David Brass Rare Books

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Galerie de Grotesques]

Galerie de Grotesques]

GONDELIER; MARTINET, publisher Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards. The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revelsstrips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as CulturalObjects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitledLes Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature).
Book of Scottish Ballads

Book of Scottish Ballads, The;

COSWAY BINDING; WHITELAW, Alex; CURRIE, Miss C.B., artist; RIVIÈRE & SON, binders With Two Exquisite Watercolors on Ivory by the Renowned Artist Miss C.B. Currie [COSWAY BINDING]. WHITELAW, Alex. The Book of Scottish Ballads; Collected and Illustrated with Historical and Critical Notices, by Alex Whitelaw. Glasgow, Edinburgh, and London: Blackie and Son, 1845. First edition. Small square octavo (5 11/16 x 4 3/16 inches; 145 x 106 mm.). xvi, 576 pp. Additional engraved title and frontispiece. Bound ca. 1910 by "Rivière & Son from Designs by J.H. Stonehouse" (stamp-signed in gilt on front turn-in) and with "Miniatures by C.B. Currie" (stamp-signed in gilt on rear turn-in). Full medium blue crushed levant morocco. Covers with onlaid borders of tan morocco elaborately tooled in gilt with thistle motifs, each corner with an onlaid circle of tan morocco decorated in gilt with a thistle and pointilé design. In the center of each cover is a fine oval watercolor on ivory under beveled glass, by C.B. Currie, both measuring 2 3/16 x 2 1/2 inches. Surrounding each of the watercolors is an elaborate onlaid frame of olive green morocco intricately tooled in gilt to a thistle and leaf design. Spine with five raised bands and five onlaid pieces of tan morocco tooled in gilt to a matching design, lettered in gilt in compartments. Double-gilt ruled board edges, turn-ins with decorative gilt borders, cream watered silk liners and endleaves, all edges gilt. Front and rear joints expertly repaired. Ink ownership inscription on verso of front endleaf. A wonderful example of a true 'Cosway Binding'. The miniature painting on the front cover is of Sir Walter Scott and the painting on the rear cover is of his ancestral home, Abbotsford Castle from the River Tweed. In this exquisitely bound collection of Scottish Ballads and Poetry, Whitelaw provides his readers with a comprehensive background on the development of the Scottish Ballad, it's interrelationship with English Poetry, and the history of those editors who previously drew such songs together. The result is a work that encourages pride in Scottish readers while seeking to deepen poetic appreciation among readers from other nations and traditions. In the first decade of the twentieth century, the London bookselling firm of Henry Sotheran & Co., introduced a type of binding that was decorative, had historic associations, and catered to the level of quality expected by connoisseurs at the time. Between 1902 and 1903, John Harrison Stonehouse (1864-1937), managing director of Sotheran's, created what came to be referred to as "Cosway bindings." These were named after the celebrated eighteenth-century English portrait miniaturist Richard Cosway (1742-1821). Cosway bindings are distinguished by their attractive, finely painted miniatures on ivory that are protected by glass and inset into the covers or doublures (inside covers) of elegantly tooled books. Stonehouse's success with the bindings was due in part to his employment of skilled miniaturist, Miss C. B. Currie. It has been estimated that Miss Currie painted several thousand miniatures, recognized for their delicate rendering and precision, for over nine hundred bindings before her death circa 1940. For many of the more lavish Cosway bindings, Currie painted multiple portraits. Occasionally, landscapes and other subjects adorn the covers or doublures. To enhance Currie's miniatures, Stonehouse arranged for the London firm of Rivière & Son to produce a variety of high-quality single-volume bindings. One of the best large-scale binderies active in the first quarter of the twentieth century, Rivière & Son integrated the miniatures into bindings for both previously published editions and new works. Stonehouse marketed Sotheran's finished Cosway-bound volumes primarily to booksellers in the United States or to American agents. Before Sotheran's 1911 catalogue, in which they identified the miniature artist as Miss Currie, the miniatures are attributable only by their recognizable style. By 1913, the bindings are distinguished by a limitation statement on a colophon leaf (where a publisher's emblem or trademark is placed), which provides the number of the Cosway binding with facsimile signatures of Stonehouse and Miss Currie. The customary gilt-stamped signature on the turn-in is generally lettered: "Bound by Riviére & Son from Designs by J. H. Stonehouse" and "Miniatures by C. B. Currie." Competitors, intrigued by the marketing potential of Sotheran's Cosway volumes, began copying the bindings soon after their initial introduction. Although the fashion for Cosway bindings diminished after World War II, the London binderies of Sangorski & Sutcliffe and Morrell continued to produce morocco-bound volumes with inset miniature paintings. Perhaps the most prolific follower has been the still existing English firm of George Bayntun, who acquired the Rivière stock of binding tools in 1939. Alexander Whitelaw (1803-1846) was a Scottish editor and writer. Whitelaw was born in Glasgow, and became an assistant to Robert Watt in the compilation of the Bibliotheca Britannica. He later was a journalist and poet and was hired by the publishers Blackie, to edit illustrated books. He also edited The Works of Robert Burns (1842-43), The Book of Scottish Song (1844) and The Book of Scottish Ballads (1845).
First of the Bourbons 1589-1595 [&] 1595-1610

First of the Bourbons 1589-1595 [&] 1595-1610

COSWAY-STYLE BINDING; BAYNTUN, binder; JACKSON, Lady Catherine Charlotte A Fine Jansenist-Style Binding by Bayntun of Bath with Two Fine Portrait Miniatures [COSWAY-STYLE BINDING]. BAYNTUN, binder. JACKSON, Lady Catherine Charlotte. First of the Bourbons 1589-1595 [&] 1595-1610. London: Richard Bentley and Son, 1890. First edition. Two octavo volumes (7 11/16 x 5 3/16 inches; 196 x 132 mm.). xiv, 382; xvi, 423, 1, blank] pp. Title-pages printed in red and black. Colored frontispiece and four plates in each volume. Extra illustrated by the insertion of fifty-four portraits and views including twelve fine hand-colored plates, mainly by P. Pauquet. A handsome 'Jansenist' binding ca. 1925 by Bayntun of Bath (stamp-signed in gilt on front turn-in). Full red crushed levant morocco over beveled boards. Single gilt rule border, spines with five raised bands ruled and lettered in gilt in compartments, gilt dotted board edges, gilt ruled turn-ins with gilt corner fleurons, green moire silk free endleaves, all edges gilt. Front doublures in dark green morocco with gilt borders and corner fleurons, rear doublures in green moire silk. The front doublures set with fine Cosway-style oval miniature portraits of Henry IV (vol 1) and Marie de' Medici (vol 2) under glass, within a decorative gilt frame. Some expert and almost invisible repairs to joints of both volumes. A near fine and unique set. Lady Catherine Hannah Charlotte Elliott Jackson (1824-1891), was the daughter of Thomas Elliot of Wakefield, and was also the second wife of Knight Diplomat Sir George Jackson (1785-1861), whom she married in 1856, and a prolific author in her own right, especially in the area of European history and of the court of France in the 16th century. After the death of her husband in 1861, she turned to literature, starting by editing the diaries and letters of her husband's early life. He was a distinguished diplomat, and is best known for accompanying Sir Charles Stuart to Germany and entering Paris with him in 1815, and for his efforts in connection with the abolition of the slave trade. On 19 June 1874 she was granted a pension in recognition of her husband's services. She then studied a variety of French memoirs, and compiled from them several books on French society. A few of her better known works include Old Paris: its Court and Literary Salons (1878), The Court of France in the Sixteenth Century, 1514-1559 (1886) and The First of the Bourbons: 1595-1610 (1890), each in two volumes. Bayntun of Bath. George Bayntun was born in Bath on 4th August 1873. He served his apprenticeship with the Taylor family in Trim Street and started his own bookbinding business in Northumberland Place in 1894. He employed London binders to raise the standard of craftsmanship and soon moved into a larger workshop in Walcot Street. Book Auction Records for 1906 recognized his success: "He has brought intelligence into play as well as high craftsmanship". In 1920 he purchased the bindery business of George Gregory, and in 1939 the Bayntun and Rivière binderies were incorporated into a new set of premises on Manvers Street (Bath), from where the business still operates today. George Bayntun had an especially good relationship with many of the pre-eminent American dealers including Brentano's.
Voyage Pittorèsque de Paris au Havre

