George Bayntun

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The Wakefield Second Nativity Play.

The Wakefield Second Nativity Play.

Woodcut title (partly hand-coloured) and 26 large woodcuts (21 hand-coloured, five black and white) each mounted and with the original tissue guard, hand-coloured initials, decorations and illustrations throughout the text. First Edition. Small 4to. [261 x 196 x 16 mm]. [40]ff. Bound in the original cream boards backed with grey paper, with woodcut label on the front cover, yellow and white decorated endleaves. (Corners bumped, covers a little soiled). There is a label on the verso of the front free endleaf stating that this is No.23 of 100 copies. It is a very good copy with just a little spotting at the edges. This is the most delightful production. At Christmas 1917 the children of the Hall School at Weybridge in Surrey, mostly aged between 11 and 13, gave performances of the Wakefield Second Nativity Play to various audiences, including nearly 600 munition workers in a canteen of a London factory. The play probably dates from the 15th century and was modernised by the school's headmistress, Miss Gilpin - with "direct and striking relation to the happenings of to-day". The stage and costumes were also designed at the school and the performances attracted great attention and mesmerised both audiences and reviewers. Following on from this the children (numbering about 30) published this book of the play, under the supervision of Miss Gilpin and the art mistress, Miss Gillespy. The text, with poems and their musical settings, was pen-written by the children and lithographed from manuscript, and the "woodcuts" and endpapers of the binding were designed and cut in linoleum and coloured by hand. The illustrations are remarkable, both in terms of composition and colour. The book was sold through Constable for £2 2s.
Histoire Anecdotique De La Vie Et L'Oeuvre De Charles Dickens. L'Inimitable Boz.

Histoire Anecdotique De La Vie Et L’Oeuvre De Charles Dickens. L’Inimitable Boz.

PONTAVICE DE HEUSSEY (Robert Du). Double-page and folded engraved plate of medallion portraits of Dickens by Maison Quantin after F. Courboin (short tears at folds). 8vo. [230 x 137 x 28 mm]. viii, 397, [3] pp. Contemporary binding of brown goatskin, the covers tooled in gilt with a border of two dotted and solid triple fillets enclosing an all over design of a repeated flower, wreath and small flowerhead. The spine divided into six panels by raised bands and gilt compartments, lettered in the second and at the foot, the others with the flower, surrounded by the wreath and small flowerhead, the edges of the boards tooled with a gilt fillet, the turn-ins and matching inside joints with gilt rolls, green and gold floral patterned endleaves, marbled flyleaves, uncut edges. (Small repair at foot of spine). The unpublished proofs of the first printing of Pontavise De Heussey's biography of Dickens's, L'Inimitable Boz. Almost every page has multiple corrections, errasions and additions - the author was certainly not happy with his first draft and the printer may well have been frustrated by the amount of work involved. Each signature has Maison Quantin's ink stamp with the dates recording the progress of the pages through the press. The verso of the title has the revised version, and the book was eventually published by Quantin in 1889. At the front there is a long and rather melancholic six page manuscript (on the recto of six leaves of squared paper) addressed to "mes meilleurs amis, Alice et Jules Berthois", signed by the author and dated 5th February 1889. Robert Du Pontavice De Heussey (1850-1893) was the son of the poet Hyacinthe, and he also wrote a biography of Auguste de Villiers de L'Isle-Adam, published in Paris (by Albert Savine) in 1893.
Hymns Adapted to Divine Worship:In Two Books. Book I. Derived from select Passages of the Holy Scripture. Book II. Written on sacred Subjects

Hymns Adapted to Divine Worship:In Two Books. Book I. Derived from select Passages of the Holy Scripture. Book II. Written on sacred Subjects, and particular Occasions. Partly collected from various Authors, but principally composed by Thomas Gibbons, D.D

