration, Erich Wolfgang Korngold, Hollywood, 4.18.1938Ó. On the facing second page Korngold has written out the first bars of music for six of the filmÕs musical themes ÒRobin HoodÓ, ÒRobin HoodÕs CompanyÓ,ÓLady MarianÓ, Lionheart (England)Ó, ÒSir GuyÓ, ÒLove ThemeÓ. Beneath which Korngold has written ÒOne minute - one pageÓ --ÓOne hour - a million of notesÓ Each page is marked in print CONDUCTOR. Beautifully bound in dark green Niger leather with gilt-stamping. The volume measures 10 1/2 inches wide by 12 1/2 inches tall. It is enclosed in a custom clamshell full linen cloth box. Hal B. Wallis (1899-1986) was one of HollywoodÕs greatest film producers whose additional accomplishments include the films Casablanca, The Maltese Falcon, Yankee Doodle Dandy, Dark Victory, and many others. The resulting film has come down to us as one of HollywoodÕs greatest classics and stars Errol Flynn, Olivia de Havilland, Claude Rains and Basil Rathbone. Korngold won the Academy Ward for Best Original Score for The Adventures of Robin Hood. The American Film Institute chose Robin Hood as number eleven in its list of the top 25 best American film scores. This score is included in any of the serious lists of the greatest film scores of all time.
Original hand corrected typescript. The complete story from Detective Comics #30, here titled "The Batman and the Diamonds of Death" (the title changed when published to "The Return of Dr. Death"). 5 leaves (8" X 13"), 1,500 typed words plus 196 words of handwritten ink and pencil corrections, deletions, changes, and additions including a rewrite of the last scene on the back of page 5, with a sketch of a gliding Batman. Very good. This is Dark Knight incunabulum and rare as a 1 ended stick. I know of no other Batman manuscripts from this vintage, or even from near this vintage. In fact all DC super-hero manuscripts before 1945 are rare. Ex-Bob Kane. Ex-Sacripante. And (full disclosure) Ex-HA, $5,676, Nov. 23, 2013. Batman is the model for the modern super-hero without super powers. Always cryptic, fueled by his incomparable intellect, and powered by his fabulous toys, he first showed up 75 years ago in Detective Comics #27 (May, 1939) in a story written by Bill Finger and illustrated by Bob Kane. Finger also wrote the second story (in Detective Comics #28). Then Gardner Fox took over, writing the next 4 (including this one). Finger and Fox collaborated on the 7th story (in Detective Comics #33), then Fox wrote the 8th one alone before moving on to a long, influential, career at DC, co-creating The Sandman, Flash, Hawkman, and the first super-hero team-up with The Justice Society of America (forerunner of The Justice League). Literary super-heroes trace back, at least, to Gilgamesh, and then through Achilles, Aeneas, Beowulf, Merlin, and Robin Hood, to shout out a few. They divide on 2 lines, some with super powers, some without. The modern take on the independent super-hero without super powers began with Rodolphe in Sue's Mysteries of Paris, followed by such as Monte-Cristo, Sherlock Holmes and Zorro. And then there was Batman. And since then, no one's done it better.
