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Gilded Age European Tour Photograph Album]

South Carolina] [Postbellum Plantation] Oblong 4to album. Black leather covers worn and rubbed; bumped at corners; significant tears and loss to spine. Contains 27 black construction paper leaves with photographs mounted recto and verso. Album manufacturer's label by The Housh Co., Boston; rear paste-down also bears a gold label from photo developer E. P. Meyrowitz Optician of New York.Album includes a total of 130 photos, each approximately 5 x 3 inches. Each page layout designates space for three photos; several pages thus have blank rectangles lacking photos. Album cover good minus; interior and photographs very good plus. Early 1900s photograph album, divided into two main sections: the first half displays photos from a pre-World War Grand Tour through Western Europe, concentrating on Scandinavia, Germany, France, Ireland, with locations meticulously labelled by city and vantage point. Multiple views are devoted to lakes and fjords of Norway; the opera house and civic buildings of pre-war Dresden; street scenes of Prague, including a view of the Old-New Synagogue and the Jewish Town Hall; and images of Munich, Vienna, Neufchatel, Bâle, Paris, Chantilly, and Salisbury.The album's second half includes images of what appear to be at least one former plantation of the May River region of South Carolina, with one building labelled "Negro Cottage / Montpelier Estate" and another "The House / Palmetto Bluff / May River S.C." Surrounding grounds, docks, stables, and 'New House for Employees In Construction" are pictured, along with several photos of dogs and human figures in repose on the estate lawns. The album's final leaves collect several unidentified views of sailing ships, seascapes, and views of a city, location unidentified but with neoclassical architecture and signs visible in Spanish.
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Local Detroit Television News Art and Design Archive]

African Americana]. WATTS, Jerry (Artist) Archive of approximately 175 pieces of original artwork and design, many mounted on cardstock/artist's boards or on plastic transparencies. A smaller but substantial number of works on paper loose or partially detached from backing. Includes work in pen and ink, marker, and pastel, along with sketches and materials from projects in process, and a small number of stickers. Sizes range from 2 x 2 to 15 x 20 inches approx. Mild to moderate wear to edges. All materials in very good plus or better condition, with exceptions regarding backing/mounting boards as noted above. Archive of original commercial artwork and design by Detroit artist and graphic designer Jerry Watts primarily for use in local Detroit television news and related local programming, with material spanning the 1970s into the 1980s.Watts was the station artist for Detroit's TV2 television channel beginning in 1970, and also worked as a courtroom artist and composite sketch artist, producing portraits of police suspects and missing persons. A brief biography of Watts by Andrea Ford, then of the Detroit Free Press, is included in enlarged mock-up form, with a black-and-white photo of Watts mounted to verso. Ford's bio also notes Watts' training at the Society of Arts and Crafts, later renamed the Center for Creative studies. "[I]n his spare time Watts plays the African conga drum and writes."Watts' TV2 work makes up the majority of this collection, and is uniformly bright, eye-catching, generally representational and illustrative or cartoon-like. Other included work showcases his other styles, with three print advertisements, several images in stark paper-cut silhouette, pastel on colored paper, black and white line drawings, and simplified shapes verging towards abstraction. With two individual sub-folders of mark-ups, sketches, and other working materials for projects, respectively labeled: "Crime" (with various images of a tied hostage, gunplay, prisoners) and "Face to Face." But majority of included material utilized for "squeeze" or topic boxes and other inserts in local broadcasts. Watts' art ranges from full-color broadcast placards executed on art board to black-and-white mockups on onion-skin paper to color art transferred to clear transparency paper. Watts designed artwork to illustrate news stories, provide bumper material in and out of commercial breaks, as well as trying his hand at the station's logo. The largest piece in the archive is a color placard on art board advertising an "Afrikan Cultural Safari" on Oct. 26, 1974 at the Merrill-Palmer Institute (now the Merrill Palmer Skillman Institute at Wayne State University).The news and societal issues for which Watts created illustrations was wide-ranging, as evidenced in the present archive. Watts made illustrations about taxes, kidnappings, recycling, drunk driving, welfare, labor relations, drugs, Middle Eastern issues (including the PLO), prostitution, inflation, and more. Also present are placards for "Somalia Cares" (an exhibit at the Detroit Science Center), a crisis hotline called the "Rap-Line," tourism, "The Washington Report [with] Norm Wagy," and the station "Newsbreak," plus a color-illustrated transparency advertising BlackHistory Month. A vivid and colorful collection of production materials from an accomplished African American designer.
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Two Photo Albums of the Early 1900s] [Ice Harvesting] [American Ice Company]