Voyage Pittorèsque de Paris au Havre

MALO, Charles A Color-Plate Tour Down the River Seine [MALO, Charles]. Voyage Pittorèsque de Paris au Havre sur les Rives de la Seine. Paris: Louis Janet, [1828]. First edition. Sixteenmo (5 3/4 x 3 1/2 inches; 146 x 89 mm.). [viii], [1]-207, [1, blank] pp. Hand colored copper-plate vignette title-page of a steam ship on the Seine and ten charming hand-colored copper plates depicting a journey down the Seine from Paris to Le Havre. Beautifully bound ca. 1960 in full maroon straight-grain morocco, covers richly decorated in gilt with an inlaid central oval of olive green morocco and four small red flowers in corners. Spine with five raised bands, decoratively ruled and lettered in gilt and with inlaid red or olive green oval panels decorated in gilt. Decorative gilt ruled board edges, decoratively ruled turn-ins, marbled endpapers and original? pink paper wrappers bound in. All edges gilt. A truly wonderful copy of this charming little tour down the river Seine. "An anonymously published travel account by Paris historian and man of letters, Charles Malo. It has been suggested that the publisher was possibly Jules Didstaire. Historian Malo's work has been described as "one of the most charming of almanacs from French publisher Louis Janet." The handcoloured copper engraved plates show St. Denis, Poissy, Triel, Mantes, La Roch Guyon, Le Petit Andelys, Elbeuf, Rouen, the mouth of the Seine and Le Havre." (Bobins). Barbier IV, 1094; Bobins III, 947; Querard, La France Litteraire V, 476; Hoefer xxxii; Not in Abbey or Tooley.
Mickey Mouse and his Friends

Mickey Mouse and his Friends

DISNEY, Walt.; AYER, Jean First Edition of Mickey Mouse and his Friends With Forty-Nine Color and Ten Black & White Illustrations DISNEY, Walt. Mickey Mouse and his Friends by Walt Disney and Jean Ayer. New York: Thomas Nelson and Sons, 1937. First edition. Octavo (8 x 6 1/8 inches; 204 x 155 mm.). [vi], 102 pp. Illustrated throughout with color title vignette, one full-page color illustration, forty-seven color, and ten black & white illustrations within the text. Publisher's red cloth over boards, front cover pictorially illustrated in black and pink, spine lettered in black, plain endpapers. Small circular ex-library stamp on front paste-down. Some minor marginal soiling, otherwise an excellent example. Featuring ten stories adapted by Jean Ayer, this little book is illustrated throughout in color and black-and-white with the art created to publicize the Mickey Mouse and Silly Symphony cartoons. Tom Wood, Hank Porter and Manuel Gonzales were the principal artists in the studio publicity art department who were responsible for the publicity photographs, movie posters, book and magazine illustrations. Included among the stories are Mickey's Elephant, Mickey's Circus, Moving Day, The Story of Hiram Mouse (The Country Cousin), Brave Mortimer (Mickey's Rival), Donald Duck, Plumber (Donald and Pluto), The Naughty Kittens (More Kittens), Mrs. Cackle's Corn (The Wise Little Hen), Mickey's Radio Program (Mickey's Amateurs), and Donald Duck's Donkey (Don Donald).
Musaeum Kircherianum

Musaeum Kircherianum

KIRCHER, Athanasius]; BONNANI, Filippo The Rare Catalogue of the Great Kircher Museum [KIRCHER, Athanasius]. BONANNI, Filippo. Musaeum Kircherianum, sive Musaeum a P. Athanasio Kirchero In Collegio Romano Societatis Jesu jam pridem incoeptum Nuper restitutum, auctum, descriptum, & Iconibus illustratum. Roma: Typis Georgii Plachi Caelaturam Prositentis, & Characterum Fusoriam propè S. Marcum, 1709. First edition of Bonanni's catalogue of the Kircher Museum in Rome. Folio (14 5/8 x 9 3/4 inches; 372 x 247 mm.). [xii], 1-39, [40, blank], [21 leaves of illustration numbered 40-60], 61-79, [80, blank], [4 leaves of illustration numbered 60-63], 84-115, [12 leaves of illustration numbered 116-127], 128-146, [147, blank], [14 leaves of illustration numbered 147-160], 161-183, [184, blank], [15 leaves of illustration numbered 184-197.2], 198-224, [225, blank], [2 leaves of illustration numbered 248-226], 225-247, [248, blank], [18 leaves of illustration numbered 284-300], 264-283, [21 leaves of illustration numbered 284-300], 302-312, [313, blank], [4 leaves of illustration numbered 313-316], 316-319, [2 leaves of illustration numbered 320-321], 322-361, [28 leaves of illustration numbered 362-387, 391], 392-411, [1 leaf of illustration numbered 412], 412-522, [1, blank], [48 leaves of illustration numbered a-bbb], [7, index], [1, blank] pp. Plate numbers 299 & 364 are double-page folding. A4-H2, I4-N4, O6, P4-T4, U6, X4-Z4, Aa4, Bb6, Cc6, Dd4-Gg4, Hh6, Ii4-Zz4, Aaa6. Text printed in two columns. Engraved portrait frontispiece of Prince Ruspoli, and 190 engraved plates, two of which are double-page. Leaf Hh2 (pp. 352/353 with small, neatly repaired lower marginal tear. Some light occasional browning to a few leaves, otherwise fine and clean. Contemporary vellum, manuscript title on spine, all edges sprinkled red. Slight cracking to upper and lower portions of spine. Engraved portrait of Athanasius Kircher on front paste-down, rectangular bookplate of Bibliotheca Kircheriana on front paste-down. Albert Vialis was an early twentieth century French translator and avid collector of Kircher material. Most copies that have appeared at auction have lacked plates or other imperfections. Just four copies have appeared at auction over the past fifty years, with only two of those purportedly complete. Our copy has 190 engraved plates which is 28 more than any other copy cited. In 1698, Jesuit Filippo Bonanni (1638-1723) was appointed curator of the internationally known cabinet of curiosities, the Musaeum Kircherianum, gathered by Athanasius Kircher and lodged in the Jesuit Collegio Romano. The museum was created in the middle of the seventeenth century. Because Kircher was interested in everything the museum included objects of every kind from many emerging disciplines: antiquities, archaeology, ethnography, natural history, etc., and also included a number of mathematical, scientific, and physical instruments. The Museum does not exist any more as such, its collections having been disbursed among the other Roman museums. It is possible, however, to reconstruct it in one's imagination, because of the elaborate description of it by Buonanni, who published this detailed, if not exhaustive, catalogue of the amazing collection of his Jesuit colleague, which, in addition to the items above, clocks, artwork, coins, mummies, a "mermaid's tail," an extraordinary collection of shoes, the first cuneiform document known in Europe, and a large collection of seashells. The catalog is divided into twelve sections (Classes) concerning the various categories of objects. These range from antiques to the natural sciences, physics and mathematics, in order to illustrate what Nature "his sinus inexausto effluxu produxit" (Proemium). The antiquities occupy the first five sections and are collected in ethnographic criteria. The critical assumptions cards to each category focus on the use and characteristics of individual types of objects. Cicognara 3372. Caillet 5784. Honeyman 550. Brunet I,1086. Nissen ZBI 2198.
The Book of Common Prayer