GOETHE, Johann Wolfgang von
I: Zur Farbenlehre. Tübingen: Cotta, 1810. Two parts bound in two volumes. 8vo (198 x 121 mm). xlviii, 654; xxviii, 757  pp. Contemporary dark-green glossy paper boards, spines ruled and lettered in gilt (wear to extremities, corners scuffed and bumped), bound without endpapers. Very light age-toning and occasional minor spotting to final pages of second vol., otherwise crisp and clean. II: Erklärung der zu Goethe's Farbenlehre gehörigen Tafeln. Geistinger: Vienna, 1812.  4-24 pp, with 17 engraved plates (12 hand-coloured, including the extra plate IIa) bound at end. Text little browned and foxed, first 3 plates with brown spot at gutter. The three smaller plates IIa, VI and XII laid down on paper of the time. [Bound with] III: Anzeige und Uebersicht des Goethischen Werkes zur Farbenlehre. Geistinger: Vienna, 1812.  2-12 pp. Text little browned and foxed throughout. Two parts in one volume. 4to (220 x 180 mm). Recent half cloth, new endpapers. IV. Sechzehn Tafeln zu Goethe's Farbenlehre und Siebenundzwanzig Tafeln zu Dessen Beiträge zur Optik nebst Erklärung. Stuttgart and Tübingen: Cotta, 1842. 4to (232 x 190 mm). , 24;  pp. With 17 (12 hand-coloured) engraved plates und 27 (13 hand-coloured) lithographs on 9 plates. Contemporary dark-green glossy paper boards matching to text volumes, spines ruled and lettered in gilt (wear to extremities, corners scuffed and bumped). Text little browned, stronger foxing to first and final pages. Altogether a very good set. ---- Goedeke IV/3, pp. 14 (IV), 583, 45 (I), 46 (II), 46 alpha (III); Hagen 347 (I), 348b (II), 348c (III), 24b (IV); Kippenberg 386 (I), 389 (II), 388 (III); Roller-Goodman I, 468; Honeyman 1524; DSB V, p.445. Goethe's principal scientific work, the "Farbenlehre", including the quarto-sized "Erklärung der zur Goethe's Farbenlehre gehörigen Tafeln" and the "Anzeige und Uebersicht" in a mixed edition (I and IV in first, II and III in second counterfeit edition). "Goethe's first publication on optics culminated in his 'Zur Farbenlehre', his longest and, in his own view, best work, today known principally as a fierce and unsuccessful attack on Newton's demonstration that white light is composite" (DSB V, p.445). Whereas Goethe?s theories were in fact wrong from a purely physical standpoint, the fact remains that Goethe's theories were epoch-making in their physiological and psychological aspects. Indeed, the science of physiological optics was directly stimulated by it and one of its dominant schools in essence represented his approach long after him. His theories still have great value, and a more than scientific validity, to artists and to all those who want to achieve a personal understanding of the natural world - who want to establish their own relationship with that world rather than merely accept what modern science has to say about it. This first edition, aside from its value as an object, is the only edition to contain the complete text, which is in two volumes. Volume I contains a discussion of physiological, physical and chemical colors and a detailed study of Newton?s Optics. Volume II is a historical study of colors as shown in the work of the famous theorists and artists of Greece and Rome, the Middle Ages, the 16th, 17th and 18th centuries. There are important sections on Robert Boyle, Erasmus Darwin and Benjamin Franklin. The plate volume includes 12 handcolored plates. They are of various sizes. The "Anzeige und Uebersicht" with drop title only as issued. In the appendix to the Farbenlehre published in 1842, 13 additional illustrations on 9 lithographed plates were issued (cf. Hagen, p.89). - Visit our website to see additional images!
PHILIP K. DICK
Stated First Edition, First Printing. Scarce true first edition, beautiful clean, crisp book with a stunning original dust jacket, not price clipped. The book is in beautiful crisp condition for this title which is otherwise often found very well ?loved?. Clean grey cloth boards unfaded gilt titles to spine. The book has sharp corners with no bumps, and no edgewear. The binding is tight and square. The end papers are clean with no inscriptions, no owner names and no bookstore stamps. The internal pages are very crisp, clean, bright and flat with no writing, no handling marks, no stains, no foxing, and no bent pages. The binding is still fairly tight so if the book appears as unread or perhaps only once. All in all a stunning copy of an extremely rare book which usually sells for upwards of $4000 even for unrestored ex-library copies! Please see images. The original striking dust jacket benefited from some slight restoration to the spine/corner tips by an expert paper conservator, and as such present in near fine condition. The dust jacket has strong, rich, vibrant colors with No rips, No chips, No stains, No rubbing, No edgewear, No chips, and No foxing. The jacket is complete and NOT price clipped and has stated price of $3.95. Please see the many included images. A very stunning dust jacket! An extremely handsome, clean copy of a scarce collectible book. Perhaps the most well known of Philip Dick?s novels, ?ANDROIDS? was the basis of the film Blade Runner which was made into a film twice. Extremely scarce. ADDITIONAL IMAGES AVAILABLE UPON REQUEST. Please see our ABE store for other SciFi titles