Two matching oblong 24mo. photo albums, both bound in green cloth with gilt stamping, one a lighter olive shade. Moderate edgewear and heavy bumping to corners of both albums. Manufacturer's labels identify each as a Ward's Album for Unmounted Photograph, made from Ward's "PURO" Paper; albums numbered 601 and 701. With 50 and 42 leaves respectively, each with one photograph mounted recto and verso. Album 601 has an additional two photos laid in; album 701 has several remnants of leaves that appear to be torn out. Occasional faint foxing and page chipping. Very good plus overall. Two albums of photographs from the early 1900s and 1910s. The first documents the work of ice harvesting: men are shown cutting blocks with ice saw, chisel, plow, and pike pole, while a patient horse poses for pictures on the frozen lake, awaiting orders. The album follows the full process of sled loading and transport, with many portraits of workers and supervisors at their tasks. Other photos show summertime scenes of boating and the open water, with several rural and domestic shots of penned cattle, small boys, and enormous dogs; and one urban street scene of a cart advertising Nelaton's Cures for Rheumatism.The second album shows several of the same figures in family settings: scenes of childhood, domestic life, multigenerational portraits, seaside vacations, and farming; one picture shows a young child 'driving' a tolerant older brother in harness.Most photos have no captions or other indentification, but one winter scene is dated Sunday Nov. 13 1904, and numerous others show fashions of that approximate period. A series of images of a grand parade through Washington, D.C. can be established as taking place after 1912, from the just-visible marquee of Chase's Polite Vaudeville, which opened that year (the event may be the 1916 Preparedness Day Parade or Armistice Day, but the identification is uncertain.) Signs advertise grandstand seats for sale and windows for rent; armed men in uniform can be seen marching and on horseback, but no automobiles are visible. One photo shows a banner for the American Ice Company, likely employer of the album subjects.
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GRANDFATHER’S FAIRY TALES

ROSENDALE, Samuel 8vo. Original typescript bound in burgundy boards with gilt title stamping to front cover. Scuffing and bumping to corners. Frontispiece portrait of the author tipped in, inscribed and dated: "To my Friend, Mrs. Pearson / from the "Perpetrator" / Samuel Rosendale / Dec. 22nd, 1912." Occasional authorial edits and corrections to text handwritten in ink. Moderate page toning. 60pp. Eight original fairy tales, self-published and dedicated to the memory of Rosendale's daughter (deceased) and granddaughter. Prefaced by a becomingly modest "Apology" for their alleged deficiencies: "They have no virtues, other than that, in times of stress, they will quiet and put to sleep restless children, without the use of any other, and perhaps worse, soporific." Notwithstanding this disclaimer, the stories are polished, charming, and fresh, despite their evident debt to the Arabian Nights, Andrew Lang, and various traditional sources. Some of the more striking titles include:LIMPY, an uncompromising moral tale of a man punished for his cruelty to animals: "When the monster loosened his hold, I jumped and fell down into the sea, where a great fish swallowed me. It must have been a whale -- for sometimes he would throw me high up in the air when he spouted and then catch me, and keep on swallowing and throwing me up until he tired of the sport -- and so did I." "Well," said 'Limpy', I guess you got what was coming to you." In the end, "the little man had gone and he never was seen again, nor was the turtle. Perhaps he had gotten naughty again and had to go back into the turtle."THE FAIRY PRINCE, about "a very nice girl, kind and good to the sick and the poor, and for this reason, and because she was not a boy, the king, her father, hated and was cruel to her, and finally he would no longer permit her to live in a castle, but compelled her to live in a part of the celler under the castle and which was always guarded by some of this soldiers. Here she was very miserable."THE FARMER'S WISH, AND WHAT CAME OF IT, about a farmer who in frustration wished for it to rain pitchforks. "Now, he didn't want it to rain pitchforks, any more than you do when you say the same thing yourself, but the fairies heard it, and thought it would be a good time to teach him a lesson to be careful and moderate with his language and not be bothering them with his silly wishes."The author, born in Albany, NY in 1844, died in Minneapolis in 1917 after spending much of his life in Milwaukee; his name is recorded as a director of the Milwaukee and Superior Railroad Company. No references to this title or other writings by Rosendale were found in OCLC or elsewhere. Rare; perhaps unique.
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Child’s Notebook from 1920s Puerto Rico]

