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David Brass Rare Books

English Dance of Death

English Dance of Death, The .[And:] The Dance of Life.

ROWLANDSON, Thomas; COMBE, William Thomas Rowlandson's "Dance of Death" and "Dance of Life" One Hundred Fine Hand Colored Aquatint Plates [ROWLANDSON, Thomas, illustrator]. [COMBE, William]. The English Dance of Death, from the Designs of Thomas Rowlandson, with Metrical Illustrations, by the Author of "Doctor Syntax." London: Printed by J. Diggens; Published at R. Ackermann's Repository of Arts, 1815-1816. [Together with:] The Dance of Life, A Poem, by the Author of "Doctor Syntax;" Illustrated with Coloured Engravings, by Thomas Rowlandson. London: Published by R. Ackermann, Repository of Arts, 1817. First editions. Two works in three octavo volumes (9 1/4 x 5 3/4 inches; 235 x 146 mm.). vii, [1, blank], 295, [1, printer's imprint]; 299, [1, blank], [4, index]; [2], ii, ii, 285, [1, blank], [1, "Advertisement"], [1, blank] pp. The English Dance of Death contains seventy-four hand-colored aquatint plates (thirty-eight in Volume I and thirty-six in Volume II, including the frontispieces), and an engraved title with a hand-colored aquatint vignette. The Dance of Life contains twenty-six hand-colored aquatint plates (including the frontispiece and engraved title). The English Dance of Death plates watermarked 1813 & 1814, text watermarked 1815; The Dance of Life plates watermarked 1816, text watermarked 1817. Bound without the 4 page index in volume 1 of English Dance of Death. A few light marginal stains otherwise near fine. Uniformly bound ca. 1920 by Morell of London (stamp-signed in gilt on front turn-in) in full chocolate brown crushed levant morocco. Covers with gilt triple fillet border, spines with five raised bands, decoratively tooled and lettered in gilt in compartments, gilt ruled board edges, decorative gilt turn-ins, black coated endpapers, top edge gilt, others uncut. With the engraved bookplates of C.O.G. Miller and Richard Heimann. A very nice set. Tooley calls The English Dance of Death "indispensable to any Rowlandson collection, one of the essential pivots of any colour plate Library, being one of the main works of Rowlandson." The Dance of Life was issued a year after the completion of The English Dance of Death as a companion volume. Both titles were first issued in monthly parts. The Danse Macabre (from the French language), also called the Dance of Death, is an artistic genre of allegory of the Late Middle Ages on the universality of death: no matter one's station in life, the Danse Macabre unites all. The Dance of Death consists of the dead or a personification of death summoning representatives from all walks of life to dance along to the grave, typically with a pope, emperor, king, child, and laborer. It was produced as memento mori, to remind people of the fragility of their lives and how vain were the glories of earthly life. Its origins are postulated from illustrated sermon texts; the earliest recorded visual scheme was a now-lost mural at Holy Innocents' Cemetery in Paris dating from 1424 to 1425. The 15th century was a tough time to be alive. With recurring famines, the Hundred Years War and the Black Death, most lived with the knowledge that a horrible death could be right around the corner for anyone, regardless of their station in life. Dance of Death art from this period certainly reflects this reality, and often features people from many different social classes dancing together with Death. These works are purpose-driven. They served to remind people that they should repent and prepare to meet their maker, but also as a statement that we should try to take joy in life regardless how short and brutal it may be. Like many historic artistic traditions, these works often feature symbols widely associated with death at the time, and were easily understood as warnings by lay people. The tradition continued in much the same vein until the 1815 publication of The English Dance of Death(vols 1 and 2) by Thomas Rowlandson and William Combe. Rowlandson was a popular English caricature artist and satirist of the time. Combe was a somewhat obscure writer who did much of his work from a debtor's prison. The two collaborated on two well-known works, with Combe writing in meter to accompany Rowlandson's prints. Rowlandson's takes on the Dance of Death often satirize English society of the period, using contemporary scenes and characters from the 19th century. They are often irreverent towards institutions and practices of the day, but they do uphold the theme of warnings against bad actions. Figures are often grotesque, and don't inspire much sympathy for the damned. Rowlandson's beautifully-colored prints make the ideal fodder for Combe's wit, and there are some real gems in this work. Grolier, Rowlandson, 32 and 38. Abbey, Life, 263 and 264. Tooley 410 and 411.
Bons Parisienes

Bons Parisienes, Ces

MORIN, Edmond, illustrator 'The Parisians at Play' Twenty Superb Hand Colored Lithograph Plates by Edmond Morin MORIN, Edmond, illustrator. [Ces Bons Parisiens]. (These Good Parisians). Paris: Chez Aubert & Cie. Editeurs, [ca. 1842]. Folio (13 3/16 x 9 5/8 inches; 335 x 245 mm.). Twenty highly amusing, hand colored lithograph plates, all heightened with gum arabic. A few plates with light marginal foxing. Publisher's? black paper over boards, covers elaborately stamped in gilt with "1842 Album" in the center. Covers a little worn at joints and corners, some old 'tape' stains on endpapers. An excellent example of a super rare album. This is only the second time in over 50 years that we have ever seen this suite of colored lithographs. According to OCLC there are just two copies located in libraries and institutions worldwide: The Morgan Library & Museum and the New York Public Library (NY, USA). Note: Neither of these copies are recorded as having color plates. The plates - all with the headline "Ces Bons Parisienes!": 1. Est-ce que vous návez pas peur d'être volé, Monsieur, dans un endroit aussi écarte? (Are not you afraid of being robbed, sir, in a place so remote?) 2. Chasseur Chassé. Que diable me veulent-elles, ces vilaines bêtes la? (Hunted Hunter. What the hell do they want, these ugly beasts?) 3. Sapristi! Quel poisson!! (Damn! What a fish !!) 4. Au voleur! Au voleur!!.arrétez! (Thief! thief! . stop!) 5. Premiére leçon de chasse (First hunting lesson) 6. Il rêve qu'il s'amuse. (He dreams he's having fun .) 7. Ouverture de la chasse dans la plaine St. Denis (Opening of the hunt in the plain St. Denis) 8. Monsieur, voici ma carte! (Sir, here is my card!) 9. Ce qu'on appelle un renfoncement. (What is called a recess .) 10. Si je tenais le gueux qui dèvalise mon ètang, il passerait un fichu quart d'heure. (If I got the beggar who devours my pond, he would spend an awful quarter of an hour .) 11. Vue prise de la marre d'Auteuil!!! (View taken of the embarrassed student!!!) 12. Le Retour de la Chasse. Accommodez nous ça, avec beaucoup de choux, beaucoup, beaucoup. (Le cuisinier) oui, ce sera un plat de choux blanc. (The return of Hunting. Accommodate us, with a lot of cabbage, a lot, a lot . (The cook) yes, it will be a dish of white cabbage .) 13. Par où faut-il passer pour aller au. Allez au diable (Where do I go to go to . Go to the devil) 14. STATU QUO fort dèsagrèable (STATUS QUO very unpleasant) 15. La Friture manquée tableau en un petít acte. (La scène se passe sur la Seine.) (Missed the frying pan - because of a small mistake. (The scene is on the Seine.) 16. Partie de Campagne. Le dimanche est un jour de plaisir. et de repos (Into the countryside. Sunday is a day of fun . and rest 17. Chien de Chasse Parisien. Va Cherche, Azor, va chercher! (Parisian hunting dog. Go find it, Azor, go get it!) 18. Pêcheur a repêcheur! (The fish has a fisherman!) 19. Une Journée de Plaisir. De St. Cloud à Paris, par terre. et par eau (A day of pleasure. From St. Cloud to Paris, on the ground . and by water) 20. Une Bonne Farce. Pousse á l'eau, Cadet, pousse! (A good joke. Push in the water, Cadet, push!) Edmond MORIN (1825-1882) "was a French painter, illustrator and engraver of some fame in his day. Wood engravings after his designs appeared in L'Illustration and Le monde illustré, as well as in many books." (Gordon Ray. The Art of the French Illustrated Book 1700-1914, pp. 353-354). Hennri Beraldi. Les Graveurs du XIXe Siècle, volume X, p. 131. Frederik Muller. La Lithographie. Ecoles Francaise Néerlandaose Allemande Anglais & Russe. No. 357. Lucien Monot. Le Prix des Estampes Anciennes et Modernes, volume V, p. 112.
Military Adventures of Johnny Newcome

Military Adventures of Johnny Newcome, The

ROWLANDSON, Thomas; ROBERTS, Lt. Col. David Fifteen Hand-Colored Aquatint Plates Drawn and Etched by Thomas Rowlandson [ROWLANDSON, Thomas, illustrator]. [ROBERTS, Lt. Col. David, author]. The Military Adventures of Johnny Newcome. With an Account of His Campaigns on the Peninsula and in Pall Mall: With Sketches by Rowlandson; and Notes. By and Officer. London: Printed for Patrick Martin, 1815. First edition. Octavo (8 1/4 x 5 1/8 inches; 210 x 130 mm). [4], 188 pp. Fifteen hand-colored aquatint plates drawn and etched by Rowlandson, including frontispiece. Handsomely bound ca. 1900 by Rivière and Son in full dark red crushed levant morocco, covers with triple gilt-rule borders, spine with five raised bands, elaborately tooled and lettered in gilt in compartments, gilt-ruled board edges, decorative gilt turn-ins, marbled endpapers, top edge gilt, others uncut. Small neat and almost invisible repair to lower blank margin of title-page, some very minor offsetting from plates to text otherwise a very fine example in a fine early twentieth century binding. "To the Subalterns of the British Army. Gentlemen, I shall , I trust, be acquitted of any servile view, when in dedicating this humble Essay to the Subalterns of the British Army, I adopt the only means in my powers of shewing how much I honour and admire them. I have the honour to be, Gentlemen, With the greatest respect, Your most obedient Servant, The Author." (Dedication) Abbey, Life 378. Tooley 417. Hardie, p. 158. Prideaux, p. 305.
Song of Songs which is Solomons