KIRCHER, Athanasius]; BONNANI, Filippo
The Rare Catalogue of the Great Kircher Museum [KIRCHER, Athanasius]. BONANNI, Filippo. Musaeum Kircherianum, sive Musaeum a P. Athanasio Kirchero In Collegio Romano Societatis Jesu jam pridem incoeptum Nuper restitutum, auctum, descriptum, & Iconibus illustratum. Roma: Typis Georgii Plachi Caelaturam Prositentis, & Characterum Fusoriam propè S. Marcum, 1709. First edition of Bonanni's catalogue of the Kircher Museum in Rome. Folio (14 5/8 x 9 3/4 inches; 372 x 247 mm.). [xii], 1-39, [40, blank], [21 leaves of illustration numbered 40-60], 61-79, [80, blank], [4 leaves of illustration numbered 60-63], 84-115, [12 leaves of illustration numbered 116-127], 128-146, [147, blank], [14 leaves of illustration numbered 147-160], 161-183, [184, blank], [15 leaves of illustration numbered 184-197.2], 198-224, [225, blank], [2 leaves of illustration numbered 248-226], 225-247, [248, blank], [18 leaves of illustration numbered 284-300], 264-283, [21 leaves of illustration numbered 284-300], 302-312, [313, blank], [4 leaves of illustration numbered 313-316], 316-319, [2 leaves of illustration numbered 320-321], 322-361, [28 leaves of illustration numbered 362-387, 391], 392-411, [1 leaf of illustration numbered 412], 412-522, [1, blank], [48 leaves of illustration numbered a-bbb], [7, index], [1, blank] pp. Plate numbers 299 & 364 are double-page folding. A4-H2, I4-N4, O6, P4-T4, U6, X4-Z4, Aa4, Bb6, Cc6, Dd4-Gg4, Hh6, Ii4-Zz4, Aaa6. Text printed in two columns. Engraved portrait frontispiece of Prince Ruspoli, and 190 engraved plates, two of which are double-page. Leaf Hh2 (pp. 352/353 with small, neatly repaired lower marginal tear. Some light occasional browning to a few leaves, otherwise fine and clean. Contemporary vellum, manuscript title on spine, all edges sprinkled red. Slight cracking to upper and lower portions of spine. Engraved portrait of Athanasius Kircher on front paste-down, rectangular bookplate of Bibliotheca Kircheriana on front paste-down. Albert Vialis was an early twentieth century French translator and avid collector of Kircher material. Most copies that have appeared at auction have lacked plates or other imperfections. Just four copies have appeared at auction over the past fifty years, with only two of those purportedly complete. Our copy has 190 engraved plates which is 28 more than any other copy cited. In 1698, Jesuit Filippo Bonanni (1638-1723) was appointed curator of the internationally known cabinet of curiosities, the Musaeum Kircherianum, gathered by Athanasius Kircher and lodged in the Jesuit Collegio Romano. The museum was created in the middle of the seventeenth century. Because Kircher was interested in everything the museum included objects of every kind from many emerging disciplines: antiquities, archaeology, ethnography, natural history, etc., and also included a number of mathematical, scientific, and physical instruments. The Museum does not exist any more as such, its collections having been disbursed among the other Roman museums. It is possible, however, to reconstruct it in one's imagination, because of the elaborate description of it by Buonanni, who published this detailed, if not exhaustive, catalogue of the amazing collection of his Jesuit colleague, which, in addition to the items above, clocks, artwork, coins, mummies, a "mermaid's tail," an extraordinary collection of shoes, the first cuneiform document known in Europe, and a large collection of seashells. The catalog is divided into twelve sections (Classes) concerning the various categories of objects. These range from antiques to the natural sciences, physics and mathematics, in order to illustrate what Nature "his sinus inexausto effluxu produxit" (Proemium). The antiquities occupy the first five sections and are collected in ethnographic criteria. The critical assumptions cards to each category focus on the use and characteristics of individual types of objects. Cicognara 3372. Caillet 5784. Honeyman 550. Brunet I,1086. Nissen ZBI 2198.