The Book of Common Prayer, and Administration of the Sacraments, and other Rites and Ceremonies of the Church

BIBLE IN ENGLISH; BOOK OF COMMON PRAYER Printed During the American Civil War [BIBLE IN ENGLISH]. The Book of Common Prayer, and Administration of the Sacraments, and other Rites and Ceremonies of the Church, according to the use of The Protestant Episcopal Church in the United States of America: Together with The Psalter, or Psalms of David. Philadelphia: J.B. Lippincott & Co., 1861. Small octavo (5 15/16 x 3 11/16 inches; 151 x 94 mm.). [1]-680, [1]-286 pp. Additional engraved title and frontispiece. Contemporary full dark brown morocco, covers decoratively stamped in blind, front cover lettered in gilt. Spine with four raised bands decoratively stamped in blind and lettered in gilt in compartments, gilt decorated turn-ins, yellow coated end-papers, all edges gilt. Contemporary ink signature "Sarah Howard / 1862" on front free end-paper. A fine copy of this American Civil War Book of Common Prayer. OCLC locates just one copy of the edition held at the American Antiquarian Society Library (MA, USA). The Civil War in the United States began in 1861, after decades of simmering tensions between northern and southern states over slavery, states' rights and westward expansion. The election of Abraham Lincoln in 1860 caused seven southern states to secede and form the Confederate States of America; four more states soon joined them. The War Between the States, as the Civil War was also known, ended in Confederate surrender in 1865. The conflict was the costliest and deadliest war ever fought on American soil, with some 620,000 of 2.4 million soldiers killed, millions more injured and much of the South left in ruin.
Chansons de P.J. Béranger Anciennes

Chansons de P.J. Béranger Anciennes, Nouvelles et Inédites

MONNIER, Henri; DEVÈRIA, Achille; BÉRANGER, Pierre-Jean de; RAPARLIER, Paul-Romain, binder Pierre-Jean de Béranger "The Most Popular French Songwriter of All Time" "The First Superstar of French Popular Music" Forty Hand Colored Lithograph Plates by Henri Monnier MONNIER, Henri, illustrator. Chansons de P.J. Béranger Anciennes, Nouvelles et Inédites, avec des vignettes de Devéria et des dessins coloriées d'Henri Monnier. Suivies des Procès Intentés a l'Auteur. Paris: Baudouin Frères, Éditeurs, 1828. First edition. Two octavo volumes (8 5/8 x 5 5/8 inches; 220 x 143 mm.). [iv], iv, [1]-439, 1, blank]; [iv], [1]-438 pp. Forty superb hand colored lithograph plates by Henri Monnier and numerous charming black & white vignettes by Achille Devèria. Handsomely bound ca. 1890 by Paul-Romain Raparlier (stamp signed in black on verso of front endpapers) in three quarter red morocco over marbled boards, ruled in gilt. Spines with five raised bands elaborately tooled and lettered in gilt in compartments, marbled endpapers, top edge gilt, others uncut. A very fine copy of this extremely rare Monnier title complete with all forty hand colored plates. KVK locates no complete copies; OCLC locates just one complete copy in libraries and institutions worldwide: Paris-Est Marne-La-Vallee-Bu (France). Pierre-Jean de Béranger (1780-1857) was a prolific French poet and chansonnier (songwriter), who enjoyed great popularity and influence in France during his lifetime, but faded into obscurity in the decades following his death. He has been described as "the most popular French songwriter of all time" and "the first superstar of French popular music". The Chansons were composed with fastidious care and are most notable for their clarity, wit and incisiveness, however the socialist and revolutionary content of his songs resulted in several brushes with the authorities, resulting in his nine month incarceration in La Force Prison. RAPARLIER, Paul-Romain (1858-1900), binder. Master French Art Nouveux bookbinder Paul-Romain Raparlier "was the most enthusiastic innovator and the boldest French binder of the Nouveau period. He execrted many commissions from the London bookseller Henry Sotheran. The plates: 1. Le Roi d'Yvetot 2. La Bacchante 3. Le Sénateur 4. La Gaudriole 5. Roger Bontemps 6. Ma Grand'Mère 7. Ma Mère Aveugle 8. Le Petit Homme Gris 9. La Bonne Fille 10. L'Éducation des Demoiselles 11. Madame Grégoire 12. Les Gueux 13. Le Vieux Célibataire 14. Le Commencement du Voyage 15. Requête des Chiens de Qualité 16. Vieux Habits! Vieux Galons! 17. Le Nouveau Diogène 18. Le Maitre d'École 19. La Chatte 20. Bon Vin et Fillette 21. L'Habit de Cour 22. Ce n'est plus Lisette 23. L'Hiver 24. la Bonne Vieille 25. La Vivandière 26. L'Exilé 27. La Bouquetière et le Croque-Mort 28. Le Bon Vieillard 29. L'Aveugle de Bagnolet 30. Les Cartes ou L'Horoscope 31. La Marquise de Pretintaille 32. Le Tailleur et la Fée 33. Le Violon Brisé 34. Les Hirondelles 35. La Fuite de l'Amour 36. Le Vieux Sergent 37. Le Voyageur 38. Le Grenier 39. Les Deux Grenadiers 40. Les Souvenirs du Peuple Marie, 653-692.
The Poetical Works of Sir Walter Scott