Song of Songs which is Solomons, The

HARCOURT BINDERY]; JONES, Owen, illuminator Owen Jones' Illuminated Song of Songs Beautifully Bound by the Harcourt Bindery HARCOURT BINDERY. Owen Jones, Illuminator. The Song of Songs which is Solomons. [London]: Longman & Co., 1849. First printing with the Owen Jones illuminations. Small quarto (7 11/16 x 5 5/8 inches; 196 x 143 mm). Thirty-two unnumbered chromolithographed pages all mounted on guards and decorated throughout with numerous large illuminated initials in gold within borders of colored floral stems and acanthus leaves among gold leaves on hairline stems. Bound ca. 1910 by the Harcourt Bindery of Boston (stamp-signed in gilt on front turn-in) in full burgundy crushed morocco with elaborate gilt-rolled and tooled borders, spine with five raised bands decoratively tooled and lettered in gilt in compartments. Gilt-dotted board edges, extravagantly gilt decorated morocco doublures, embroidered silk endpapers, Japanese vellum endleaves. A beautiful and fine copy of a magnificently produced volume. Housed in the original fleece-lined, burgundy cloth slipcase. Since 1900 The Harcourt Bindery of Boston has made fine cloth and leather art bindings by hand. The Harcourt Bindery remains the largest for-profit hand bookbindery in the U.S. When it was founded in 1900, Boston was home to over 47 book binderies and 1,452 craftsmen, according to the company's website. Few large binderies exist today. Before the 1930s, there were about fifteen people working in the Harcourt Bindery; the number fell to five during the Depression, and the company changed hands three times between 1927 and 1931. When binder Sam Ellenport took over Harcourt in 1971, there were only four employees. In 2008, Ellenport sold the Harcourt Bindery to Acme Bookbinding of Boston. The Song of Songs, also Song of Solomon or Canticles, is one of the megillot (scrolls) found in the last section of the Tanakh, known as the Ketuvim (or "Writings"), and a book of the Old Testament. The Song of Songs is unique within the Hebrew Bible: it shows no interest in Law or Covenant or the God of Israel, nor does it teach or explore wisdom like Proverbs or Ecclesiastes (although it does have some affinities to wisdom literature, as the ascription to Solomon indicates); instead, it celebrates sexual love, giving "the voices of two lovers, praising each other, yearning for each other, proffering invitations to enjoy". The two are in harmony, each desiring the other and rejoicing in sexual intimacy; the women of Jerusalem form a chorus to the lovers, functioning as an audience whose participation in the lovers' erotic encounters facilitates the participation of the reader. In modern Judaism the Song is read on the Sabbath during the Passover, which marks the beginning of the grain harvest as well as commemorating the Exodus from Egypt. Jewish tradition reads it as an allegory of the relationship between God and Israel, Christianity as an allegory of Christ and his "bride", the Church. Owen Jones (1809-1874) was at the forefront of Victorian medievalist book design. In his first great work, Plans, Elevations, Sections and Details of the Alhambra(1845),hehelped to pioneer chromolithography. Subsequently, he produced illustrated and illuminated gift books such as The Song of Songs (1849), Illuminated Books of the Middle Ages (1850) and the Psalms of David (1860).
Wonder Book for Girls & Boys

Wonder Book for Girls & Boys, A.

CRANE, Walter, illustrator; HAWTHORNE, Nathaniel First UK Edition, First Printing, with Nineteen Color Plates by Walter Crane A Fine Copy in the Original Printed Dust Jacket [CRANE, Walter, illustrator]. HAWTHORNE, Nathaniel. A Wonder Book for Girls & Boys. With 60 designs by Walter Crane. London: Osgood McIlvaine, 1892 First UK edition, first printing. Quarto (9 x 6 3/8 inches; 229 x 162 mm.). x, 210 pp. With sixty designs by Walter Crane, including three-color title page and eight full-color plates captioned and ruled in gold and blue, many with their original tissue-guards. Numerous decorative head and tail pieces throughout. Publisher's white cloth, covers and spine pictorially illustrated in light teal and brown. Decorative endpapers in teal and white, top edge stained green. Small area of insect damage (one inch) on front inner hinge, some sporadic minimal marginal foxing, otherwise fine. Complete with the original pale gray dust jacket, printed in brown and green, spine slightly darkened and chipped at top and bottom but with no loss of text. A fine copy in the very rare printed dust jacket. Housed in a quarter brown calf over marbled boards clamshell case, spine with two red morocco labels lettered in gilt. A fine collection of Greek myths told for children. The stories in this collection are The Gorgon's Head; The Golden Touch; The Paradise of Children; The Three Golden Apples; The Miraculous Pitcher; The Chimaera. "In October, 1891, Walter Crane left with his family for a tour through the United States, which proved productive of many works, in painting as well as in book-illustration. Thus a 'Wonderbook for Boys and Girls' was published first by Messrs. Houghton and Mifflin, the Riverside Press, and afterwards reissued in London by Messrs. Osgood and McIlvaine. The drawings for this book, which are done in bright colours and reproduced by lithography, were executed during a stay in Florida, 'in a little timber house in the woods; the oleander in bloom, and the beautiful red bird of those regions flitting about, but-as a counterpoise to these attractions-a temperature of over eighty degrees!' It is on occasions like this that the practice of drawing everything from memory is turned to good account-when the artist has to rely on his knowledge of form and of archæological detail, when he is far away from reference libraries and from the paraphernalia of his studio, when it is next to impossible to procure historical costumes or models. It is almost impossible to believe that such drawings as 'Bellerphon slays the Chimæra,' or 'The Stranger (Hermes) appearing to Midas,' or 'Hercules and the Old Man of the Sea,' were done under these adverse circumstances" (Konody, pp. 65-68). Nathaniel Hawthorne (1804-1864) was the first major American writer to make ancient Greek and Roman myths into literature (as opposed to didactic tracts) for children. Browne, p. 93. Clark A18.10.b. Massé, p. 44.
Biblia Sacra Veteris & Novi Testamenti Iuxta Vulgatam

Biblia Sacra Veteris & Novi Testamenti Iuxta Vulgatam, quam Dicunt, Editionem: Ioannis Benedicti Parisiensis Theologi industria accuratè recognita & emendata, Annorumq[ue] à Mundo condito ad Christum vsque natum supputatione illustrata: .

BIBLE IN LATIN]; CATHOLIC BIBLE Handsomely Illustrated and Well Preserved Latin Catholic Bible In the Original Blindstamped Pigskin over Wooden Boards with Brass Clasps [BIBLE IN LATIN]. Biblia Sacra Veteris & Novi Testamenti Iuxta Vulgatam, quam Dicunt, Editionem: Ioannis Benedicti Parisiensis Theologi industria accuratè recognita & emendata, Annorumq[ue] à Mundo condito ad Christum vsque natum supputatione illustrata: . Ex ultima editione, eáque omnium castigatissima, nempe ad fontes deintegro collata: & præterea Schematibus etiam quibusdam pulcherrimis oportunis locis ornata. Paris: Apud Gulielmum Merlin. & Gulielmum Desboys. & Sebastianum Nivellium, 1563. Large folio (14 x 9 3/4 inches; 355 x 248 mm.). [16], 508, 392, 235, [1, blank], [71], [1, blank], [39], [1 blank] pp. Woodcut printer's device on title-page of Guillaume Merlin (Renouard no. 763). Old Testament illustrated with fine woodcuts (some full-page) of mostly architecture and monuments including the tabernacle, temple, Ark of the Covenant, golden minorah, view of heaven and earth, etc.; three sizes of decorative woodcut initials. Contemporary owner's name clipped from outer blank margin of title-page; one full-page woodcut top margin trimmed close; some minor light spotting along inner blank margins at beginning of volume. Overall a very nice copy. Contemporary blind tooled alum tawed pigskin over beveled wooden boards with two brass clasps. A remarkable and near fine example in its original sixteenth century binding. Contents: Old Testament; Psalms; New Testament, Epistles, Acts; Index & Index Rerum. Rare edition of this handsomely illustrated and well preserved Latin Catholic Bible based on the popular version, edited and annotated by Jean Benoît (Benedictus or Benoist: 1484-1573). This edition appears in two issues; ours which is dated 1563 and one dated 1564, which are otherwise identical. It was common for Parisian printers to share the work (and the risk) when publishing expensive works like illustrated folio bibles. In this case the printing and expenses were shared by three Parisian printers: Sébastien Nivelle, Guillaume Merlin, and Guillaume Des Bois. They chose the relatively new version edited by Jean Benoist (or Benedictus) that was first introduced by Simon Coline in 1541: "This Bible, edited by Johannes Benedictus, represents one of the attempts, parallel to that of R. Stephanus, to produce a more accurate text. The marginal notes profess to show where the Latin differs from the Hebrew and Greek originals, and to give more literal renderings of certain works and sentences. The editions of Benedictus were eventually placed on the 'Index Expurgatorius.' "(Darlow & Moule, II, 2, p. 931). What is curious is that a new revised folio edition of Jean Benedictus' Bible was already being printed and published by another Parisian printer, Jean Macé, in the same year. This new edition was edited with new annotations by Renatus Benedictus (i.e. René Benoist; 1521-1608), who includes a preface dated July 4th, 1564. This revised edition would be again reprinted in 1571 with a 10 year royal privilege granted by Charles IX. (Darlow & Moule, II, 2 p. 948). Having two folio Latin Bibles appearing the same year would certainly have glutted the French market. Also the revised edition by René Benoist, and printed by Jean Macé, would certainly have been the preferred version for any potential buyers who could afford such luxuries. This must have been received as a bad financial loss by the trio of Parisian printers (Merlin, Desboys and Nivelleius). There is evidence that they tried to recoup some of their investment by exporting much of their stock to markets in German, the Low Countries, Switzerland, Eastern Europe, etc. as is evident by the number of surviving copies found in those countries by the OCLC and the KVK with none located in France. It is interesting to note that the printer who was later granted the royal privilege for printing the revised 1571 edition (noted above) was one of the original trio, Sébastien Nivelle, who perhaps had learned a few things from his earlier experience in Bible publishing and marketing. As noted, a large portion of the edition appears to have been dumped on the German Catholic market according to the number of copies located in central and southern German libraries. The present copies' contemporary German blind stamped pigskin binding clearly identifies it as an export copy. There is also a 19th century German booksellers label and stamp on front end paper (A. Schmalz, Antiquar, Passau). Adams B-1063 (1564 issue); Pettegree & Walsby (editors) French Books, III & IV no. 57405.