ERCKER Lazarus -1594. WITH PETTUS John Sir 1613-1690
VG, 1st ed, 1683, 43 Sculptures. Re-spined (to style), raised bands, blind tooling, gilt title to red morocco label, over contemporary calf boards, tips repaired. Internally, ,  preface, , ,  errata, 345 pp, . , A2-Z, 81-133 pp, 43 copper-engraved illustrations, lacks the portrait frontis, 173 ornate initial letters, bookplate to fpd (Arthur Dalrymple), occasional light spotting and edge browning, text block edges sprinkled red. (352*217 mm). (ESTC R5570. Ferguson I, pp.185-186; Wellcome II, p.527; Wing P1906; cf. Hoover 633). The first part is the first edition in English of Lazarus Ercker's 1574 treatise on ores. The second part is a dictionary of metallurgical terms compiled by Pettus. Having spent more than £20,000 on the royalist cause during the Civil War, Pettus appears to have been imprisoned for debt several times in later life, and it has been suggested that Fleta Minor was composed in Fleet Prison.
PETTUS John Sir 1613-1690
1st English ed, 1660, VG, 3 pls, 2 illusts. Small folio, in contemporary worn calf, tips refurbished, re-backed, raised bands, gilt tooling, gilt title to red morocco label. Internally, , 108 pp,  table,  corrigenda, engraved portrait frontispiece by W.Sherwin, 2 folding engraved plates with letterpress key on verso, 2 engraved illustrations of arms, armorial bookplate to fpd along with no. (311*193 mm). (ESTC R190. Goldsmiths 1930; Hoover 634; Kress 1270). Pettus, natural philosopher and politician whose interest in metallurgy and mining led to him becoming a member of the Society of Mines Royal and Battery Works in 1651 and he acted as deputy governor of the royal mines from then until his death, apart from one brief interval. He was elected a fellow of the Royal Society in 1663.
Guido da Pisa
BOOK DESCRIPTION: FIFTEENTH-CENTURY COPY OF GUIDO DA PISA'S HISTORY OF ROME, IN ITALIAN. In Italian, decorated manuscript on parchment, Italy, Tuscany, Florence(?), c. 1440-1460. Dimensions 260 x 182 mm., 83 folios, lacking nine leaves, horizontal catchwords, written in brown ink by two different scribes in Italian cursive mercantesca script in single column on 38 lines, penwork initials. BINDING: ORIGINAL dark brown calf over wooden boards blind-tooled with fillets, twisted rope and x-form motifs, fitted purple buckram case c. 1900. TEXT: Guido da Pisa is best-known for his commentary on Dante, and Dante is cited often in this work, a history of Rome composed within the format of a universal chronicle. This text is now remarkably rare; in fact this is the first copy to appear on the open market in over 140 years, and one of only a few copies on parchment. PROVENANCE: script and decoration suggest that the manuscript was written in Tuscany in the middle of the fifteenth century. The binding, decoration, the quality of the script and the choice of parchment support suggest it was made for a patron of some wealth and influence; several inscriptions from unidentified early modern owners; Gerali di Pontremoli (in Tuscany), inscription on front pastedown, records the acquisition of the book from his family on November 20, 1889. CONDITION: small stains, slight water damage outer margins ff. 65-68, clasps and catches missing, losses of leather especially at foot of boards and spine (the latter with modern conservation), worm holes, otherwise in very good condition. Full description and images available. (TM 1053)
Cristoforo Cortese (active Venice, c. 1390-before 1445)