The Poetical Works of Sir Walter Scott, Bart

FORE-EDGE PAINTING; SCOTT, Sir Walter Two Fine Early-to-Mid Twentieth Century Fore-Edge Paintings Depicting Two Scottish Castles [FORE-EDGE PAINTING]. SCOTT, Sir Walter. The Poetical Works of Sir Walter Scott, Bart. [The Lady of the Lake [&] The Bridal of Triermain [&] Harold the Dauntless]. Edinburgh: Printed for Arch. Constable and Co. Each volume with a fine early-to-mid twentieth century fore-edge painting depicting Craigmillar Castle in Edinburgh and Loch Leven Castle. Two octavo volumes (6 1/2 x 3 7/8 inches; 166 x 99 mm.). [iv], [1-9], 10-380; [iii-vi], [1-3], 4-384, [1], [1, blank] pp. Some light water-staining to preliminary and final leaves. Full contemporary dark blue straight-grain morocco, front and back covers with elaborate gilt vignette. Spines with four raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt turn-ins, gray end-papers. Volumes IV & V of The Poetical Works of Sir Walter Scott. "The Scene from the following Poem is laid chiefly in the vicinity of Loch-Katrine, in the Western Highlands of Perthshire. The time of Action includes Six Days, and the transactions of each day occupy a Canto." These two volumes were sold in 1965 by Dawson's Book Shop in Los Angeles (Catalog 355, item 113). Craigmillar Castle is a ruined medieval castle in Edinburgh, Scotland. It is three miles (4.8km) south-east of the city center, on a low hill to the south of the modern suburb of Craigmillar. The Preston family of Craigmillar, the local feudal barons, began building the castle in the late 14th century and building works continued through the 15th and 16th centuries. In 1660, the castle was sold to Sir John Gilmour, Lord President of the Court of Session, who made further alterations. The Gilmours left Craigmillar in the 18th century, and the castle fell into ruin. It is now in the care of Historic Environment Scotland as a scheduled monument. Craigmillar Castle is best known for its association with Mary, Queen of Scots. Following an illness after the birth of her son, the future James VI, Mary arrived at Craigmillar on 20 November 1566 to convalesce. Before she left on 7 December 1566, a pact known as the "Craigmillar Bond" was made, with or without her knowledge, to dispose of her husband Henry Stuart, Lord Darnley. Craigmillar is one of the best-preserved medieval castles in Scotland. The central tower house, or keep, is surrounded by a 15th-century courtyard wall with "particularly fine" defensive features. Within this are additional ranges, and the whole is enclosed by an outer courtyard wall containing a chapel and a doocot Loch Leven Castle is a ruined castle on an island in Loch Leven, in the Perth and Kinross local authority area of Scotland. Possibly built around 1300, the castle was the location of military action during the Wars of Scottish Independence (1296-1357). In the latter part of the 14th century, the castle was granted by his uncle to William Douglas, 1st Earl of Douglas, and remained in the Douglases' hands for the next 300 years. Mary, Queen of Scots was imprisoned here in 1567-68, and forced to abdicate as queen, before escaping with the help of her gaoler's family. In 1588, the Queen's gaoler inherited the title Earl of Morton, and moved away from the castle. It was bought, in 1675, by Sir William Bruce, who used the castle as a focal point in his garden; it was never again used as a residence.
L'Art d'engraisser et de Maigrir a Volonté [&] Mr. Papillon [&] Pincez-moi à la Campagne!!

L’Art d’engraisser et de Maigrir a Volonté [&] Mr. Papillon [&] Pincez-moi à la Campagne!!

CHAM (pseudonym of Amédée de Noé) Three of Cham's Rarest Works with Sixty Wonderful Hand-Colored Lithograph Plates CHAM (pseudonym of Amédée de Noé). Three complete works bound together in one volume - L'Art d'engraisser et de Maigrir a Volonté. [&] Mr. Papillon [&] Pincez-moi à la Campagne!! First editions. Folio (12 11/16 x 9 7/8 inches; 326 x 251 mm.). Three pictorial hand colored lithograph title-pages and a total of sixty hand colored lithograph plates heightened with gum arabic. Plates lithographed by Fernique & Destouches. Bound together in late nineteenth century olive green buckram over boards, marbled endpapers. Spine a little rubbed, the plates bright and fresh with superb hand-coloring. The Art of Gaining Weight and The Art of Losing Weight Twenty Highly Amusing Multi-Image Hand Colored Lithograph Plates by Cham CHAM [Pseudonym of Charles Amédée de Noé]. L'Art d'Engraisser et de Maigrir a Volonté. [The art of gaining and losing weight with willpower]. Paris: Maison Martinet, [1857]. Pictorial hand colored lithograph title-page and twenty hand colored lithograph plates, heightened with gum Arabic, and containing seventy-nine images. Plates lithographed by Fernique. A highly amusing album depicting the adventures of the very thin Mr. Lesec who wants to gain weight and the rather plump Mr. Legras who wants to lose weight. Both Mr. Lesec and Mr. Legras are getting married and there is much going on in their households. They leave jointly for Algeria and go lion hunting. this adventure unfortunately causes Mr. Legras to gain weight and Mr. Lesec to lose several kilos. The same thing happens during a subsequent adventure with a camel. Unfortunately, the two friends leave Algeria for Italy, then for Turkey, Crimea, India, where they live multiple adventures that leave them in their respective physical states. They both decide to return to France, Mr Legras dies from being severely overweight - and the very depressed Mr Lesec just gets thinner and thinner and eventually also dies. Somewhat scarce with OCLC locating just four colored copies in libraries and institutions worldwide: The Morgan Library & Museum (NY); University of Chicago (IL); Boston Public Library (MA); Victoria & Albert Museum (London, UK). There are also two other 'uncolored' copies: Kunstbiblio Staatliche Museen Zu Berlin (Germany) & National Library of Poland Biblioteka Naro (Poland). Mr. Papillon's Highly Amusing Voyage Around the World Love and Romance in Various Countries CHAM [Pseudonym of Charles Amédée de Noé]. Mr. Papillon ou L'Amour Autour du Monde. Paris: Maison Martinet, [1856]. Pictorial hand-colored lithograph title-page and twenty hand-colored lithograph plates, heightened with gum Arabic and containing sixty-eight amusing images. The plates clean and fresh with superb hand coloring. Plates lithographed by Fernique. Mr. Papillon's highly amusing voyage around the world depicting love and romance in different countries. Rare. OCLC locates just one copy in libraries and institutions worldwide: Bibliotheque Nationale de France. Pinch Me, I'm In the Country!! Now, Get Me Out of Here The Scarcest Cham of All? CHAM (pseud. of Amédée de Noé). Pincez-moi a la campagne!! Paris: Maison Martinet, n.d. [c. 1860]. Pictorial hand-colored lithographed title-page and twenty hand-colored lithographed plates, heightened with gum Arabic and containing eighty-six humorous scenes with captions. Plates lithographed by Destouches. Original quarter green pebble-cloth over green grained-paper boards with blindstamped decoration and gilt lettering. Of Amédée de Noé, "known as Cham (that is, Ham, the son of Noah).it was said that he had 'an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège (173), in which Daumier was his collaborator, are typical of his work" (Ray, The Art of the French Illustrated Book, pp. 155-156). In the ninety-seven years (since 1923) that ABPC has been recording auction results not a single copy of this work has fallen under the hammer. All albums by Cham are scarce; the volume under notice is extremely so. Only eight copies survive in institutional holdings worldwide. The gently amusing trials of an urban gentleman preparing for a vacation in the French countryside and the hilarious tribulations once he arrives. In essence, Woody Allen leaves Manhattan for the Catskills and copes with nature and rural life. CHAM, pseudonym of Charles Amédée de Noé (1818-1879). "It is to be regretted that space will not serve to represent the caricaturists and depictors of manners who followed in the wake of Daumier and Gavarni. Among the most attractive of the former is Amédée de Noé, known as Cham (that is, Ham, the son of Noah) of whom it was said that he had 'an idea a day' for Le charivari. A good proportion of his thousands of lithographs were gathered into albums. His contributions to the Album du siège , in which Daumier was his collaborator, are typical of his work" (Ray, The Art of the French Illustrated Book, pp. 155-156).
Distractions