JACQUE, Charles Émile "He [Jacque] draws richly and wittily, and his caricatures, like all he does, have the causticity and unexpectedness of the observer poet." (Baudelaire) JACQUE, Charles Émile, illustrator. Militairiana [Charges Burlesques]. Paris: Chez Aubert & Cie., [1840]. Folio (12 15/16 x 9 1/2 inches; 329 x 241 mm.). Tinted lithographed title-page (titled in gold) and twenty highly amusing hand colored lithograph plates with a total of seventy-seven images, all heightened with gum arabic. Sixteen page publisher's catalog bound in at end (a little foxed). Small neat repair to lower margin of third plate. Early ink signature on title-page. Mid twentieth century three-quarter dark blue morocco over marbled boards, smooth spine ruled in gilt and with red morocco label lettered in gilt. Spine slightly faded, otherwise fine. Exceptionally scarce. OCLC locates just three copies in libraries and institutions worldwide: US Military Academy at West Point (NY); California State University - Long Beach (CA), and Brown University (RI). Charles-Émile Jacque (1813-1894) was a French painter of animals (animalier) and engraver who was, with Jean-François Millet, part of the Barbizon School. Jacque began work in a notary's office, but he quickly departed to pursue printmaking. Apprenticed at seventeen to a map engraver, he made his first etching the same year, a female head after Rembrandt. Dissatisfied with cartography, Jacque joined the army, where he served seven years. During this time he prepared the lithographic album Militairiana (1840), praised by poet and critic Charles Baudelaire for the frankness of its caricatures of military life. Jacque worked in London in 1836-38 producing woodcuts to illustrate Shakespeare and a history of Greece. Back in France he established his reputation as an illustrator and contributed caricatures to Charivari in 1843 and 1844. "Jacque, that excellent artist of many-sided intelligence, has also on occasion been a caricaturist worthy of commendation. Besides his paintings and his etchings, in which he has always shown himself to be serious and poetic, he has done some excellent grotesque drawings, where the idea comes out well, and at once. Look for example, at Militairiana and Malades et médecins. He draws richly and wittily, and his caricatures, like all he does, have the causticity and unexpectedness of the observer poet." Charles Baudelaire. Selected Writings on Art & Artists (Translated by P.E. Charvet).
Military Duties

Military Duties, Occurances & &c

ALKEN, Henry One of the Scarcest of All 19th Century Color-Plate Books "The Rarest Alken Item" (Abbey) One of Only Three Complete Copies Recorded ALKEN, Henry. Military Duties, Occurances &c. &c. [aka Marine And Military Views]. Collected and published by Thomas McLean. [London]: Thomas McLean 26 Haymarket, [n.d., c. 1820]. First edition (variant) of "the rarest Alken item" (Abbey); an astonishingly scarce volume. Quarto (10 5/16 x 7 inches; 263 x 178 mm). Title in manuscript as called for. Fifty-six superbly hand-colored etched plates inlaid within a window cut from a leaf of gray paper with an elaborately engraved border surrounding the print. Title and captions in manuscript. Interleaved throughout. Image size: 3 1/8 x 4 1/2 inches (115 x 80 mm) for etchings 1-40; 3 1/2 x 5 3/4 inches (88 x 146 mm), etchings 41-56. The plates are as clean and fresh as one could hope for. Contemporary full red straight-grain morocco. Covers elaborately bordered in gilt and blind, spine with five raised bands decoratively tooled and lettered in gilt in compartments, decorative gilt board edges and turn-ins, original blue-gray endpapers, all edges gilt. With the bookplates of New York financier Alfred Barmore Maclay (1871-1944); Jane Sarah Casel; and Henry, Duke of Gloucester (1900-1974) on front paste-down. A remarkable example of one of the scarcest of all 19th century color-plate books. OCLC/KVK note only one copy in institutional holdings, at Yale; it is, apparently the only complete copy to be recorded, presumably the same copy noted by Abbey as being sold in 1907. Apparently the only other recorded copy in private hands is Bobbins, The Exotic and the Beautiful, 341. This, then, is only the third complete copy to be recorded. This copy is the variant noted by Abbey (#349) of Alken's Marine And Military Views: A Collection of of Interesting Subjects of Marine Views, Military Parade, Hunting, Coursing, Racing &c &c . Loosely inserted is an old typed description from Charles A. Stonehill Rare Books, Great Bookham, Surrey, England. "The rarest of Alken's works, of which only three perfect copies are known. All known copies have a similar manuscript title page and mounting of the plates. The present copy is quite perfect, brilliantly coloured and in the finest state of preservation." "The rarest Alken item: unknown to Ogilby, Siltzer, Slater and Schwerdt. Two other copies only can be traced: one, in the possession of D.C. Colman, Esq., and the second a sale room record for December 1907. According to the sale record the date of the book is 1830, but it would appear highly probable that it was considerably earlier, for the following reasons: spelling of the publisher's name as McLane and not McLean places it before 1830, and the few plates that portray actual historical incidents all bear on the Russian campaign against Napoleon. Further, by 1830 the work of Alken was devoted to sporting subjects only. A reasonable guess at the correct date is more likely than 1822 or 1823, and probably even before 1820" (Abbey). "The copy sold in 1907 was given the following description in the sale catalogue: 'Alken, H. Military duties, Occurances etc., 56 coloured etchings, inlaid with titles in MSS. So few copes were issued that it was not considered worth while by the publishers to have a title printed.' (Book Auction Records, Dec. 1907)" (Abbey). The Plates (as numbered by Abbey): 1. Salute 2. The Call 3. The Muster 4. The General's Tent 5. Relief 6. The Barrack Yard 7. Flying Artillery 8. The Forelorn Hope 9. An Ambuscade 10. The Ferry 11. The Gazette 12. A Tatar Camp 13. Guerilla Party 14. Baggage 15. Death of Ponitawski 16. Halt 17. Fording a River 18. The Action 19. Punishment 20. A Bovouac 21. Storming the Entrenchments 22. Dispute 23. Vidette 24. Skirmish 25. The Spy 26. The Out Post 27. Truce 28. Prisoners 29. The March 30. The Last Duty 31. Refreshment 32. Mamalukes 33. American Bushmen 34. The Stable 35. Humanity 36. Retreat 37. Plunder 38. Russian Couriers 39. Circassian Prisoners 40. Death of the Young Count Platoff. 41. - 56 Untitled, as noted by Abbey "All plates of military incidents without titles; space previously occupied by the panel for a title included in the engraved surface, which is larger than in plates 1 - 40." Abbey, Life 349; Index to British Military Costume Prints 1500-1914, 41; Bobins, The Exotic and the Beautiful, 341.
Yorick's Sentimental Journey though France and Italy

Yorick’s Sentimental Journey though France and Italy, &c

DAVID, Salvatore, binder; STERNE, Laurence Laurence Sterne's Sentimental Journey Through France and Italy In a Wonderful Turn-of-the Century Inlaid Binding by Salvatore David DAVID, Salvatore, binder. STERNE, Laurence. Yorick's Sentimental Journey though France and Italy, &c. London: Reprinted and sold by all booksellers in town and country, 1791. Later edition. Four parts in one twelvemo volume (6 11/16 x 4 inches; 170 x 101 mm.). [ii], 279, [1, blank] pp. Six plates including frontispiece engraved by Stothard. Two stipple portraits 'Maria' and 'The Monk' engraved by Taylor after S. Shelley. Bound ca. 1900 by Salvatore David (stamped signed "S. David" on front turn-in). Full dark green crushed levant morocco, covers richly bordered in gilt with an inlaid red morocco strip surrounding an elaborate floral and basket-weave design inlaid in red morocco and stamped in gilt. Sine with five raised bands, decoratively tooled and lettered in gilt in comaprtments with inlaid red morocco flowers. Double gilt-ruled board edges, red morocco liners elaborately decorated in gilt in a similar design. Cream embroidered silk endleaves with marbled endpapers. all edges gilt. A superlative example in perfect condition. Housed in it's original fleece-lined marbled slipcase with morocco tips and fore-edge. With the engraved bookplate of collector Horace G. Young of Worcester, Mass., on the rear marbled endleaf. Salvatore David (1859-1929) "was the son of Bernard David, a noted Second Empire binder-gilder who worked for [Leon] Gruel before establishing his own atelier in 1855. On his father's retirement in 1890, David took over the bindery and initially applied a similar, classically inspired range of ornaments to his covers. But by 1900, after applying himself to the production of commercial and library bindings without much success, he turned to éditions de luxe, which he decorated with a blend of gold fillets and garlanded flowers in a compelling and original manner. In 1907, he moved his shop from 12 rue Guénégaud to 49 rue le Peletier, where he remained until his death. Important collectors of his work included René Descamps-Scrive and Freund-Deschamps" (Duncan & De Bartha, Art Nouveau and Art Deco Bookbinding, French Masterpieces 1880-1940, pp. 189-190). A Sentimental Journey Through France and Italy is a novel by Laurence Sterne, written and first published in 1768, as Sterne was facing death. In 1765, Sterne traveled through France and Italy as far south as Naples, and after returning determined to describe his travels from a sentimental point of view. The novel can be seen as an epilogue to the possibly unfinished work The Life and Opinions of Tristram Shandy, Gentleman, and also as an answer to Tobias Smollett's decidedly unsentimental Travels Through France and Italy. Sterne had met Smollett during his travels in Europe, and strongly objected to his spleen, acerbity and quarrelsomeness. He modeled the character of Smelfungus on him. Smelfungus was the name given by Laurence Sterne to Tobias Smollett as author of a volume of Travels through France and Italy, for the snarling abuse he heaps on the institutions and customs of the countries he visited. The term "smellfungus" thereafter passed into broader use to describe a grumbling traveller, and might even be applied to a faultfinder in general. In the 19th century Smelfungus was adopted by Thomas Carlyle as a pen-name when he had any seriously severe criticisms to offer on things, particularly those that have gone or are going to the bad. Patrick Proctor Alexander also used the name in his book Mill and Carlyle, which contrasted Carlyle's views with those of John Stuart Mill. Proctor's Occasional Discourse on Sauertieg by Smelfungus attacks Carlyle's more brutal ideas. The novel was extremely popular and influential and helped establish travel writing as the dominant genre of the second half of the 18th century. Unlike prior travel accounts which stressed classical learning and objective non-personal points of view, A Sentimental Journey emphasized the subjective discussions of personal taste and sentiments, of manners and morals over classical learning. Throughout the 1770s female travel writers began publishing significant numbers of sentimental travel accounts. Sentiment also became a favorite style among those expressing non-mainstream views, including political radicalism. The narrator is the Reverend Mr. Yorick, who is slyly represented to guileless readers as Sterne's barely disguised alter ego. The book recounts his various adventures, usually of the amorous type, in a series of self-contained episodes. The book is less eccentric and more elegant in style than Tristram Shandy and was better received by contemporary critics. It was first published on 27 February, and on 18 March Sterne died.
Livre d'Heures d'après les Manuscrits de la Bibliothèque Royale