MINIATURE DESRIPTION: LARGE LEAF FROM A FIFTEENTH-CENTURY CHOIR BOOK. In Latin, illuminated leaf on parchment, Northern Italy, Venice, c. 1426-1430. Dimensions, 510 x 365 mm., one leaf, written in a rounded Gothic book hand with seven lines of text and seven 4-line red staves with square musical notation on the recto and verso, rubrics in red, initials in blue and red with contrasting pen decoration, one large historiated initial. TEXT: Leaf from a Gradual with the introit Scio cui credidi (I know whom I have believed) of the Mass for the Conversion of St. Paul (January 25). ILLUSTRATION: half-length miniature of Saint Paul holding a sword and blue book. PROVENANCE: The miniature is securely attributed to Cristoforo Cortese, the most accomplished Venetian illuminator of the early fifteenth century. It comes from a dismembered Gradual that probably dates soon after Cortese's return to Venice after a brief residency in Bologna, c. 1426-1430; former folio number "31" in brown ink on recto, partially-erased inscription beginning "XIV." at lower edge, verso numbered in Roman numerals "XXXI"; private German collection; private Swiss collection. CONDITION: in good condition with fresh colors, leaf with minor cockling, small stains at the edges, modern pencil marks, and remnants of a former paper mount on the verso. Full description and images available. (MIN 19-39)
BOOK DESCRIPTION: FOURTEENTH-CENTURY PROCESSIONAL FROM THE ROYAL ABBEY OF POISSY WITH SIXTEENTH-CENTURY ADDITIONS. In Latin, illuminated manuscript on parchment, France (Poissy), c. 1330-1350; additions c. 1500-1520(?). Dimensions 150 x 95 mm., 66 folios, missing an undetermined number of leaves, some horizontal catchwords, I. Fourteenth century, ff. 1-40v: written in a formal gothic bookhand with square musical notation on red four-line staves, five or six lines of text and music on every page, II. Sixteenth century, ff. 41-66v: written in a gothic bookhand, square musical notation on red four-line staves, one-line blue or polished gold initials, TWENTY ILLUMINATED INITIALS, large white-patterned initials, extending into FULL-LENGTH BAR BORDERS. BINDING: eighteenth-century gold tooled dark brown or black leather, filigree tooled along the edges, spine with five raised bands, gilt edges, two leather strap closures with silver clasps (scallop shells). TEXT: This manuscript contains the chants and prayers that accompanied liturgical processions celebrated at the convent of Saint-Louis de Poissy, a Dominican convent for women of noble birth. PROVENANCE: Fourteenth-century Processionals from Poissy are not common, and the present manuscript is a fine addition to the corpus of Processionals from the Royal Abbey of Poissy, combining a very early example of a Poissy Processional, dating c. 1330-1350, with a later section in the characteristic "archaic" style of script and illumination practiced by the nuns at the abbey in the early sixteenth century, c. 1500-1520. Private ownership of the manuscript in recent times suggests it was among the books the nuns took from Poissy when they left the convent in 1790-1792, instead of relinquishing them to Revolutionary authorities; belonged to Jules Bonhomme (18??-19??), curé de Saint-Jean Baptiste de Grenelles, Paris, and chaplain to the Fort de l'Est, Paris, and collector of liturgical books; later note f. 66v, in pencil, "363" or "563." CONDITION: slightly trimmed (occasional slight loss of decoration), upper clasp and catches of binding missing, worn along the joints and spine, lower front joint cracked, overall in very good condition. Full description and images available. (TM 1084)
BOOK DESCRIPTION: LOVELY BOOK OF HOURS BY ONE OF THE MOST SKILLFUL PARISIAN ILLUMINATOR OF HIS GENERATION. In Latin and French, illuminated manuscript on parchment, France, Paris, c. 1460-1470. Dimensions 176 x 123 mm., 147 folios, complete, written in brown ink in a cursive bookhand on 15 lines, SIX HISTORIATED INITIALS, FIFTEEN LARGE MINIATURES. BINDING: 16th-century(?) gold-tooled brown morocco, attachment points for two clasps (both lost).ILLUSTRATION: An undoubtedly Parisian Book of Hours attributed to an artist in the circle of the Coëtivy Master, as indicated by the rendering of faces and draperies, the decorative scheme of the borders, and the designs for the miniatures. The Coëtivy Master (perhaps identified as Colin d'Amiens, active in Paris c. 1455 to c. 1485) and his workshop illuminated a great number of Books of Hours and created designs for printed books and tapestries; this master has been called the "most important artist practicing