Mary Katherine Donaldson] 8vo. Slim college-ruled notebook with sewn binding and heavily chipped and torn black textured covers. Spine entirely chipped away; covers tattered but firmly attached to sound text blook. Hand-written text in pen and pencil, with approximately a quarter of the leaves left blank. Page-toning; soil to endpapers. Diary-notebook of a young girl living in Puerto Rico in the 1920s, collaboratively written and illustrated by her father and herself. Early pages record short vignettes, enlivened with ink sketches and written in neat block capital letters: "The hills were high around Manati. And the houses were in a straight line. We stopped to get me spme camphor. And then walked to Ciales." Another day: "Today Daddy went to see a German school-ship.We went up stairs on its side. We could see Catano and the Bayamon hills over beyond a big steamboat. The officers were very nice to us and showed us the ship."These entries give way to cursive installments by Mary Katherine herself: "Father smoked all his cigars today. Today is Wednesday. Tomorrow is Thursday. I hate school. My teacher sneezes all the time. She has only one tooth left. Raul is eating up my apples. Father is still reading detective stories. Mother is making another pig. --Xmas 1929."The final entry begins, "Today I am 13.Daddy doesn't want to draw any more pictures or write any more little things in it. He says he can't finish it in the same vein he began, because I'm so big. But I think that maybe he will. Don't you?"
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1939 New York World’s Fair / Washington, D.C. Photo Album]

Oblong string-tied photo album, 7 x 10 inches approx. Brown textured gilt-stamped boards with minor edgewear. Contains 23 black paper leaves with black and white photos mounted recto only for the first 13 leaves; recto and verso for the last ten. Captions in white ink leave occasional traces on preceding pages. Very good plus overall. Two-part souvenir photo album of a trip to the 1939 World's Fair in New York City, followed by photographs of Washington D.C., Mount Vernon, and Annapolis, MD in 1940.World's Fair photographs include: the edge of animal collector Frank Buck's 80-foot "monkey mountain" (a tower built for, not of, rhesus monkeys), part of his Jungleland exhibit; a two-photo panorama of the Lagoon of Nations; the enormous National Cash Register, a building-sized sculpture of and monument to the wonders of the cash register; and several views from inside the Perisphere. The second part of the album records a May, 1940 trip to DC and environs: in addition to the standard monuments and memorials, the travelers visit and photograph Mt. Vernon's stables and boxwood hedges; Annapolis approached by water, and the "Latest in [Naval] Destroyers."The caption writer identifies human figures as, variously, "Mr. Carrington and Daughter," M.H.J., and E.W.T.; whether the album's owner is one of these is unknown. A charming record of two East Coast tourist trips, with several visual reminders of the country's incipient entry into the second world war.
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CAMERA,” “ETC,” “NOTES” OF GEO. B. PALMER