Livre d’Heures d’après les Manuscrits de la Bibliothèque Royale

GRUEL, Léon, binder; Livres d'Heures A Stunning Example of the "Incunabula of Chromolithography" In a Remarkable Binding by Léon Gruel GRUEL, Léon, binder. [ENGELMANN et GRAF]. Livre d'Heures d'après les Manuscrits de la Bibliothèque Royale. Paris, Engelmann et Graf, 1846. Twelvemo (5 7/8 x 4 7/16 inches; 150 x 144 mm.). 183 , [1] pp. Seventeen full-page illustrations. Illuminated text heightened with gold. Text in red, blue, gold and black, illustrations and rich gold ornaments and bright colors. Mainly lithographed by H. Moulin after A. Ledoux and H. Soltau & Coffetier. Bound ca. 1901 by Léon Gruel (stamp-signed in gilt at foot of spine). Full dark brown morocco, covers exquisitely stamped and decorated with a wonderful 'strapwork' design in gilt and blind and with gilt 'Fleur De Lis'. Spine with five raised bands similarly decorated in gilt and blind, double gilt-ruled board edges and elaborate gilt turn-ins. Crimson watered silk liners and endleaves. Original decorative metal clasps with catches and metal corners with small studs. All edges stained red and richly decorated with gilt 'Fleur De Lis'. The front silk endleaf is stamped in gilt "J. D. R. / 24 Juuillet 1901" beneath a gilt 'Crown'. From this we would guess that this binding was specially produced for a member of some European Royal family. A stunning example of this edition which is classified among the "incunabula of chromolithography", an example of the printing possibilities offered by this technique. For the invention of chromolithography, Godefroy Engelmann was awarded the "Société d'Encouragement" prize in 1838. Full-page chromolithographs, initials and frames inspired by medieval illuminations. Established in 1842, the printers Engelmann and Graf soon became the leading French company producing facsimiles of medieval illuminated manuscripts. They commissioned the bookbinding firm of Léon Gruel to provide a range of bindings for this book, in different styles and at varying price levels. This example has a bold strapwork design of interweaving leather inlays. Binder and gilder Léon Gruel (1841 - 1923) began working in the family bindery, established in 1825 after his father assumed control of the Desforges binding workshop in Paris. In 1891 he became sole owner, employing a large number of artisans. In 1887, Gruel published Manuel historique et bibliographique de l'amateur de reliures in which he argued for a synthesis of styles, promoting the acceptance of non-traditional decoration for modern bindings. In practice, he matched this belief with a diverse range of emblematic and pictorial covers. The binding under notice eschews the pictorial for a more traditional approach heightened by his use of elaborate and progressive blindstamping influenced by the Arts & Crafts movement. A Livre d'Heures is a Christian devotional book popular in the Middle Ages. It is the most common type of surviving medieval illuminated manuscript. Like every manuscript, each manuscript book of hours is unique in one way or another, but most contain a similar collection of texts, prayers and psalms, often with appropriate decorations, for Christian devotion.
Ackermann's Sporting Scraps

Ackermann’s Sporting Scraps

ALKEN, Henry One of the Rarest of all Henry Alken's Albums ALKEN, Henry. Ackermann's Sporting Scraps. London: Rudolph Ackermann, February 20th. 1850 - March 13th. 1861. First edition. Oblong quarto (8 5/8 x 10 7/8 inches; 219 x 276 mm.). Thirty-six superb hand colored aquatint plates, heightened with gum arabic, by J.Harris after H. Alken, W.J. Shayer, and W.A. Knell. Contemporary full red morocco, covers decoratively bordered in gilt with ornate gilt corner-pieces. Sine with five raised bands decoratively tooled and lettered in gilt in compartments, gilt-ruled board edges, decorative gilt turn-ins, plum coated liners and endleaves with the original rectangular burgundy morocco label lettered in gilt "Ackermann's / Sporting / Scraps / [rule] / 36 plates / 1850. 1851." on front paste-down, all edges gilt. Armorial bookplate of Henry Duke of Gloucester on front endpaper and another on verso. Fine impressions of the Henry Alken plates. Twenty-eight out of the thirty-six being by him. It includes the best plates from Ackermann's famous publications. Excessively Rare. According to OCLC there is just one copy in libraries and institutions worldwide: The Huntington Library (CA, USA). The note from OCLC reads "Title from label on inside front cover./ Plates colored by hand./ The plates are mostly in groups of four and cover the following subjects: hunting, racing, coaching, coursing, shooting, steeple-chase, Indian sporting, fishing, deer stalking, stag-hunting, and yachting./ Four plates on coaching by W.J. Shayer; four on yachting by W.A. Knell; remainder by Alken./ Engraved by J. Harris." This actual copy sold at The Anderson Auction Company, New York on December 14th, 1909. The plates: R. Ackermann's Hunting Scraps (dated March 13th. 1861) 1. Drawing Cover 2. Gone Away 3. Full Cry 4. The Death Ackermann's Coaching Scraps (dated March 20th. and April 20th. 1854) 1. The Wet Morning 2. Springing 'em 3. The Rivals 4. The Time Keeper R. Ackermann's Steeple Chase Scraps (dated February 20th. 1850) 1. Getting away - Now for the front 2. The Brook 3. The Stone wall and double fence 4. The last Struggle R. Ackermann's Shooting Scraps (dated June 10th. 1850) 1. Going out 2. The Point 3. The Shot 4. Down Charge R. Ackermann's Coursing Scraps (dated June 12th. 1850) 1. Going Out 2. Soho 3. The Course 4. The Death R. Ackermann's Racing Scraps (dated April 27th. 1850) 1. Training 2. Preparing to Start 3. Started 4. The Race R. Ackermann's Deer-Stalking Scraps (dated July 12th. 1850) Taking the Stag R. Ackermann's Stag Hunting Scraps (dated July 12th. 1850) Taking the Stag R. Ackermann's Shooting Scraps (dated July 15th. 1850) Flacker Shooting R. Ackermann's Fishing Scraps (dated July 15th. 1850) Trout Fishing R. Ackermann's Yachting Scraps (dated April 20th. 1850) 1. Running off the wind 2. The Sapphire 3. Yachts on a wind 4. The Bianca Schooner Yacht R. Ackermann's Indian Sporting Scraps (dated April 9th. 1850) 1. Beating for a Boar 2. Raising the Boar from his lair 3. Charging the Boar 4. The wounded Boar Charging Not in Abbey, Tooley or Bobins. Siltzer, p. 67 (note).
Moments of Fancy and Whim by Henry Alken

Moments of Fancy and Whim by Henry Alken

ALKEN, Henry Exceptionally Rare Series of Alken Sporting Plates ALKEN, Henry. Moments of Fancy. We rather fancy than Know. London: Published by Thomas M'Lean, 1822-23. First edition. Oblong folio (10 3/4 x 15 5/8 inches; 273 x 396 mm.). Fourteen fine hand colored engraved plates. Two tiny neatly repaired marginal tears, some very light soiling to blank margins, otherwise near fine. Rebound ca. 1960 by Fred Shihadeh in half brown morocco over marbled boards, decoratively ruled in blind, front cover with black morocco label lettered in gilt. Original red morocco label lettered in gilt on front paste-down. A complete and excellent copy of this extremely rare suite of plates. Thirteen of the plates are dated 1822 - plate no. 9 is dated 1823. "Slater p.79 omits the title-page and gives thirteen under this title; Siltzer p.71 (as lithographs); Tooley no. 40 records fourteen plates issued in two parts in printed wrappers; Van Devanter no. 48, dates the set 1823". (Dudley Snelgrove. British Sporting and Animal Prints 1658-1874, no. 97). The plates are titled: A Phaeton and Four (title-page) Not a bit of Fancy Real English Fancy A Fancy Man Got an Engagement Past Consideration There is a pleasure in being mad A Day Nurse No fancy for a waggon Who would bear the many shocks that flesh is heir to How dangerous it is that this man goes loose Playing at Soldiers Good for neither one or the other As the thing used to be done Tooley, 40; Siltzer, p.71; Mellon/Snelgrove, 97.


DAUMIER, Honoré; CHAM (pseudonym of Amédée de Noé); VERNIER, C[harles] An Exceptionally Rare Suite of Plates By Daumier, Cham & Vernier DAUMIER, Honoré, CHAM, & VERNIER, Charles. [Actualités]. Paris: Chez Aubert & Cie., [1854-55]. First edition. Folio (13 1/2 x 10 in; 343 x 256 mm). Twenty hand-colored lithographed plates, heightened with gum arabic. Seven of the plates are by Daumier, four are by Cham and eleven are by Vernier. The nineteenth plate stamped on verso "Timbre National Seine," the government bureau overseeing (i.e. approving or censoring) the distribution of printed material, with offices in each quarter of Paris. Publisher's dark green ribbed cloth over boards, front cover decoratively titled in gilt. An exceptionally rare suite of plates, originally singly issued, here as remainders collected in one of the publisher's ad-hoc albums. The series Actualités, published 1854-1855, was comprised of 144 lithographed plates of which only seventy-five were by Daumier, the remaining by Cham and Vernier. "This album [Actualitiés] may stand as an example of Daumier's political caricatures for Le Charivari during the 1850s. Indeed, Actualités as well as Physionomie de L'Assemblée (along with Les Représentans Représentés from 1848-1850) represent Daumier (and publisher Philpon's) return to political satire after the 1848 revolution that ended Louis-Philippe's Second Empire yet not as biting as Daumier-Philipon's earlier work in the immediate aftermath of the July Revolution of 1830 that overthrew Charles X and installed Louis-Philippe as king. It appears that Philipon and Aubert (his brother-in-law), as was their custom, bound-up plates leftover from publication in Philipon's newspapers, i.e. Le Charivari, Journal Amusant and Petit Journal pour Rire; it seems that no two albums are exactly alike and that few if any were issued complete with all the plates in the series, colored, uncolored, or a combination of both. There are no copies recorded by OCLC. Nor are there any auction records noted by ABPC. The albums were never formally published, each, apparently, a one-off comprised of whatever plates were lying around at the time. The plates: 1. Un parricide (Daumier) DR-2002 (plain) A Parricide 2. Le terrible Barbe Rouge accrochant Frédéric Bastiat, sa dernière victim, dans son cabinet de curiosités. (Cham) The terrible Red Beard hanging Frédéric Bastiat, his last victim, in his cabinet of curiosities. 3. Souvenir de la Fête du 4 Mai. (Vernier) Souvenir of the May 4th Festival 4. Les caniches et les rentiers allant féliciter l'Assemblée nationale du rejet de l'impôt que l'on proposait sur le transfert des rentes et sur la classe canine. (Daumier) DR-2016 (plain) Poodles and holders of bonds on their way to congratulate the National Assembly for abolishing the tax on transfer of revenue and on the ownership of dogs 5. Vivement émus par la proposition-Grammont, touchant le transférement du Gouvernement à Versailles, plusieurs représentans se donnent la mission d'arrêter et de fouiller chaque Coucou pour vérifier si le gouvernement ne serait pas dans la voiture. (Cham) Vividly moved by the Grammont proposal, concerning the transfer of the Government to Versailles, several representatives took it upon themselves to stop and search each Cuckoo clock to check if the government was not in the car. 6. Projet de statue à élever sur le Boulevard des Italiens. (Cham) Draft statue to be erected on Boulevard of Italians. 7. Le sauvage Bineau ayant enfin trouvé à utiliser sa massue sur les boulevards et fesant connaître aux Parisiens tous les charmes des routes américaines. (Daumier) DR-2017 (plain) The Savage Bineau having finally found a way to use his club on the boulevards and making Parisians know all the charms of American roads. 8. Un des légers inconvéniens du Macadamisage. (Daumier) DR-2019 (plain) One of the slight disadvantages of Asphalt 9. Les modernes Cyclopes occupés à forger de Nouvelles entraves à la liberté: _ par suite d'une singuliére bizarrerie de la natures, ces Cyclopes ne voient clair que de l'oeil droit. (Vernier) The modern Cyclops busy forging New obstacles to freedom: _ as a result of a strange oddity of nature, these Cyclops see clearly only with the right eye 10. École de Natation pour Hommes Politiques. (Vernier) Swimming School for Politicians 11. Mac-Adam et Bineau aux Enfers. (Daumier) DR-2021 (plain) Mac-Adam and Bineau in the underworld 12. Suites du Macadamisage. (Daumier) DR-2020 (plain) The consequences of Macadamized roads 13. Aspect de l'entreé du salon de l'Elysée le jour du vote des trois millions. (Vernier) Appearance of the entrance to the Elysee lounge on the day of the three million vote. 14. Fâcheuse situation mercantile des marchands de galette du Boulevard les jours où la boue ne permet plus aux Parisiens de circuler qu'à l'aide de grandes échasses. (Daumier) DR-2022 (plain) Annoying state of affairs for the pancake merchants on the Boulevards, on days when the mud only allows Parisians to move around on high stilts. 15. Nous en avons fini avec ces polissons d'électeurs. à ton tour maintenant ma gaillarde, àton tour! (Vernier) We are done with these rascals of voters . your turn now my fellow, your turn! 16. Un Parachute manquant son effet. (Vernier) A Parachute missing its effect 17. Comment! vous aussi, chevalier Véron, vous passez au camp des démagogues! (Vernier) How! . you too, Chevalier Véron, you go to the demagogues camp! . 18. Quand les Burgraves ne sont pas d'accord entr'eux. (Vernier) When the Burgraves don't agree with each other. 19. Le Désespoir du Constitutionnel. (Vernier) Despair of the Constitutional. 20. Voyons décidez-vous donc à avancer. vous n'ètes pas des vingt-cinq. si vous ne sortez pas, je ne pourrai pas fermer la porte. (Cham) Come on then decide to move on . you're not twenty-five . if you don't go out, I won't be able to close the door. Ray, Art of the French Illustrated Book 173 (Actualités). Daumier Register 2002; 2016; 2017; 2019; 2020; 2021; 2022.
Thirty-six original watercolor portraits of characters from Dickens