Distractions

MONNIER, Henry; CRUIKSHANK, George The Manners of French Society Executed with Gentle Satire MONNIER, Henry. CRUIKSHANK, George. Distractions, par Henry Monnier to is friend George Cruikshank. Paris & London: Paulin Libraire-Éditeur, Colnaghi, Son and Co., 1832. First edition. Oblong folio (11 x 16 inches; 280 x 406 mm.). Lithographed title-page with hand-colored vignette by George Cruikshank, and six (of nine) fine hand colored lithographed plates with twenty-nine titled images, lithographed by Delarue after Henry Monnier. An original album of six (of nine**) hand colored lithographed plates (plus the George Cruikshank plate) from this exceptionally rare series. Later plain wrappers, stitched as issued. A fine example. Housed in a fleece-lined, half dark green morocco over green cloth boards clamshell case. Spine with five raised bands decoratively ruled and lettered in gilt. Our plate count (of six) is identical to the copy in the Bibliotheque National de France. Champfleury also lists six plates and a frontispiece. "Between 1825 and 1827 Monnier passed much of his time in London, where he collaborated with Lami in what was to become the Voyage en Angleterre. On his return to Paris he embarked on a series of albums in which he recorded the manners and humors of the city with unprecedented profusion. Between 1826 and 1830 he satisfied the insatiable demand for his designs with almost 500 lithographs, nearly all of which were drawn with a pen and colored by hand. For each design he himself colored a master print and carefully supervised its subsequent preparation.Some of the salient titles in his human comedy may be mentioned. There are potpourris like Recréations du coeur et de l'esprit, Paris vivant, and Rencontres Parisiennes. Macédoine pittoresque. There are more closely focussed surveys like Les grisettes, Moeurs administratives, Galerie théâtrale, Boutiques de Paris, and Six Quartiers de Paris. There are suites like Jadis et aujourd'hui and Les contrastes, which take their departure from comparisons in time or of manners.Monnier was a satirist with a difference. His attitude towards his subjects hardly varies. His aim was to set down what he saw with elegance and precision, but with no overt interpretation or judgment" (Ray, The Art of the French Illustrated Book, p. 199). We have never seen another example of this excessively rare suite of plates. ** Marie list nine plates but the copy in the Bibliotheque Nationale de France has six plates. This is the second copy that we have seen in over fifty years and the previous copy also had six plates. We have located only two copies in institutions worldwide: Rijks Museum, Amsterdam (no plate count); Bibliotheque National de France (6 plates). Bobins III, 986 (with pictorial title and ten? hand colored plates, each with a number of vignettes); Marie, 475, 476, 478, 479, 480 & 482.(p. 256); Not in Ray; Not in Melcher; Not in Cohn.
Fairy Tales by Hans Andersen

Fairy Tales by Hans Andersen

CLARKE, Harry, illustrator; ANDERSON, Hans Christian The Rarest of all Harry Clarke's Signed Limited Editions [CLARKE, Harry, illustrator]. ANDERSEN, Hans Christian. Fairy Tales by Hans Christian Andersen. Illustrated by Harry Clarke. London: George G. Harrap & Company, [1916]. Edition De Luxe limited to 125 copies signed by Harry Clarke (this being No. 42). Large quarto (11 1/8 x 7 5/8 inches; 283 x 194 mm.). 319, [1] pp. Sixteen mounted color plates (all with captioned tissue guards), twenty-four black and white plates, and ten decorative tail-pieces, mostly repeated throughout the text. Additional line drawings for the frontispiece, title-page, list of illustrations, self-portrait tail-piece, and "The Tinder-Box" title-piece. Publisher's white vellum over boards, front cover and spine decoratively stamped and lettered in gilt, top edge gilt, others uncut. Scattered light foxing throughout not affecting any of the color or black and white plates. Aside from the foxing this is a fine copy, with the the gilt decoration on the vellum covers bright and fresh. The rarest of all the Harry Clarke signed limited editions. "Harrap published Hans Andersen's Fairy Tales in a limited, signed and numbered edition of 125 copies, bound in vellum and printed on rag paper, at 3 guineas for circulation in England and America. Harrap's prospectus introduced Harry Clarke as. "Mr. Clarke brings to Hans Andersen an entirely fresh interpretation, and he appeals to the intellectual emotions of art-lovers, who will find in his work satisfaction of their craving for new and unconventional treatment of themes which may never be exhausted while the spirit of life exists in art. Mr. Clarke is a craftsman who devotes to each drawing an infinity of pains which is little less than marvelous, and it is difficult to know which to admire most-his fresh conceptions or his delicate and intricate detail. The latter feature, by the way, has necessitated a very considerable amount of hand-graving upon the colour blocks, and these give, therefore, much more than the usual mechanical reproductions of the artist's drawings. In all the book contains Forty full-page illustrations and a number of Decorative Tailpieces, etc. There are Sixteen Colour Plates, in which the colouring is as rich and original as would be expected from an artist whose black line work is as suggestive of riotous colouring as it is of ideas. The letter-press comprises 24 of the choicest stories of Andersen." (Prospectus, quoted in Bowe on p. 40). Bowe, p. 149, no. 2; Douglas Hyde Gallery. Harry Clarke Monograph, No. 27.
La Reine des Neiges