GIBBONS (Thomas). First Edition. 8vo. [174 x 102 x 20 mm]. vii, [xxv], 254, [2] pp. Contemporary binding of green goatskin, the covers with a gilt double fillet border. The spine divided into six panels with gilt tooled raised bands, lettered in the second on a red goatskin label, the others with a large floral tool and sprigs, the edges of the boards and turn-ins tooled with a gilt zig-zag roll, marbled endleaves, gilt edges.ESTC locates 13 copies of this first edition, with some notable absentees, including Oxford and Princeton. It was republished in 1784. A fine copy. The final leaf lists eight books "Published by the same Author". Thomas Gibson (1720-1785) was ordained in 1743 as minister of the Independent church at Haberdasher' Hall, and in 1754 was elected as tutor in logic, metaphysics and rhetoric at the Mile End dissenting academy, which moved to Homerton in 1769. He was a Sunday evening lecturer at the meeting-house in Monkwell Street from 1759. He raised funds for New Jersey College, the forerunner of Princeton, which awarded him an M.A. in 1760. In 1764 he received the degree of D.D. from Aberdeen University. According to ODNB "Gibbons was a highly influential figure in eighteenth-century evangelical dissent". He was a close friend of Isaac Watts, and wrote his first biography, using Watts's own papers and correspondence. He found favour with the Countess of Huntingdon and even Dr. Johnson took to him, perhaps surprised to encounter a dissenting minister who could entertain him. Many of his 45 publications were sermons for funerals or patriotic occasions. His hymns and poetry attracted a measure of satirical criticism from outside his circle. His diary, kept from 1749 until the day he suffered a fatal stroke in the Hoxton Square coffee house, "is an invaluable account of the life of a busy eighteenth-century London minister with wide interests and acquaintance".
A tin trunk measuring 140 x 355 x 237 mm containing 168 letters sent to Bill Parry by girlfriends

A tin trunk measuring 140 x 355 x 237 mm containing 168 letters sent to Bill Parry by girlfriends, family and friends while serving aboard H.M.S. Ruler,

PARRY (William B.) Each in the original envelope dated from 23rd November 1943 to 26th December 1945, along with personal effects and documents. William ("Bill") Parry was born in 1920, came from Bath, and served aboard HMS Ruler during the last two years of World War II. The ship was a Ruler-class escort aircraft carrier, built in the USA in 1943 and transferred to the UK in December 1943, with the pennant number D72. She served in the North Atlantic during 1944, and was transferred to the Pacific in early 1945, supporting a raid on Truk and the campaign to take Okinawa. From March to August she was part of the British Pacific Fleet attached to the 30th Aircraft Carrier Squadron. After the war she was returned to Norfolk, Virginia, sold in May 1946 and scrapped within the year. This trunk accompanied Bill on his travels and the contents reveal much about his personal life. There are 18 letters and cards from his mother Bessie, who married John Doman ("The Old Man") in October 1944. Each begins "My dear son Bill" and keeps him informed of the comings and goings at home. Bill had three sisters, Vera, who sent three letters, Violet, who sent six, and Doris, who sent 16. Violet served as a nurse at various camps in England and Wales, and was shocked at the news of Bill's girlfriends; and Doris was in the Auxiliary Territorial Service, which offered her "comparative freedom". She was not too keen on Bath, complaining that it was "too old, decrepid and dirty" and dreaded having to go home to live with her mother and "The Old Man". She was depressed by the "extreme male shortage", reckoning that there were six women to every man. She did, however, let slip that she had dated a married man for two years, and saw many others in between. Bill's brother Jack worked in the Land Army and wrote 13 letters. He had a girlfriend, Sissie, but had a keen interest in others, including Bill's "friend" Rita, and enjoyed his visits to Bath, where there were plenty of "dames". Bill's male friends, Boz, Vic, Taff and O. James each wrote a single letter, the last named being the most interesting, with reference to Japan ("what a thrill to be at the death in Tokyo Bay"), the pitiful state of the returning Prisoners of War (Bertie Plumley had been reduced to eating cats) and the end of the war ("It's quite a treat to see all the lights again - Burrington looks quite gay at nights now after years of black out"). The fun really starts when we get to Bill's letters from his girlfriends. 71 of them are from Ethel, a nurse at Bristol Royal Infirmary, who Bill proposed to on 17th January 1945, when she was just 18. She must have had some idea of his wandering eyes, as she caught him with another girl the previous October and threatened to cease all correspondence. The letters did keep coming, but she quickly resigned herself to the ways of the world in war times. By April she was writing "I don't expect you will even remember them but we came to an agreement that one could go with the opposite sex". In June she sent a photograph of herself, and commented "I guess you are pretty popular with the girls, & Bill, I trust you so there is no need to be anti-feminist". In July Bill received the news: "It is only fair to tell you that I have been going out with a very nice boy in the navy", and a month later Ethel sounded surprised: "I had no idea you would take it so seriously about John". Bill's response was to ask her if she fancied an affectionate letter, to which she replied: "No, I Iike the way you write your letters, they are always so interesting. Don't change them". In between Ethel discusses life on the home front, her work (7.30 am until 10.00 pm with half an hour break) and news (the concentration camps horrified her, and she confessed: "It makes me ashamed of my own sex, to think that women should have a hand in all the atrocities that have been commited"). Next to Ethel's bundle of letters are correspondence from six other "sweethearts". Bill met Edith, an American weight-lifter living in Boston, while in Virginia in November 1944. She mentions one man "who comes 800 miles to see me for just a few hours", and another who "doesn't kiss anywhere near as beautifully as you". She further flatters Bill: "More laurels for your ego - for a mere man your handwriting surprises me". She is still going strong in July 1945: "I'm so very angry at the powers that be that keep me from keeping your morale up". "Seems funny to hear confirmed bachelors estoll the virtues of their blessedness and to hear countless complaints from men at sea about the scarcity of women. In spite of our often flaunted faults men still want us. Some consolation in this manless world. And the men that are left! Better they never should have happened!!" By April 1945 Bill is also in touch with Mavis in Jervis Bay, Australia, and he receives four racy latters from her. She assures him: "Yes you are the finest sailor I have ever written to - and what a one to start on". She repeatedly expresses concern at his well-being: "So glad you were able to use up all your surplus energy by playing deck [though it looks like "dick"] hockey, you really should do that more often - I am sure it would make a different man of you"; and: "So you haven't seen a woman for weeks?? Well I just bet you will be a REAL WOLF next time you strike land!! Maybe we had better not discuss that subject any further!!". All this time Bill is receiving 14 letters from Rita from Newport in Wales. She addresses him as "Brown Eyes" and worries about his drinking ("Of course where there is beer there is Bill" and "pity the bar maid wasn't a bit younger"). In October 1944 she writes: "Well I didn't know you only wanted a pen-friend, by the way the last night we were together it didn't seem as though you only wanted a pen-friend, at least it didn't to me. Perhaps that girl will cheer you up more than I can". The following January she asks: "are you married, or perhaps you are engaged or you have a steady girlfrien
La Légende de Saint Julien L'Hospitalier. Illustrée de Vingt-Six Compositions par Luc-Olivier Merson Gravées a l'Eau-Forte par Géry-Bichard. Préface par Marcel Schwob.