Thirty-six original watercolor portraits of characters from Dickens

KYD (pseudonym of Joseph Clayton Clarke), artist; [DICKENS, Charles] A Unique Volume of Original Dickens Artwork By The Artful "Kyd" KYD (pseudonym of Joseph Clayton Clarke), artist. [DICKENS, Charles]. Characters from Dickens (cover title). [N.p., n.d, ca. 1890]. Thirty-six fine original watercolor portraits of characters from Dickens, primarily from Pickwick (24), and others from Oliver Twist (3), David Copperfield (4), Bleak House (2), Little Dombey (1), The Old Curiosity Shop (1), and Martin Chuzzlewit (1). Quarto (10 3/4 x 8 7/16 inches; 273 x 215 mm.). Thirty-six original pen, ink and watercolor drawings, each on fine laid paper, titled and signed by the artist. Twelve of the drawings are watermarked "J. Whatman 1885" and "J. Whatman 1886". Bound ca. 1950 by Lewis & Harris (stamp-signed in black on verso of front endpaper). Full blue morocco, front cover ruled and lettered in gilt, spine with five raised bands ruled in gilt, marbled endpapers, all edges gilt. Front cover with a few small scratches, otherwise fine. With the leather bookplates of Kenyon Starling and William Self on front paste-down. Joseph Clayton Clark (1856-1937) worked as a freelance artist with a particular affection for Dickens, his Dickens illustrations first appearing in 1887 in Fleet Street Magazine, with two collections soon to follow: The Characters of Charles Dickens (1889) and Some Well Known Characters from the Works of Charles Dickens (1892). In the first decade of the twentieth century, five sets of postcards based on his Dickens drawings were published, and seven sets of non-Dickensian comic cards by him were issued. Beginning in the 1920s, he earned his living from watercolor sketches, mainly of Dickens' characters, which he sold to and through the London book trade. Frederic G. Kitton gives him early notice in his classic text, Dickens and His Illustrators (1890); Kyd's watercolors were at that date already being avidly bought by major Dickens collectors (Kitton, p. 233), the Cosens sale in 1890 successfully selling a collection of 241 of Kyd's Dickens watercolors, and Mr. Tom Wilson, at the time the foremost collector of Dickens, possessing 331 of Kyd's drawings. "As a character 'Kyd' emulated those of Dickens and his own illustrations - slightly larger than life. In his style and dress he was mildly flamboyant for the period.He seldom varied his attire from a grey suit, spats, homburg hat, gloves and was never without a carnation or substitute flower in his button hole" (Sawyer, Richard. "Kyd" (Joseph Clayton Clark): A Preliminary Study of his Life and Work Together with an Essay on Fore-Edge Paintings, 1980. p. 7). A superb, singular and most desirable collection of Dickensiana. Unique and scarce. The characters from The Pickwick Papers that Kyd has so vividly brought to life are: No. 1. Mr. Pickwick No. 2. Mr. Snodgrass No. 3. Mr. Tupman No. 4. Mr. Winkle No. 5. Sam Weller No. 6. Old Weller No. 7. Mr. Jingle No. 8. Job Trotter No. 9. Dr. Slammer No. 10. Dismal Jemmy No. 11. Old Wardle No. 12. The Fat Boy No. 13. Ben Allen No. 14. Bob Sawyer No. 15. Stiggins No. 16. Mr. Pott No. 17. Cyrus Angelo Bantam, Esq No. 18. Sergt. Buzfuz No. 19. Mr. John Smauker No. 20. Mrs. Cluppins No. 21. Mr. Smangle No. 22. The Chancery Prisoner No. 23. The Cobbler of the Fleet No. 24. Mr. Mivens? . and from other Dickens' titles: No. 25. Oliver Twist No. 26. Fagin (Oliver Twist) No. 27. Mrs. Corney (Oliver Twist) No. 28. Mr. Creakle (David Copperfield) No. 29. Mrs. Gummidge (David Copperfield) No. 30. Ham (Mr. Markham from David Copperfield) No. 31. Old Peggotty (David Copperfield) No. 32. Mr. Bucket (Bleak House) No. 33. Mr. Tulkinghorn (Bleak House) No. 34. Captn. Cuttle (Dombey and Son) No. 35. Mrs. Jarley (The Old Curiosity Shop) No. 36. Tom Pinch (Martin Chuzzlewit).
Touch and Go

Touch and Go

TRANSFORMATION BOOK; WEATHERLY, Fred E. A Stunning Surviving Copy In Full Working Order [TRANSFORMATION BOOK] [WEATHERLY, Fred E.]. [FOSTER, William, illustrator]. Touch and Go. A Book of Transformation Pictures. With Verses by Fred. E. Weatherly. London: Ernest Nister / New York: E.P. Dutton & Co., [n.d, ca. 1890]. Small folio (12 3/8 x 9 7/8 inches; 315 x 251 mm.). [iv], 16 pp. with eight chromolithographed transformation pictures. Black and white illustrations throughout. Printed in Bavaria. Publishers quarter red cloth over color glazed pictorial boards, pale green floral design endpapers. Minimal rubbing to the corners, inner hinges expertly strengthened. A wonderful and near fine example with each of the original movable 'transformation' plates in perfect working order. Children's poems by F.E. Weatherly and dissolving transformation pictures which change when the tab is pulled. The poems include: "Santa Claus Nister," "The Case of the Castle," "The Explanation," "The Coming of Santa Claus," "Fine Feathers," "Little Mother," "Darby and Joan," "The Mermaid's Advice," "Dolly's Complaint," and "L'Envoi." Ernest Nister was a printer and publisher based in Nuremberg, Germany. He established a London office in 1888 under the direction of the writer Robert Ellice Mack and, specializing in childrens literature, soon issued pop-up, moveable, and panorama books, as well as standard childrens fare, operating until c. 1917. "Though primarily involved with his successful color-printing business, publisher and printer Ernest Nister (1842-1909) specialized in colored toy and movable picture books. Operating in both Nuremberg and London in the 1890s, this entrepreneur developed a distinctive style firmly lodged within nineteenth-century aesthetics. However, Nister's images outshine those of his contemporaries by epitomizing an exquisite, sentimental beauty. His artistic vision guides all the works regardless of pop-up mechanics and even of illustrator. In fact, we are uncertain to what extent Nister contributed his own illustrations to these books. In many cases, he imposed his own monogram on images in his imprint, dropping the artist's signature in the course of the production process. "Nister used a wide range of movable techniques to intrigue children. The popular late nineteenth-century blind format of Changing Pictures, for example, capitalizes on a child's fascination with peek-a-boo. We are surprised to find Jack climbing the beanstalk behind Little Bo-Peep. Nister also animates his pages with simple slats, dimensional scenes, and remarkable pinwheel mechanics. With these basic paper tools, he creates fantastic transformations" (University of Virginia, Pop Goes the Page: Moavable and Mechanical Books from the Brenda Forman Collection). "Another of the great makers of movable books was also a German - Ernest Nister, many of whose productions between 1891 to 1900 are regarded as among the most beautiful achievements of the entire genre. Ernest Nister's major contribution to the field was a large number of 'dissolving' picture books - developing further the earlier, rather rudimentary items produced by Dean - in which an illustration changed into a completely different scene at the pull of a tab. The effect was achieved through the pictures being printed on slats which slid over each other. One of Nister's busiest writers was a man named Frederic Edward Weatherly, (1848-1929), who, though he may not have been the most accomplished of poets, knew how to write verse that held the attention of children - a skill that he possibly developed reading to his own three children. Before turning to writing Weatherly had been a barrister, but he abandoned the law in favour of composing songs and verse, and during his life produced over thirty books for children." (Peter Haining. Movable Books - An Illustrated History, p.45).
Six Coloured Views on the London and Birmingham Railway