La Reine des Neiges

DULAC, Edmund, illustrator; ANDERSEN, Hans Christian French Signed Limited Edition of Edmund Dulac's Hans Andersen [DULAC, Edmund, illustrator]. ANDERSEN, Hans Christian. La Reine des Neiges et Quelques Autres Contes Illustrés par Edmond Dulac. Paris: L'Édition D'Art / H. Piazza, [1911]. French Signed Limited Edition. Limited to 500 numbered copies on Papier du Japon signed by Edmund Dulac (this being #487). Quarto (11 3/8 x 8 3/4 inches; 290 x 224 mm.). 172 pp. Title-page decoratively printed in red, black green and yellow. Twenty-eight mounted color plates, each framed with turquoise green flowery borders and titled tissue-guards. Original front wrapper decorated in green and gilt bound in. Contemporary (Publishers ?) full mottled calf, covers with triple rule borders and decorative corner pieces, spine with five raised bands, decoratively stamped in gilt and with a maroon morocco lettering label. All edges stained red, marbled endpapers. Expert and almost invisible repair to rear joint, tiny (one inch) crack at top of front joint. An excellent copy. "28 Dulac colour plates, mounted on vellum, framed with turquoise green flowery borders; covered with tissue guards imprinted with black captions. Also special turquoise green borders for title page and snowflake border designs for text pages. 5 different dark green initials decorated with turquoise surrounds; small medallion designs for limitation and printer's pages, 7 designs for chapter titles, 9 tailpiece designs. Price when issued: full leather 100 fr." (Hughey, 27kk). During his lifetime, Hans Christian Andersen, whose every fairy tale has become a classic, was second only to Charles Dickens as the most popular author in the Western world. Hughey, 27kk.
Poetical Sketches of Scarborough

Poetical Sketches of Scarborough

ROWLANDSON, Thomas; PAPWORTH, John Buonarotti With Twenty-One Hand-Colored Aquatint Plates [ROWLANDSON, Thomas, illustrator]. Poetical Sketches of Scarborough: Illustrated by Twenty-One Engravings of Humourous Subjects, Coloured from original Designs, Made Upon the Spot by J. Green, and Etched by T. Rowlandson. London: Printed for R. Ackermann, by J. Diggens, 1813. First edition. Octavo (9 5/8 x 6 inches; 244 x 152 mm). [4], xv, [1, blank], 215, [1, blank] pp. Twenty-one hand-colored aquatint plates (including frontispiece) with tissue guards. Early twentieth-century full tan calf by Morell (Stamp-signed on front turn-in), covers with triple gilt rules, spine with five raised bands, decoratively tooled in gilt in compartments, two maroon morocco labels lettered in gilt, gilt board edges, and decorative gilt turn-ins, top edge gilt, others uncut. Joints expertly and almost invisibly repaired. Some light foxing / discoloration to a few text leaves, the plates bright and clean. A splendid, and very tall copy. With the armorial book plate of Cortland Bishop and the book[plate of Maxine and Joel Spitz on front paste-down. "[John Buonarotti Papworth (1775-1847)] wrote fourteen chapters of the Poetical Sketches of Scarborough, a light social satire illustrated with twenty-one attractive plates etched by Rowlandson after J. Green, the aquatint being added by J. Bluck and J.C. Stadler. The Advertisement states that 'the originals of the plates introduced into this volume were sketches made as souvenirs of the place during a visit to Scarborough in the season of 1812. They were not intended for publication, but being found to interest many persons of taste, several of whom expressed a desire to possess engravings of them; and some gentlemen having offered to add metrical illustrations to each the present form of publication has been adopted. The several authors were not personally acquainted with each other:-if this circumstance, and that of every design having been made previously to the composition of a single couplet, be considered fair ground of extenuation for faults, they claim its advantages.' Then follows a pleasant account of Scarborough in very amusing doggerel to which [William] Combe was a contributor" (Prideaux, pp. 144-145). Francis Wrangham also contributed four chapters. In the second edition the initials of the contributors were added at the end of each chapter. "Plate 8 'The Warm Bath' is said to contain the portrait of Mrs. Robinson, George IV's mistress" (Tooley). Abbey, Scenery, 297. Prideaux, pp. 144-145. Tooley 422.
Millions of Cats

Millions of Cats

GÁG, Wanda "Cats here, cats there, Cats and kittens everywhere, Hundreds of cats, Thousands of cats, Millions and billions and trillions of cats" GÁG, Wanda. Millions of Cats. New York: Coward-McCann, 1928. Edition De Luxe limited to two hundred and fifty copies signed by Wanda Gág (of which this is No. 245) containing an additional original wood-engraving that does not appear in the book, signed by the artist-author. Oblong quarto (6 5/8 x 9 3/4 inches; 169 x 247 mm.). [1, limitation, verso blank], [1]-[32] pp. Pictorial title-page and numerous illustrations throughout including five full-page and several double-page. Publisher's yellow, red and black pictorial paper over boards, red and yellow pictorial endpapers. A fine copy in the publisher's black cardboard slipcase with original printed label on front panel. The slipcase has been neatly repaired on the edges, but is absolutely complete. The additional signed woodcut measures 5 7/8 x 4 1/2 inches; 149 x 114 mm., and is in a small stiff paper frame measuring 7 3/4 x 6 1/2 inches; 197 x 15 mm., complete with the original tissue guard. The woodcut depicts a small cat curled up on the cushion of a rocking chair in a sitting room with a small round table and chair and two flower vases atop a draped pedestal nearby. Scarce with the slipcase and the original signed wood engraving. Millions of Cats is the oldest American picture book still in print. And according to Barbara Bader, in her work, American Picturebooks, from Noahs Ark to the Beast Within, she infers that Millions Of Cats is the first true picturebook. "Millions of Cats began life as a tale [Gag] made up to amuse her friends children. Published in 1928, the story of a lonely old couples search for a feline companion was a popular success and became a Newbery Honor Book. Millions of Cats was the first to use a hand-lettered text and to integrate the copy with the illustrations, resulting in a unified page design." (American Dictionary of National Biography). Wanda Hazel Gág (March 11, 1893-June 27, 1946) was an American artist, author, translator, and illustrator. She is best known for writing and illustrating the children's book Millions of Cats, the oldest American picture book still in print. Gág was also a noted printmaker, receiving international recognition and awards. Growing Pains, excerpts from the diaries of her teen and young adult years, received widespread critical acclaim. Some of her books have been awarded Newbery Honors and Caldecott Honors. In 1927 Gág's illustrated story Bunny's Easter Egg was published in John Martin's Book magazine for children. Gág's work caught the attention of Ernestine Evans, director of Coward-McCann's children's book division. Evans was delighted to learn that Gág had children's stories and illustrations in her folio and asked her to submit her own story with illustrations. The result, Millions of Cats, had been developed from a story that Gág had written to entertain the children of friends. It was published in 1928. Anne Carol Moore (in the New York Herald Tribune) wrote: ". It bears all the hallmarks of becoming a perennial favorite among children, and it takes a place of its own, both for the originality and strength of its pictures and the living folk-tale quality of its text. A book of universal interest to children living anywhere in the world." Millions of Cats is on the New York Public Library's list of 100 Great Children's Books. Gág is widely considered to be a pioneer in the development of the picture book form. Prior to Millions of Cats, illustrated books generally had text on the left page with pictures on the right. Gag integrated the text with the pictures while sometimes stretching them across a double page. Grolier. One Hundred Books Famous in Children's Literature #72; Winnan 58.
Little Prince