PALMER, Geo[rge] B. 16mo. Black leather-covered ring-bound commercial grid notebook. Substantial rubbing and chipping to cover, with some loss to spine ends. Inside front cover embossed "Walker's Loose-Leaf Book." Author's name, address, and date 12/25/06 to initial cardstock divider; handwritten title-page followed by tabbed and labelled subsections hand-written in pen. Five larger manuscript pages neatly folded and loosely laid in. Initial pages worn at ring-holes, a few partially detached. Very good overall. Meticulously organized handwritten technical guide to photographic processes of the early 1900s. An Index to Films provides dates for context ("Flood Pictures," 1907, "Doyle's New Home Colored Church," 1910) and an Index of Negatives gives a breakdown of Palmer's usual subject matter: of the 207 negatives listed, most are portraits of family members and friends, with a substantial minority of botanical and natural scenes. All dated material falls between 1906 and 1914.The notebook's tabbed sections include: 1. Plate Developer, with recipes for "Mr. Henius' Plate Developer," "A.M. Vales' Plate Developer, and a third, uncredited, recipe labelled "Best," each with commentary and warnings. 2. Paper Developer, with recipes for "Mr. Hernius' Forumla 'Neperia Solution'," "Velox, Cico, or Artura Print-Developer (Best)," and "N.-A. Velox Developer." 3. Hypo Acid Fixing Bath for Plates and Prints. 4. General Notes, with detailed calculating rules and mathematical formulae (with the footnoted reminder, "These Equations Give Theoretical Results.")Palmer, a resident of Pittsburgh and onetime member of its Ben Avon Country Club, appears to have had connections in Leitchfield, Kentucky, and took photographs as far afield as Chicago, Toledo, OH, and Atlantic City; though the negatives and prints themselves are not preserved with this notebook, the outline of a life can be faintly discerned from the careful list of names and places they record.
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GENEOLOGY OF GOG

YUDER, J. 4to. Typescript, brad-bound in brown Accoflex binder. Moderate edgewear to flexible covers; moderate to heavy toning to pages. Author's name, address, and telephone number neatly written in pencil to title page. Occasional corrections, edits, and proofreader's marks in pencil throughout; text not obscured. Small closed tear to final leaf. Very good overall. [100pp.] printed rectos only. Unpublished manuscript of a sweeping religico-political epic poem, prefaced by epigraphs from the Book of Revelations and the Book of Jonah and beginning with BIRTH, first of the "Four Regressions" ("Once I met a mad fool who lived in a Forest!.now there lived in this forest a great Wolf whose name was MOGATOR, who was a very strange and ferocious beast.") A single illustration, tittled DIAGRAM OF EROM, draws a geometric relationship betwen the senses, death, ressurrection, birth, and pre-existence.Biblical diction and motifs segue into a more or less recognizable 20th century political catalogue: "And there was Courtney (And the Terrible Westward Pegley and Robert Welsh / And William Buckley and Dr. Becher and His 'Drang Nach Osten' Propganda. / And Gehlin and the Right Reverent & Notorious Winrod / And Sokolsky and Professor Oliver and the Defenders of the Christian Faith and Peter Maurin and Lyle Munsen / And George Deathrage & Schmidtz and Robert Edmundson / And McCarthy the Terrible." Overt references to '60s radicalism appear, interwoven with personal mythology -- "There was (Aronowitz) and M'Slavio (Savio) and Kupferberg / The terrible, and they were brave men / All and Small Grassner (Krasner) and Jinsburg and all / His gang of objectors reating and / Ever more Reacting against the King" -- as does an apparent identification of the narrator with a "Jacob, emerging out of the person and resurrection of Lucifer.1965, 66, 67." The author may be speculatively identified with a Jacob Yuder whose poetry appeared in the 1959 Beat issue of Staten Island's Wagner College literary magazine; no other publications under the name J[acob] Yuder or references to this poem were located in OCLC or in trade. Rare.