Six Coloured Views on the London and Birmingham Railway

BURY, T[homas T[albot] "One of the Rarest of English Colour Plate Books" (Tooley) BURY, T[homas T[albot]. Six Coloured Views on the London and Birmingham Railway, from drawings made on the line with the Sanction of the Company. By Mr. T. T. Bury. Part 1 [all published]. London: Ackermann & Co., 1837. First and only edition. Large quarto (13 7/8 x 11 3/4 inches; 358 x 299 mm.). Lithographed title-page and six superb captioned hand-colored aquatint plates by J. Harris and others after Bury. Neat repair to lower margin of last plate just touching image but with no loss. Bound ca. 1890 by [Rivière & Son] for Bumpus in three-quarter red morocco over pink cloth boards. Sine with two raised bands, ruled and lettered in gilt, marbled endpapers. Complete with the original printed buff paper front and back wrappers bound in. With the armorial bookplate of Sir David Salomons on front paste-down. A wonderful example of 'one of the rarest of English colour plate books' (Tooley), and the scarcest by far of Bury's railway books. "A rare series, of which only the first part appears to have been issued.' (Abbey Life 401). OCLC locates just five copies in libraries and institutions worldwide: Yale University Library (CT); Harvard University (MA); University of Michigan (MI); Virginia Historical Society Library (VA); University of Manchester Library (UK). Note: As a relative comparison of scarcity, OCLC locates more than eighty copies of Bury's first book Coloured Views on the Liverpool and Manchester Railway. The London and Birmingham railway was the first intercity line to be built into London. It started at Euston Station, went north-west to Rugby, where it turned west to Coventry and terminated at Curzon street in Birmingham which it shared with the Grand Junction Railway, whose adjacent platforms gave an interchange with full connectivity (with through carriages) between Liverpool, Manchester and London. Designed and engineered by Robert Stephenson, the line was officially fully opened on the seventeenth of September 1838, with the first passenger train from London to Birmingham arriving that day which took nearly six hours to complete the 112-mile journey. Bury's detailed hand-colored aquatints include Euston Square, Watford Viaduct and the view under Hampstead Road Bridge. Thomas Bury (1809-1877) was a prominent architect and engraver who was articled to Augustus Pugin and later also worked alongside Sir Charles Barry on designing the details for the newly rebuilt houses of parliament at Westminster. A member of Royal Society of British Architects and a frequent exhibitor at the Royal Academy, he is regarded to this day not only as one of Britain's finest architects but also as one of the most skillful artist for coloring architectural designs. The plates: 1. The Station at Euston Square. 2. View taken from under the Hampstead Road Bridge. 3. View taken from the Bridge over the Canal, Camden Town. 4. Viaduct at Watford. 5. Entrance to the Tunnel at Watford. 6. Bridge over the Canal near Kings-Langley. Abbey, Life in England, 401; Tooley, 122; Bobins, 838.
Night Thoughts

Night Thoughts, and a Paraphrase on Part of the Book of Job

FORE-EDGE PAINTING; American City View Painter, artist; Taylor & Hessey, binders; Young, Edward A Superb Double Fore-Edge Painting by the 'American City View Painter' [FORE-EDGE PAINTING]. [THE AMERICAN CITY VIEW PAINTER, artist]. [TAYLOR & HESSEY, binder]. YOUNG, Edward. Night Thoughts, and a Paraphrase on Part of the Book of Job. With the Life of the Author. London: Printed at the Chiswick Press, by C. Whittingham; for Taylor and Hessey, 1812. With a superb contemporary 'double' detailed fore-edge painting by the "American City View Painter" depicting two fine and colorful views of Oxford. A wonderful example. Octavo (9 x 5 7/16 inches; 228 x 139 mm.). lxvi, [1, "Preface"], [1, blank], 353, [1, blank] pp. Engraved frontispiece portrait (a little foxed) by N. Schiavonetti after L.P. Boitard. Bound by "Taylor and Hessey, Booksellers, London" (stamp-signed in gilt on the fore-edge of the front and rear boards) in contemporary full red straight-grain morocco. Covers decoratively panelled in gilt and blind, spine with six raised bands, decoratively tooled in gilt and blind and lettered in gilt in compartments, board edges and turn-ins decoratively tooled in gilt, all edges gilt. "Taylor & Hessey were busy throughout these fifteen years [1808-1823], not only in publishing and in binding, but also in re-binding books published by others. Taylor & Hessey usually bound their fine books in morocco-red, blue, brown, crimson, green-and 'signed' their bindings by stamping their name in gilt in the fore-edge of the binding (not the leaves, note), whenever the boards inside the leather were thick enough to carry the name of the firm." The "American City View Painter" was an English artist who painted fore-edges ca. 1940-1950. The artist's name is unknown, but consistently identifiable by a tendancy to paint both American cityscapes and double fore-edge paintings. For most artists in the twentieth-century double fore-edge paintings are a far smaller percentage of their outputs. With this artist, double fore-edges are the norm - and it must be clear that this artist does European scenes just as frequently. Obviously there are other artists who also paint American city views in a double format, thus this artist may be difficult to sort out when looking at just on piece. Typical fore-edge paintings from this artist are: Atlanta, Monterey (California), etc. This artist often does British views, but could be defined by the American market for which these fore-edges were targeted. It is not known which bookseller primarily distributed these since the 1940s. Based on collected records, no samples of this artist were sold before 1940. Also there appears to be no relationship between the book selected and the views painted. (Jeff Weber. Annotated Dictionary of Fore-Edge Painting, Artists & Binders. pp. 41-43). We do know of another example of the American City View Painter's work that was sold at Sotheby's in London (December 1940). The book was an 1814 printing of The Poems of Thomas Gray and had "a marvelous fore-edge painting of "Stoke Poges Church" in Buckinghamshire by the "American City View Painter". The book was purchased by the renowned London bookselling firm of Charles J. Sawyer, who may well have been the original commissioners.
Conservatoire de la Danse Moderne

Conservatoire de la Danse Moderne, Le

QUILLENBOIS, pseudonym of Charles Marie de Sarcus; SARCUS, Charles Marie de "The Academy of Modern Dance" Forty-Four Highly Amusing, Hand Colored Vignettes Depicting Parisian Dances [QUILLENBOIS, pseudonym of Charles-Marie de Sarcus, illustrator]. Le Conservatoire de la Danse Moderne. Charges Parisiennes. Paris: Chez Aubert & Cie, [1845]. Folio (13 1/4 x 9 3/4 inches; 337 x 248 mm.). [1, advertisement], [1, blank], 16 pp Aubert et Cie. catalog bound in at end. Twelve superb hand-colored lithographed plates, containing forty-four humorous captioned vignettes depicting 'The Academy of Modern Dance.' Plates heightened with gum arabic. The plates are all titled: "Conservatoire de Danse Moderne" and are numbered from 1 - 12. Each of the forty-four hand-colored vignettes is captioned. Publisher's yellow pictorial boards, corners a little rounded otherwise very fine. "The artist, under the pseudonym Quillenbois, gives caricatures of the most popular Parisian dances of the period, [including the Polka and the Cancan]" (Hiler). Extremely rare with KVK, OCLC and RLIN only locating two colored copies, at the Harvard Theatre Collection and the New York Public Library. The Bibliotheque Nationale de France and Harvard University, Houghton Library also have examples - but their copies appear to be uncolored. Charles-Marie de Sarcus, a.k.a. Quillenbois, (1821-1867) was born in Dijon and died in Paris. He was a French painter and caricaturist during the middle of the nineteenth century, best known for his cartoons, which were published in many newspapers and albums between 1845 and 1853, and signed Quillenbois. This pseudonym was due to the crutches that the young, disabled artist used to move around. He was a friend of Cham, a.k.a. Charles Amédée de Noé (1818-1879) and he contributed to the satirical newspaper La Revue Comique (1848-1849), providing drawings to Fashion, L Éclair as well as L'Illustration, and was the official draftsman of the Caricaturist (1849-1851). Hiler, p. 777; Lipperheide, 3105.
Gallery of Fashion

Gallery of Fashion

HEIDELOFF, Nikolaus Wilhelm von "The Most Splendid of English Costume Books" (Abbey) With the Two Exceptionally Rare Plates of Gentleman's Fashions [HEIDELOFF, Nikolaus Wilhelm von, publisher]. Gallery of Fashion. Vol. I[-VIII] (of IX). [London]: N. Heideloff, 1794-1802 [April 1794-March 1802]. An extremely rare and near complete set. Eight quarto volumes (of nine) bound in four (11 1/2 x 8 15/16 inches; 292 x 227 mm.). With 195 fine hand-colored aquatint plates (including the two exceptionally rare plates showing gentlemen's fashions - which were not seen by Abbey) depicting 335 figures, some heightened with gold or silver. Plates watermarked 1794 to 1800. Each volume with hand-colored engraved vignette title and twelve monthly subtitles. Complete with all of the monthly sub-titles, text and "Advertisement" and "Subscriber" leaves called for by Abbey. In addition there are 46 pp. (23 leaves) of text in German and French (Tooley refers to knowing of just 2 leaves). Contemporary half tan calf over cream paper boards. Spines with five raised bands, elaborately decorated in gilt in compartments. Red and green morocco labels lettered in gilt, all edges stained yellow. With the armorial bookplates of Gloucester on each front paste-down. Corners and extremities a little rubbed, small stain on one spine panel of volume IV. An exceptionally fine set. The two additional plates relating to gentlemen's fashions were published in 1796 and are bound here in the correct chronological order; excepting Tooley, they are not mentioned in any other bibliography. This set is without volume IX, described as 'notoriously rare' by Abbey. "The most splendid of English costume books, and the first real venture in this country of a periodical devoted to the changing taste in dress.Volume IX is notoriously rare.No artist's or engraver's names are given, but the plates are probably the work of the publisher, Nikolaus Wilhelm von Heideloff (1761-1839). After April 1802 (Volume IX), the names of Heideloff ceases to appear in the imprint. Many plates also after tat month are undated, and the magazine seems to have passed into other, and less competent, hands" (Abbey). "Copies exist with an additional 2 leaves of text in English and German, and I have seen a copy with 2 plates of Gentlemen's costumes. Heideloff's Gallery of Fashion is one of the most beautiful books on costume ever published, certainly the finest example of coloured aquatints as applied on fashion Plates." (Tooley, p. 217). After the Gallerie des Modes came to an end in 1787, there was a gap in the production of really fine costume-plates until 1794, when Nicolaus Wilhelm von Heideloff appears upon the scene. Heideloff was born in Stuttgart in 1761, and was brought up to be an engraver. In the 1780s he migrated to Paris, where he lived by painting miniatures until the outbreak of the French Revolution dispersed his clientèle. We next hear of him in London, where he obtained employment with R. Ackermann, the famous bookseller and publisher of fine prints. This connection is significant in view of Ackermann's subsequent interest in fashion-plates; it is not known how long it lasted, but in April 1794, when Heideloff was thirty-three years of age, he struck out on his own and started issuing The Gallery of Fashion. The Gallery of Fashion was nearer to the true fashion-plate than anything of its ambitious nature that had preceded it, though it was still meant to be more a record of existing modes than designs for the future. Indeed, in an advertisement announcing his forthcoming publication, Heideloff says that the dresses "are not imaginary but really existing ones", and he goes on to say that they are intended to be "a Repository of English National Dresses of Ladies". This publication was issued in monthly parts, each part consisting of two aquatints, beautifully coloured by hand and enriched with gold, silver and other metallic tints. The yearly subscription was three guineas, and it lasted until March 1803, when it had completed exactly nine years of existence. Thus, with twenty-four plated issued each year (except in the second year, when the number was twenty-five), the total number of plates issued by Heideloff was 217. In addition to this, each yearly volume was supplied with a beautiful allegorical title-page, also in hand-coloured aquatint. And, of course, each plate was accompanied by a detailed description of the dresses which it depicted. Each plate showed either one, two or three figures, the total number shown being 362. The groups of figures in The Gallery of Fashion are shown in a large number of different occupations, such as out driving in a berlin, playing and singing at the harpsichord or the harp, taking tea and strolling at the seaside with their children. They are provided with accessories, such as muffs, fans, telescopes, bonnets, books and parasols, to say nothing of dogs, watches, tippets, gloves and a vast variety of trinkets. The majority of the plates represent outdoor scenes. (Vyvyan Holland, Hand Coloured Fashion Plates 1770 to 1899, pp. 46-47). Only one complete set has appeared at auction over the past fifty years (Christie's S. Kensington, December 1981 ($19,250). Five other runs have appeared at auction over the past fifty years - but none with more than six of the volumes. Abbey, Life, 218. Colas 1170. Hiler, p. 351. Lipperheide 4578. Tooley 258.
Fourberies de femmes. [Together with:] Fourberies de femmes en matière de sentiment. 2e. série