Little Prince, The

SAINT-EXUPÉRY, Antoine de A Near Fine First Edition "Little Prince" in Original Dust Jacket SAINT-EXUPÉRY, Antoine de. The Little Prince. Written and Drawn by Antoine de Saint-Exupéry. Translated from the French by Katherine Woods. New York: Reynal & Hitchcock, [1943]. First edition in English. Small quarto (8 7/8 x 7 1/8 inches; 225 x 181 mm.). [1-6], 7-91, [2], [1, colophon] pp. Text illustrations in black and white and color. Publisher's salmon-colored cloth pictorially stamped and lettered in dark red on front cover and lettered in dark red on spine. The absolute bare minimum of rubbing to corners and spine extremities. A fine copy. In the original first issue color pictorial dust jacket with price $2.00 and publisher's address "386 Fourth Avenue, New York" on front flap. Jacket spine browned, slight chipping at head and foot, some slight wear at jacket folds. A very good and totally original and untouched jacket. Antoine Marie Jean-Baptiste Roger, comte de Saint-Exupéry, simply known as de Saint-Exupéry (29 June 1900- 31 July 1944), was a French writer, poet, aristocrat, journalist and pioneering aviator. He became a laureate of several of France's highest literary awards and also won the United States National Book Award. He is best remembered for his novella The Little Prince (Le Petit Prince) and for his lyrical aviation writings, including Wind, Sand and Stars and Night Flight. Saint-Exupéry was a successful commercial pilot before World War II, working airmail routes in Europe, Africa, and South America. He joined the French Air Force at the start of the war, flying reconnaissance missions until France's armistice with Germany in 1940. After being demobilized from the French Air Force, he traveled to the United States to help persuade its government to enter the war against Nazi Germany. Saint-Exupéry spent 28 months in America, during which he wrote three of his most important works, then joined the Free French Air Force in North Africa - although he was far past the maximum age for such pilots and in declining health. He disappeared and is believed to have died while on a reconnaissance mission from Corsica over the Mediterranean on 31 July 1944. Prior to the war, Saint-Exupéry had achieved fame in France as an aviator. His literary works posthumously boosted his stature to national hero status in France, including The Little Prince which has been translated into over 360 languages. He earned further widespread recognition with international translations of his other works. His 1939 philosophical memoir Terre des hommes (titled Wind, Sand and Stars in English) became the name of an international humanitarian group; it was also used as the central theme of Expo 67 in Montreal, Quebec. His birthplace of Lyon also named its main airport after him. The Little Prince (French: Le Petit Prince), is a novella by Antoine de Saint-Exupéry. It was first published in English and French in the US by Reynal & Hitchcock in April 1943, and posthumously in France following the liberation of France as Saint-Exupéry's works had been banned by the Vichy Regime. The story follows a young prince who visits various planets in space, including Earth, and addresses themes of loneliness, friendship, love, and loss. Despite its style as a children's book, The Little Prince makes poignant observations about life and human nature. The Little Prince became Saint-Exupéry's most successful work, selling an estimated 140 million copies worldwide, which makes it one of the best-selling and most translated books ever published. It has been translated into over 360 languages and dialects. The Little Prince has been adapted to numerous art forms and media, including audio recordings, radio plays, live stage, film, television, ballet, and opera.
Homeri Ilias & Odyssea

Homeri Ilias & Odyssea, Et in easdem Scholia, sive Interpretatio, Veterum

HOMER; BARNES, Joshua, translator A Fine First edition of Joshua Barnes's Homer in Greek and Latin In Contemporary Full Olive Green Morocco [HOMER]. Homeri Ilias & Odyssea, Et in easdem Scholia, sive Interpretatio, Veterum. Item Notae perpetuae, in Textum & Scholia, Variae Lectiones, &c. cum Versione Latina emendatissima. Accedunt Batrachomyomachia, Hymni & Epigrammata, unà cum Fragmentis, & Gemini Indices. Totum Opus cum Plurimis MSS. Vetustissimis, & Optimis Editionibus Collatum, Auctum, Emendatum, & Prifcae Integritati Restitutum. Opera, Studio, & Impensis, Josuae Barnes. Cantabrigiae [Cambridge]: Apud Cornelium Crownfield, 1711. Two quarto volumes (9 3/16 x 7 3/8 inches; 234 x 187 mm.). [xvi], CXXVI, [2], 432, 431-937, [938-1042, index]; [viii], 272, 275-643, [1, blank], [1], [1, blank], 110, [1], [89, index] pp. Text in Latin and Greek. Folding engraved frontispiece in volume I. General title-page in Greek and Latin, half-title for the Ilias and title-page in volume II for the Odyssea. Full contemporary olive green morocco, sides triple-ruled in gilt, spines with five raised bands elaborately decorated and lettered in gilt in compartments. Double-ruled gilt board edges and decorative gilt turn-ins, marbled endpapers, all edges gilt. With the bookplate of Homer scholar and author Roberto Salinas Price on front paste-downs. An absolutely superb copy in its original binding. This edition contains considerable prefatory material, including three traditional Lives of Homer, the Contest of Homer and Hesiod, and the first book of the Homeric Questions of Porphyry. Regarding this edition, Edward Harwood commented that "this Edition will ever maintain its distinction, not merely for its magnificence and the erudition of the Editor, but from the complete Greek Scholia that are here subjoined to the text" (Harwood, p. 2). Joshua Barnes (1654-1712), was an English scholar. Born in London, the son of Edward Barnes, a merchant taylor, he was educated at Christ's Hospital and Emmanuel College, Cambridge, he was chosen in 1695 as Regius Professor of Greek, a language which he wrote and spoke with facility. Barnes "rarely emended his texts, but commented often of their poetic metre and regularly reported the readings of the few English manuscripts he consulted" (ODNB). One of his earliest works was Gerania (1675), a Utopian prose romance about a journey to visit the "blameless pygmies" mentioned in the Iliad. A whimsical sketch to which Swift's Voyage to Lilliput may owe something. Among his other works is a History of that Most Victorious Monarch Edward III (1688), an epic work of over 900 pages, in which he introduces long, elaborate speeches into the narrative. He also produced editions of Euripides (1694), Homer (1711), and Anacreon (1705), of which the last contains titles of Greek verses of his own, which he was hoping to publish. He was elected a Fellow of the Royal Society in November, 1710. Barnes died on 3 August 1712 at Hemingford, near St Ives, Huntingdonshire where his widow erected a monument to him. Harwood, A View of the Various Editions of the Greek and Roman Classics, London, 1775.
Fiddle Faddle Fashion Book