La Légende de Saint Julien L’Hospitalier. Illustrée de Vingt-Six Compositions par Luc-Olivier Merson Gravées a l’Eau-Forte par Géry-Bichard. Préface par Marcel Schwob.

FLAUBERT (Gustave). 26 engravings, each in three states. 8vo. [257 x 160 x 30 mm]. [1]f, xxx, [ii], 72, [2], 4 pp. Bound by Marcellin Lortic (signed in gilt on the front doublure) in brown goatskin, plain covers, the spine divided into six panels by raised bands, lettered in gilt in the second, the edges of the boards tooled with a gilt roll. Doublures with a border of red goatskin tooled in gilt with arabesque fronds and small green goatskin flowerhead onlays and compartments of lighter red goatskin with gilt deer heads, framed by strips of black goatskin flanked by gilt fillets, enclosing a central panel of lighter brown goatskin tooled to a gilt lattice and fleuron design, brown silk free endleaves, marbled paper fly leaves, gilt edges.Limited to 500 copies, this is no.76 of 200 on "papier du Japon or grand vélin d'Arches". It has the prospectus bound in at the end, along with the original wrappers. A fine copy in a Jansenist binding by Marcellin Lortic (1852-1928). The son of Pierre-Marcellin, Lortic fils worked briefly with his brother, Paul, before establishing himself independently in 1884, in the family workshop on the rue de la Monnaie in Paris. Though by temperament a traditionalist , he developed a flare for rich and elaborate designs. These caused fierce debate among collectors and binders, who divided into opposing groups: "Lorticophiles" and "Lorticophobes". His clients included de Saint-Chamant, Meynial, Delacoeur and Hirsch. In the 1890s he embraced the Art Nouveau style, and during World War I he executed several covers decorated by Giraldon for Henri Vever.
Le Livre D'Amour.

Le Livre D’Amour.