Fourberies de femmes. [Together with:] Fourberies de femmes en matière de sentiment. 2e. série

GAVARNI [pseudonym of Guillaume Sulpice Chevallier] A Superb Collection of One Hundred and Four Hand-Colored Lithographs by Gavarni GAVARNI [pseudonym of Guillaume Sulpice Chevallier]. Fourberies de femmes. Paris: Chez Aubert gal. Véro-Dodat, [n.d., 1837]. [Together with:] Fourberies de femmes en matière de sentiment. 2e. série. Paris: Chez Bauger [and] Chez Bauger & Cie., [n.d., 1837-1841]. Sixty-four hand-colored lithographed plates, heightened with gum arabic, including twelve in the first series and fifty-two in the second. Bound together with the following forty additional hand colored lithograph plates from various series by Gavarni comprising: Politique des Femmes (1839-40) - 4 plates (of 20); Nuances du Sentiment (1839-40) - 13 plates (of 25) ; La Boite Aux Lettres - 23 plates. Folio (13 15/16 x 11 1/2 inches; 354 x 291 mm. and 13 1/16 x 10 1/2 inches; 332 x 261 mm.). One hundred and four hand colored lithograph plates, all heightened with gum arabic. A few plates with slightly 'toned' margins, the last four of the additional plates with relevant printed matter affixed to verso. Bound ca. 1841 in quarter dark brown morocco over dark brown grained paper boards decoratively bordered in gilt. Smooth spine ornately decorated in gilt, marbled endpapers. Extremities of binding a little rubbed, otherwise near fine. "In 1837 Gavarni began his connection with Le charivari, which did not conclude until 1848. In all he drew 1054 lithographs for his journal.Most of these appeared in series, some twenty-five of which extend to ten or more plates, and were afterwards published by Aubert in albums. Perhaps the best of these collections are Fourberies de femmes en matière de sentiment, Les étudiants de Paris, Les débardeurs, and Les lorettes; but some of the rest are of hardly inferior interest. Still further series, contributed to periodicals other than Le charivari, were also issued as albums. Baudelaire had this part of Gavarni's work particularly in mind when he wrote.that 'the true glory and the true mission of Gavarni and Daumier has been to complete Balzac.' Certainly the pictures of Parisian society provided by the two artists perfectly complement each other. Daumier's preoccupation was the working middle class with faces and figures heavily marked by life. Gavarni remained for the most part outside the humdrum bourgeois round. He preferred to show 'youth at the prow and pleasure at the helm.' His pretty girls and sleek young men are bent on enjoyment. They live lives of graceful dissipation, with love intrigues and balls on the one hand, and pawnbrokers' shops and debtors' prisons on the other. Their motto is carpe diem, and they rarely think of the day or reckoning" (Ray, p. 217). "After the initial success of Caricaturana, Philipon proposed to Gavarni that he draw 'Mme. Robert Macaire' for Le charivari. He responded with twelve studies of female deception in which he seems to have adopted Vigny's belief that 'A woman, more or less, is always Delilah.' They made little impression, but three years later Gavarni returned to the theme in a subtler and more amiable way with one of his most searching and amusing series. In no. 37 he offers this exchange: 'How did you know, papa, that I loved Mr. Leon?-Because you always talked to me about Mr. Paul.' Gavarni's playful mastery of female psychology is not the only attraction of the series. If Daumier could not draw a pretty woman, as is sometimes alleged, Gavarni at this period could hardly draw an ugly one" (Ray, pp. 220-221). Fourberies de femmes. (1837 & 1840-41) Armelhault & Bocher 662-702. Politique des Femmes (1839-40) Armelhault & Bocher 1182, 1183, 1191, 1194. Nuances du Sentiment (1839-40) Armelhault & Bocher 877, 878, 886-889, 891, 892, 894, 895, 899, 900, 901. La Boite Aux Lettres (1838) Armelhault & Bocher pp. 88-92. Ray, The Art of the French Illustrated Book, 150 and 151.
Russian Icons

Russian Icons

SMITH, Philip, binder; RICE, Tamara Talbot Bound by Philip Smith in 1964 and given by him in 1970 to fellow Bookbinder Joan Rix Tebbutt SMITH, Philip, binder. RICE, Tamara Talbot. Russian Icons. London: Spring Books, [1963]. First edition. Quarto (10 7/16 x 9 1/16 inches; 265 x 230 mm.). [iv], 40 pp. Monotone frontispiece, full-color title and 48 full-color plates on 24 leaves. The verso of the color title is inscribed in ink "To Joan/with many thanks/for your continuing/kindness./Philip" Bound by Philip Smith in 1964 (stamped in blind on rear turn-in) in full rose (front) and medium blue (rear) crushed levant morocco. Both covers elaborately decorated with Russian Icons in various colored onlaid morocco's finished with elaborate gilt tooling. Smooth spine of half rose and half medium blue lettered in gilt. Wonderful hand-made 'iconesque' patse-downs, speckled ivory paper endleaves, all edges gilt. Housed in a later, specially made, black felt-lined, quarter rose cloth over blue cloth boards clamshell case, spine with white paper label printed in black. Together with a two-page autograph letter dated 13 July 1970, from Philip Smith to Joan Rix Tebbutt, the much loved and admired artist, bookbinder, calligrapher and teacher who lived all her life in Glasgow. The letter states: "What a pity I missed you when you went to see the exhibition at Hatchards. Miss [Elizabeth] Greenhill will be pleased that you like her bindings. I think she is very much like you in her approach to book binding. I did not sell any books at Hachards (not surprising as most people know I'm showing later in the year in London) & I have decided that possibly the one on Russian Icons would be the most acceptable to you so I hope you won't mind receiving this as a gift for your help to us!" A quite wonderful association. Philip Smith (1928-2018) began as an art student in 1949 and took a bookbinding class ostensibly to make customized sketch books. His resulting binding led Roger Powell to select him for the Royal College of Art in 1951. Since about 1959, when he developed the techniques of feathered onlays with backparing, called 'maril', he has consistently explored the potential of the physical form of the book as an alternative art medium. Publications include numerous articles and catalogue introductions; as well as New Directions in Bookbinding, 1974, and The Book: Art & Object, 1982. He has added several new terms to the vocabulary of bookbinding and has been awarded patents for new inventions both visual and functional, as well as making innovations in structural and visual design now applied by an ever growing number of bookbinders. A past Director of the V & A Museum, Elizabeth Esteve-Coll, has written about Smith's work: 'As exhibition pieces they have a monumentality and visual impact that forces an original view of what binding is about'. Smith, a Past President of Designer Bookbinders, initiated its redevelopment and expansion in the late 1960s, and was an inaugural editor of The New Bookbinder, serving on the editorial board for 15 years. His work is in many international public and private collections. Philip Smith was awarded an MBE by Her Majesty Queen Elizabeth II several years ago. Philip Smith died on 27th December 2018. "Smith, whose innovative and creative approach has revolutionised his traditional craft, once said: "I like to make my books possible to read and once read to be treated for their art function." Tamara Talbot Rice (1904-1993) was a Russian then English art historian, writing on Byzantine and Central Asian art. Talbot Rice was born Elena Abelson, to Louisa Elizabeth Vilenkin and Israel Boris Abelevich Abelson, the latter a businessman and member of the Czar's financial administration. Leo Tolstoy was her godfather. Elena lived a privileged childhood in Saint Petersburg, initially attending Tagantzeva Girls' School. The Russian Revolution of 1917 prompted her family to move to England, and she completed her schooling, first at Cheltenham Ladies' College and then at St. Hugh's College, Oxford. In 1927 she married the English art historian David Talbot Rice; they both published under the surname Talbot Rice, but are often referred to as "Talbot-Rice" or "Rice". "Joan Rix Tebbutt (1910-2005) was a much loved and admired artist, calligrapher and teacher who lived all her life in Glasgow. She met Sandy Cockerell in the 1940s and from 1948 the two of them produced a series of remarkable vellum bound books decorated and lettered in ink by Tebbutt." (see K.D. Duval, Sydney Morris Cockerell and Joan Rix Tebbutt, Thirty Recent Bindings, 1980). "To those who have not visited the museums of Greece and Russia, the name icon is generally associated with those small, stereotyped religious pictures, usually depicting somewhat obscure saints, and as often as not covered not only with dirt and candle-smoke, but also by metal covers which leave visible only the face and hands of the figures depicted. It is true that many later icons both in Greece and Russia were of this type. But these examples are no more characteristic of icon-painting in its grand period than the hack-work landscapes of the decorators' shops of to-day are typical of English painting of the eighteenth century. In the case of icons, it is true, really first-class examples are far from numerous, and the would-be admirer has to undertake comparatively arduous researches before he can find good reproductions, or make long journeys before he can see the best originals. But these impediments are fortuitous. They are the result, in the first place, of the fact that external conditions in the Orthodox Christian area have been peculiarly unfavourable to the survival of fragile works of art; and in the second, of the localisation of the Orthodox Faith in Eastern Europe and Russia. But when once the few publications containing good reproductions have been traced and a few originals have been seen, the first misconception of the nature of the icon is rapidly dispelled and new and surpris
Rubáiyát of Omar Khayyám

Rubaiyat of Omar Khayyam

BALFOUR, Ronald, Illustrator; KHAYYAM, Omar A Beautifully Illustrated Rubáiyát of Omar Khayyam One of Fifty Copies Printed on Japon and Signed by Ronald Balfour BALFOUR, Ronald, Illustrator. KHAYYÁM, Omar. Rubáiyát of Omar Khayyám. Illustrated by Ronald Balfour. London: Constable and Company Limited, 1920. First edition thus, limited to fifty copies signed by Ronald Balfour, this being copy no. 37. Printed on Japanese vellum paper with an additional color illustration. Folio (12 1/8 x 8 3/4 inches; 309 x 222 mm.). [ii, blank], [viii], 152 unnumbered pages. With 6 tipped-in full color plates, 1 full-page color illustration (opposite title-page) heightened in gilt and watercolor with original tissue-guard, 14 tipped-in two color plates, 18 tipped-in black and white plates, and numerous black and white text illustrations throughout. Publisher's quarter black buckram over straw textured cloth beveled boards, front cover and spine lettered in gilt, top edge gilt, others uncut. Minimal rubbing to corners, still an an exceptionally fine example of a very rare edition. Ronald Egerton Balfour (1896-1941). The work of this illustrator is not as well-known as it should be - most likely because this 1920 edition of the Rubáiyát is his sole major work according to a recent feature in Book & Magazine Collector. The illustrations were produced when he was just twenty-four years old and while the drawing can be considered uncertain in places, they are really splendid examples of the post-Beardsley and later Alastair style, owing far more to Beardsley flourishes and details than to the usual Arabian exotica found in other Rubáiyát adaptations. Here we see a combination of Orientalist fantasy and Art Deco opulence with a profusion of peacocks and winged figures. Rubáiyát of Omar Khayyám is the title that Edward FitzGerald gave to his 1859 translation from Persian to English of a selection of quatrains attributed to Omar Khayyam (1048-1131), dubbed "the Astronomer-Poet of Persia". FitzGerald's work has been published in several hundred editions, and it has inspired similar translation efforts in English and in many other languages. The authenticity of the poetry attributed to Omar Khayyam is highly uncertain. Omar was famous during his lifetime not as a poet but as an astronomer and mathematician. The earliest reference to his having written poetry is found in his biography by al-Isfahani, written 43 years after his death. This view is reinforced by other medieval historians such as Shahrazuri (1201) and Al-Qifti (1255). Parts of the Rubaiyat appear as incidental quotations from Omar in early works of biography and in anthologies.
Twelve Dancing Princesses