in Paris" in the third quarter of the fifteenth century. The fifteen large miniatures comprise a complete cycle for a Book of Hours; their borders are particularly richly decorated. PROVENANCE: Copied and illuminated in France and almost certainly in Paris c. 1460-1470. The inclusion of French prayers (or poems) and historiated initials for the virgin Saints Genevieve and Avia before the Hours of the Virgin and the richness of the borders hint that it could have been made to order as a commission. Richard de Lomenie, Paris, late 19th- or early-20th-century bookplate with arms and motto "Je maintiendray," with pasted-in circular label stamped "8"; private North American Collection. CONDITION: some miniatures rubbed or with isolated losses of pigment, some folios with cockling, some dampstaining to rear board and flyleaf, otherwise in excellent condition. Full description and images available. (BOH 168)
R. P. J. Hervier, designer; J. A. Henry, fabricator, for A. Roux
BOOK DESCRIPTION: BOOK OF PRAYERS WOVEN IN SILK ON A JACQUARD LOOM. In Latin and French, illustrated book woven in silk, R. P. J. Hervier, designer; J. A. Henry, fabricator, for A. Roux, France, Lyon, c. 1886-1887. Dimensions 174 x 144 mm., 58 silk pages, complete, text in one or two columns, one half-page and three full-page illustrations, various styles of decorative borders and initials on every page, woven entirely in silver-gray and black silk. BINDING: Bound in white morocco by Lesort of Paris, elaborately gilt with interlaced initials "HM" front and back, cream-colored silk doublures, gilt edges and fold-ins, five raised bands, spine stamped "heures" and "lesort," original blue calf presentation box lined in white silk. ILLUSTRATION: Every page of this book is surrounded by border decorations of a wide variety. The half- and full-page illustrations are designed after paintings by Fra Angelico, Fra Bartolomeo and Raphael, and other Renaissance masters. PROVENANCE: Woven in Lyon by the firm of J. A. Henry, c. 1886-1887. The front doublure is gilt stamped with initials and date May 1900, but there is no indication that the silk pages were woven at this relatively late date. The silver-grey hue of the silk more likely indicates that this example was woven in the late 1880s and was untouched until it was bound and customized later; monogram "HM" gilt stamped on covers; pencil inscription on unnumbered silk page: Marie José Seiler, Chexbres [Switzerland]. CONDITION: In very good condition. Full description and images available. (BOH 166)
BOOK DESCRIPTION: BOOK OF HOURS BELONGING TO THE CHIEF MISTRESS OF FRANCE IN THE 15TH CENTURY. In Latin and French, illuminated manuscript on parchment, Northwestern France, Normandy (Bayeux), c. 1480-1490. Dimensions 186 x 132 mm, 81 folios, lacking one leaf, written in brown ink in gothic textualis bookhand on 20 lines, 1- to 2-line champie initials in burnished gold, nine 4- to 5-line initials on burnished gold grounds, FOUR FULL-PAGE ARCHED MINIATURES WITH FULL BORDERS. BINDING: splendid sixteenth-century Parisian binding, gold-tooled à la fanfare by the royal "atelier du doreur à la première palmette" of Henri III of France; modern fitted case. ILLUSTRATION: The engaging miniatures are by an artist who painted another Book of Hours localizable in Bayeux. PROVENANCE: The localizable feasts in the calendar are characteristic of Normandy, especially of Bayeux. The original patron was probably a woman, or perhaps a couple, due to the use of both masculine and feminine prayers. Later, the manuscript belonged to Françoise de Foix, Countess of Châteaubriant and mistress of King François I (c. 1495-1537), who composed her personal prayer to the Virgin Mary on ff. 77v-78. The initials beginning each verse spell out "Honneste femme Françoise La Cointesse," suggesting that it was written by Françoise de Foix herself. In the second half of the 16th century, the manuscript belonged to Marguerite Fresneau; her name "Marguerite / Fresneau" stamped on the front and back covers of binding. The book was later owned by her granddaughter, Louis du Bellay de La Palus, abbess of the Benedictine Abbey of Norte-Dame de Nyoiseau (1643-45). In the mid-19th century, it belonged to Guglielmo Libri (1803-1869), an Italian count and notorious manuscript theft. A previous description records the manuscript as sold by Nicolas Rauch (1897-1962), bookseller, Lausanne, in 1952 (unverified). CONDITION: occasional damp stains in margins, binding very slightly scuffed in the corners, but otherwise in pristine condition. Full description and images available. (BOH 179)