Fiddle Faddle Fashion Book, The

LEECH, John, illustrator]; LEIGH, Percival A Scarce Little Sucker One of the Rarest of All Leeches Victorian Unisex Costumes - Lady-Like Gentlemen [LEECH, John, illustrator]. [LEIGH, Percival]. [The Fiddle Faddle Fashion Book. And Beau Monde à La Française enriched with Numerous Highly Colored Figures of Lady-Like Gentlemen. Edited by The Author of The Comic Latin Grammar.] The Costumes and Other Illustrations by John Leech. London: Chapman and Hall, 1840. Large quarto (11 1/16 x 8 5/8 in; 282 x 219 mm.) 12 pp. Four hand-colored lithograph plates (imprinted 12 November 1840) each with multiple figures for a total of forty-six illustrations, from Leech's 1840 satire with text by Percival Leigh. Original pictorial front and back printed yellow wrappers bound in. Front wrapper with early ink signature at top (slightly cropped). Contemporary half dark blue hard grain morocco ruled in blind over marbled boards. Smooth spine lettered in gilt, marbled endpapers, top edge gilt. With the armorial bookplates of George William Mercer Henderson on front paste-down and the Duke of Gloucester on front endleaf. Some foxing to endleaves not affecting any of the text or the colored plates. A fine copy. One of the rarest of all suites by Leech, with OCLC noting only eight copies in institutional holdings worldwide. "It was one of Leech's special delights to caricature the absurd fashions of the day in dress, language, manners and literature. These plates contain over fifty figures with text contributed by Percival Leigh" (Field). ".The French fashion plates created the right spring-board for this satire; the French caricaturist Gavarni was a fashion illustrator for Le Journal des Gens du Monde, 1831, so that the humour and accuracy in costume caricature often went together. Leech was very quick to spot this and produced in 1840, a witty explosion of designs entitled The Fiddle Faddle Fashion Book and Beau Monde A La Francaise containing "numerous Highly-Coloured Figures of Lady-Like Gentlemen". The text was by his friend Leigh and the engraved plates showed a sort of unisex costume where dandies in ringlets and waisted coats actually appeared like women! The early Victorian period was the scene for great beauty in female dress and male costume was neither as drab nor as dreary as is often supposed. Early on in his career. he produced The Fiddle-Faddle Fashion Book and the early lithographs pay great attention to both the dandy and the fashionable lady. Leech's acutely observant eye was always watching out for the over-fastidious, the superfinely frivolous, so that he could engage their foibles with his pencil. Fiddle-Faddle was done under the influence of [George] Cruikshank, and particularly under that side of Cruikshank that had created the Monstrosities plates of the late 'twenties. Leech's approach to fashion was therefore tinged with Regency satire but more liberally diluted with straightforward Victorian incredulity and disapproval! His attitude to caricaturing fashion can be seen very clearly if one looks closely at Leech himself as the fashionable man." Simon Houfe. John Leech and the Victorian Scene, pp. 39 & 139. Artist and illustrator John Leech (1817-1864) provided the illustrations for Dickens' A Christmas Carol, amongst other celebrated Victorian volumes, and was one of the first illustrators for the classic satirical journal, Punch. He established "a convention of social humour that was to last until the 1920s.Extravagantly praised by Ruskin, Leech's often careless but never crude drawings have survived in charm and humour to give us a refreshing glimpse of mid-Victorian society" (Simon Houfe, The Dictionary of British Book Illustrators and Caricaturists 1800-1914). Percival Leigh (1813-1889) ". comic writer, son of Leonard Leigh of St. Cross, Winchester, was born at Haddington on 3 Nov. 1818. He was educated for the medical profession at St. Bartholomew's Hospital, where he made acquaintance of his fellow-students, John Leech [q. v.], Albert Smith, and Mr. Gilbert à Beckett. He became L.S.A. in 1834, and M.R.C.S. in 1835, and resolved to practice his profession; but he soon abandoned medicine for literature. In 1841 he became a member of the 'Punch' staff very shortly after its formation, and he contributed to that journal until his death. Leigh was a good friend to Leech, whom he helped in many difficulties, and was also intimate with Thackeray. He was a good amateur actor, and with Dickens, Leech, and Jerrold was a member of the company which acted Ben Jonson's 'Every Man in his Humour' on 21 Sept. 1845, at Miss Kelly's Theatre, Dean Street, Soho (now the Royalty). Leigh played Oliver Cob. He never lost the interest in science which his early training had given him, and was jocularly known to his friends as 'The Professor.' Frith has noted his 'quaintly humorous conversation.' In 1850 Leigh lived at 10 Bedford Street, Bloomsbury, but before 1860 he had removed to Oak Cottage, Hammersmith, where he led a secluded life, and died on 24 Oct. 1889. He was the last survivor of the early writers in 'Punch.' His wife, Letitia Morrison, predeceased him." (Wikipedia). Abbey, Life, 308; Field, p. 40.
Wind in the Willows

Wind in the Willows, The

GRAHAME, Kenneth; ROBERTSON, Graham, illustrator A Near Fine First Edition of Kenneth Grahame's Children's Classic In the Original 'Second Issue' Pictorial Dust Jacket GRAHAME, Kenneth. ROBERTSON, Graham, illustrator. The Wind in the Willows. With a frontispiece by Graham Robertson. London: Methuen and Co., [1908]. First edition. Small octavo (7 1/2 x 4 7/8 inches; 190 x 124 mm.). [8], 302, [1, blank], [1, printer's imprint] pp. Frontispiece with original tissue guard. Publisher's blue cloth pictorially stamped and lettered in gilt within a single gilt rule border on front cover and pictorially stamped and lettered in gilt on spine. Top edge gilt, others uncut. Early ink signature "Bloomfield" on front free endpaper. Minimal rubbing to corners and spine extremities, the gilt bright and fresh. Some scattered light foxing otherwise a near fine copy in the second issue publisher's pictorial peach color dust jacket printed in black with price of 7/6 instead of 6/-. Front flap with neat five-line ink manuscript 'Recipe for Limericks' on verso. The spine of the dust jacket slightly darkened, a couple of tiny chips at head but certainly one of the best, totally original and unrestored jackets that we have seen. Housed in a three quarter dark green morocco over cream buckram boards, spine with five raised bands, lettered in gilt in compartments. The last copy in the first issue dust jacket to appear at auction fetched £60,000 ($75,000) at Sotheby's London, June 15th, 2015 (lot 46). The Wind in the Willows, "one of the central classics of children's fiction, was Grahame's fourth book. It began life as a series of bedtime stories told to his son Alastair, known as Mouse. the first of these was told on Mouse's fourth birthday, 12 May 1904, and concerned 'moles, giraffes & water-rats', these being the animals the boy had selected for subject. Probably the stories continued at intervals over the next three years; certainly a lengthy narrative in which Toad played the principal part (and in which there were no giraffes) had been begun by May 1907. During that month Mouse was on holiday on the South Coast with his governess, Miss Stott, and his father wrote him a series of story-letters. The letters, some of which were addressed to 'Michael Robinson', Mouse's pet name for himself, continued every few days until September (there are 15 in all, with one apparently missing from the series); they describe Toad's adventures much as in the published book, but pay no more that cursory attention to Rat, Mole, and Badger" (The Oxford Companion to Children's Literature). "Arthur Rackham was asked to illustrate the first edition, but was unable to accept the commission. He deeply regretted this decision, but shortly before his death he was able to illustrate the edition which was published by the Limited Editions Club of New York in 1940" (Osborne Collection). Osborne Collection I, p. 349; Grolier. One Hundred Books Famous in Children's Literature. no. 61.