Twelve Dancing Princesses, The

NIELSEN, Kay; Quiller-Couch, Sir Arthur The First Abridged Edition of Kay Nielsen's "In Powder and Crinoline" The Twelve Dancing Princesses - Fine in the Original Dust Jacket and Box NIELSEN, Kay, illustrator. QUILLER-COUCH, Sir Arthur. The Twelve Dancing Princesses and other Fairy Tales Retold by Sir Arthur Quiller-Couch. Illustrated by Kay Nielsen. New York: George H. Doran Comapny, [1923]. First edition thus. Octavo. 8 15/16 x 6 1/8 inches; 227 x 152 mm.). [i-xviii] 19-244, [2, blank] pp. Sixteen tipped in color illustrations. Pictorial title-page and many black & white line drawings and headpieces. Publishers light blue bead-grain cloth, front cover pictorially decorated and titled in gilt, smooth spine lettered in gilt, pictorial endpapers printed in blue. A very fine copy in the original blue printed dust jacket and the original cardboard box with pictorial gold paper label on top and printed label on side. The book is in near mint and untouched condition, the jacket is also near mint with the exception of the front panel and part of the spine being minimally faded, the box has been expertly and almost invisibly strengthened. Certainly the finest copy that we have seen. This first abridged version of In Powder and Crinoline (first published in 1913) contains six of the seven tales - the only one not included is The Czarina's Violet. Sixteen of the original twenty-three tipped in color illustrations for the six tales are used in this edition. Danish illustrator and designer Kay Nielsen (1886-1957) "was drawn early on to fairy tales and illustrated many volumes for Hodder & Stoughton: In Powder and Crinoline (1913), East of the Sun, West of the Moon (1914), Hans Andersen's Fairy Tales (drawings completed in 1912, but first published in 1924), Hansel and Gretel (1925), and Red Magic (Jonathan Cape, 1930), a collections of fairy tales from around the world. Nielsen's designs unite strong linearity with delicate colouring.Characterized by a sense of two-dimensional flatness, Nielsen's objects and people are highly stylized: foxglove blossoms hang in measured asymmetry; princes and princesses stand on improbably long legs; and their garments billow in gravity-defying parabolas. The power of his illustrations lies in his uncanny ability to retrieve a story's emotional effect on its reader and to recreate it visually in two dimensions" (The Oxford Companion to Fairy Tales). Sir Arthur Quiller-Couch (1863-1944), "English critic, writer, and compiler of Cornish descent who published under the pseudonym 'Q'. Among his many anthologies, Quiller-Couch put together three collections of fairy tales. In 1895 he published Fairy Tales Far and Near Re-told, with illustrations by H.R. Millar. For his The Sleeping Beauty and Other Fairy Tales from the Old French Re-told (1910), illustrated by Edmund Dulac, Quiller-Couch translated and retold tales by Charles Perrault ('Bluebeard', 'Cinderella', and 'Sleeping Beauty') and Mme de Villeneuve ('Beauty and the Beast') taken from the French Cabinet des fées (1785-9). His third collection, In Powder and Crinoline: Old Fairy Tales Retold (1913), illustrated by Kay Nielsen, includes a version of 'The Twelve Dancing Princesses'" (The Oxford Companion to Fairy Tales). The Fairy Tales: Minon-Minette Felicia or The Pot of Pinks The Twelve Dancing Princesses Rosanie or The Inconstant Prince The Man Who Never Laughed John and the Ghosts.
Le Monde Élégant

Le Monde Élégant

FASHION 569 Spectacular Hand Colored Fashion Plates Depicting Womens Fashion in Paris & London During and After the Franco-Prussian War FASHION. Coloured Plates of the Latest Fashions. London & Paris. [uniform title] Le Monde Élégant, Journal de Modes. London & Paris: January 1871 - December 1880. Three large octavo volumes (10 1/4 x 7 inches; 261 x 178 mm.). Each volume with a specially printed title-page. 569 superb hand-colored lithograph plates. Bound ca. 1920 by Bayntun for C.E. Lauriat Co., Boston. Three quarter red straight-grain morocco over marbled boards. Spines with five raised bands, decoratively bordered and lettered in gilt, matching marbled endpapers. Each of the hand colored plates illustrate a different dress worn for each occasion, such as in the house, at the ball or on a horse. The illustrations show the dresses as they would have been worn, with the trimmings, hair styles and accessories essential for the complete picture of a well-dressed woman. Published monthly - generally with five hand colored plates (each month had 4 fashion plates and 1 'trimmings' plate). A very fine collection of women's fashion and accessories published in the Victorian era. Due to the state of affairs in France, most French fashion magazines ceased to publish during the Franco-Prussian War (July 1870-May 1871), resuming in April 1871, only to again be interrupted by the outbreak of the Paris Commune suppressed revolt (Mar 18, 1871 - May 28, 1871). When they finally returned, plates illustrating full mourning dress, rare before the war, were seen in French magazines and their allied publishers in other countries. Fashion journals in other countries that depended on Paris for fashion innovation and color plates improvised solutions and reported on what news there was. American periodicalGodey's Lady's Book and Magazinereported in March 1871, for example: "The new color for winter is a rich shade of red, which, in spite of its repulsive name,sang de Prusse, promises to become very popular" which literally means "blood of the Prussian," a frightful name, but an unsurprising one given the political circumstances and the tendency to name new colors after contemporary events-magenta takes its name from a bloody battle in Magenta, Italy.The beginning of 1871 saw a brief pause in fashion change due to these circumstances. The bustle (or tournure) with a half-train was the most desirable silhouette, often paired with a tablier, or apron-fronted skirt. World of Fashionwas not afraid to give England the credit for this improvement, remarking that their French fashion plate artists-temporarily relocated to London-"since their arrival in England have acquired a purer taste, and we have no doubt that there will be a great reform, and that Fashion will now become all that can be desired." Similar hopes for the renewal and reformation of fashion were also expressed in French fashion journals after the war. This desire led to an attempt at simplicity in dress and a great deal of continuity with the prior year's styles. Monochromatic styles were embraced and the overall silhouette continued to move towards a bustled profile with a modest train. Given the disruption of the Paris Commune, which saw women take up arms in the streets of Paris, there was also a strong emphasis on domesticity and femininity in 1871 styles. Tablier, or apron-front, gowns became especially popular, withHarper's Bazar commenting in June: "Coquettish little aprons of various materials from Swiss muslin to black silk, now form part of afternoon costumes for the house. the whole tablier is so elaborately trimmed with ruffles, lace, and passementerie that it becomes an ornament for almost any dress." Skirts with multiple flounces and trimmings of lace and fringe were frequently seen. A September 1871 column in the British periodicalBow Bellsnotes an enthusiasm for bright colors and lace flounces: "Satins of the brightest hues, deeply trained and covered with flounced muslin or lace robes." Jules Elie Delaunay's 1871Portrait of Madame Mestayerembodies many of the trends of the day in its restrained color palette-black, with only touches of pink-and yet emphasis on femininity-with bows, ruffles and lace as accents.This deft navigation of the fraught fashion landscape after the Franco-Prussian War and Paris Commune befits Mme Mestayer's status as "wife of the president of the Nantes Museum board. [and] a close friend of Delaunay and [fashionable painter Auguste] Toulmouche and a cultivated woman whose salon was frequented the city's intellectuals." Colas, 2123; Hiler, p.626; Lipperheide, 4680.
Waverley Novels

Waverley Novels

SCOTT, Sir Walter A Bound Set of Sir Walter Scott's Waverley Novels SCOTT, Sir Walter. Waverley Novels. Edinburgh: Adam & Charles Black, 1871. Centenary Edition. Twenty-five small octavo volumes (7 3/16 x 4 3/4 inches; 182 x 121 mm). Illustrated with twenty-five engraved frontispieces and vignette title-pages. Bound ca. 1871 in full contemporary tan calf, covers double-ruled in gilt. Spines with five raised bands, decoratively tooled in gilt in compartments, with red and green morocco gilt lettering labels, marbled endpapers, all edges marbled. Gilt on spines a little dull, still a very good set in a contemporary binding. "Scott's influence as a novelist was incalculable; he established the form of the historical novel, and, according to V.S. Pritchett, the form of the short story. He was avidly read and imitated throughout the 19th century, not only by historical novelists such as Ainsworth and Bulwer-Lytton, but also by writers like Mrs. Gaskell, G. Eliot, the Brontës, and many others, who treated rural themes, contemporary peasant life, regional speech, etc., in a manner that owed much to Scott. His reputation gradually declined (though his medieval and Tudor romances retained a popular readership) until there was a revival of the 1930s.In 1951 three seminal essays were published.these heralded a considerable upsurge of scholarly activity and reappraisal, most of which concurs in regarding the Scottish 'Waverley' novels as his masterpieces" (Oxford Companion to English Literature, p. 879). The publishing house of Adam and Charles Black was founded in 1807 when Adam Black opened his own bookshop shortly after his twenty-third birthday. Originally the company was based in Edinburgh where many booksellers were also publishers and all publishers were booksellers. "In printing this New Edition of the Waverley Novels, the Publishers have availed themselves of the opportunity to collate it carefully with the valuable interleaved copy in their possession, containing the Author's latest manuscript corrections and notes; and from this source they have obtained several annotations of considerable interest, not hitherto published.There have also been inserted (within brackets) some minor notes explanatory of references now rendered perhaps somewhat obscure by the lapse of time.Fortunately there is now little more required in the way of annotation to the Waveley Novels; but in order to afford every facility of reference, a special glossary has been added to such of the novels as require it, and each volumes contains a separate index: while a General Index has also been appended to the concluding volume of the series. Edinburgh, August 15, 1871" (Publisher's advertisement, volume I, p. 1).