BOOK DESCRIPTION: THE "PETITES HEURES" CHARLES VIII OF FRANCE; TINY BOOK OF HOURS FOR THE PERSONAL USE OF A KING. In Latin, illuminated manuscript on parchment, France, Paris, c. 1490-1493 (before 1494). Dimensions 73 x 49 mm., 206 folios, complete, written in dark brown ink in a cursive gothic bookhand on 14 lines, burnished gold initials throughout, 5 large initials with scrolls extending into the margins, ONE HERALDIC MINIATURE, 10 SMALL MINIATURES, 12 FULL-PAGE MINIATURES. BINDING: refined 18th-century(?) paneled gold-tooled brown morocco, 19th-century clasps and catches. ILLUSTRATION: Illuminated by the Master of the Chronique scandaleuse, a masterful artist who often received prestigious commissions from King Charles VIII and other members of the royal family. The successful illuminations in this very tiny manuscript demonstrates the Master of the Chronique scandaleuse's utmost mastery of color at a microscopic scale. Characteristic of his palette is a preference for strong vibrant colors, as well as the abundant use of liquid gold for the depiction of drapery and scenic elements. PROVENANCE: Written and illuminated in Paris before 1494 for Charles VIII, King of France (r. 1483-1498). Unquestionable evidence of the personal use of the present manuscript by Charles VIII is provided by the ex-libris and motto "plus. quautre." followed by his name "charles. viiie." (f. 41v). The present manuscript included, only five manuscript Books of Hours are known to have been made for the personal use of King Charles VIII; Paris, Librairie Auguste Blaizot, 1967-1969 (catalogue 326, no. 1681; catalogue 331, no. 387); Paris, Hôtel Drouot, 4 décembre 2000 (collection Serrier), no. 25. CONDITION: occasional tiny chips in paint of the colored background at edges of miniatures frames, very faint offsetting from fictive golden frames onto facing rectos, slight scuffing at joints, otherwise in excellent condition. Full description and images available. (BOH 182)
BOOK DESCRIPTION: RARE PRINTED BOOK OF HOURS IN AN UNUSUAL FORMAT WITH VIBRANTLY PAINTED METALCUTS. In Latin and French, illuminated imprint on parchment, France (Paris), c. 1536 (almanac for 1536-1548). Dimensions 140 x 65 mm., 90 folios, octavo agenda format, complete, printed in black ink in Roman font in 32 long lines, 1- to 2-line initials throughout, 1 SIX-LINE METALCUT, 14 LARGE METALCUTS, printer's device set in architectonic liquid gold frame, all metalcuts hand-painted in bright colors with liquid gold. BINDING: late sixteenth- or seventeenth-century brown leather, gold tooled, with two sets of double fillets forming a narrow rectangular center panel and outer border, gild edges. ILLUSTRATION: This is a particularly appealing example of a printed Parisian Book of Hours with metalcuts that are so vibrantly and expertly painted that they are indistinguishable from illuminated miniatures. The palette features blue, red, orange, and green, with frequent use of liquid gold for highlights. PROVENANCE: Printed in Paris by Germain Hardouyn, with an almanac for the years 1536-1548, suggesting a date of printing c. 1536. It is a tiny book, in a distinctive and unusual format, very narrow and oblong, allowing for easy use as a vademecum for private devotion. The manuscript later belonged to a European Continental Collection. CONDITION: A few stains, sig. F4-6, loose, binding worn at joints and corners, but in overall good condition. Full description and images available. (BOH 180)