Additional title printed in gold and pink, the regular title in red and black. Woodcut initials. 8vo. [180 x 145 x 27 mm]. [4]ff, 454, [2] pp. Contemporary binding by Gruel (signed in gilt on the front doublure) of citron goatskin, the covers tooled in gilt with a fillet border and an inner panel of fillets and gouges with onlaid strips of brown goatskin, the spaces between filled with long stems, onlaid green goatskin leaves, onlaid pink and yellow flowerheads and onlaid red goatskin ribbons, with a trophy tool and the front with initials in the panel. The spine divided into six panels with raised bands and gilt compartments with small flowerheads at the corners, lettered in the second and third, the first and sixth with a large bunch of flowers with yellow, green and red onlays, the fourth and fifth with a smaller bunch with pink, yellow, green and red onlays, the edges of the boards tooled with a gilt roll, blue goatskin doublures with a border of five gilt fillets, silk free endleaves woven with a woodland design, top edge gilt, the others uncut and differing widely in width, original white wrappers with gilt fleur-de-lis bound in. In a felt lined chemise of quarter goatskin and marbled sides. (Chemise worn). Limited to 230 copies, of which this is no.19 of 20 of the superior state on "grand papier parchemin du Japon (Insatsu Kioku)". It is a fine copy, inside and out, in a pretty binding from the workshop of the great Léon Gruel (1841-1923). The work does not appear on COPAC and WorldCat locates two copies, at New York Public Library and Colorado State University Morgan Library. It erroneously attributes it to Charles Augustin Sainte-Beuve, on the basis of his edition of poems with the same title published in Paris in 1843. The poems in this New York edition are by a variety of French poets, and the dedication and limitation are both signed "B.B.H." He, or she, does not appear in the list of Grolier Club members. In 1887 Gruel published Manuel Historique et Bibliographique de l'Amateur de Reliures, in which he stated his belief in a "synthesis of styles", arguing for the acceptance of non-traditional decoration for modern bindings. His emblematic and pictorial covers tended to antagonise the purists and he was accused of sacrificing good taste in his attempt to make his work descriptive, and thereby more commercial. This binding is in his more conventional style, perhaps with the American market in mind.
The Thousand and One Nights

The Thousand and One Nights, Commonly Called, in England, The Arabian Nights’ Entertainments.

LANE (Edward William). A New Translation from the Arabic, with Copious Notes. By Edward William Lane, Author of "The Modern Egyptians". Illustrated by many Hundred Engravings on Wood, from Original Designs by William Harvey. First Edition. Three Volumes. 8vo. [261 x 163 x 155 mm]. xxxii, [ii], 618, [2] pp; xii, 643, [1] pp; xii, 763, [1] pp. Bound in the original publisher's green cloth the covers blocked with a blind border and a gilt block of a camel and driver on the front and two seated ladies on the rear, gilt spines, light yellow glazed endleaves, untrimmed edges. A remarkably fine set - almost as good as new. Originally issued from 1838-41 in 32 parts and with copious notes, this is the first appearance in book form of what is generally acknowledged to be the first accurate translation into English of the classic story of Scheherazade. The first European translation, into French, was Antoine Galland's 1704-17 12 volume free rendering of the oldest known manuscript of 1548. An anonymous English version, known as the "Grub Street" edition, was published in 1706, and John Scott's more literal translation appeared in 1811. Lane declared that Galland "had excessively perverted the work" and his "acquaintance with the Arab manners and customs was insufficient to preserve him always from errors of the grossest description". ODNB states that Lane's edition "reigned as the leading English translation of the Nights for decades, and its copious notes are stimulating micro-essays of enduring value". John Payne's translation appeared in 9 volumes in 1882-84, and Sir Richard Burton's 10 volumes was issued to subscribers by the Kamashastra Society of Benares in 1885-86. Edward William Lane (1801-1876) attended grammar school at Bath and Hereford, the home towns of his mother and father. He served an apprenticeship as an engraver under Charles Heath in London before departing for Eygpt in 1825, likening his feelings to those of "an Eastern bridegroom, about to life up the veil of his bride". His discoveries led to the publication of An Account of the Manners and Customs of the Modern Egyptians (1836), Selections from the Kur-án (1843) and his monumental Arabic-English Lexicon (1863-1893). His encyclopedic annotations to the Nights were edited by his great-nephew Stanley Lane-Poole and published in 1883 as Arabian Society in the Middle Ages.
Illustrated Guide for Tourists

Illustrated Guide for Tourists

HACKETT(Richard) - publisher]. in Search of Recreation, Health and Information, to the Various Watering Places and Manufacturing Towns in England. By the Author of "Silk Culture in America", "Wine and Wool Raising", "Sheep and Sheep Farming" etc, etc. For 1875-6. Four original photographs mounted on separate plates, large folding map, illustrated advertisements. First Edition. 8vo. [187 x 124 x 25 mm]. xi, [i], 246, [2] pp. Bound in publisher's original blue cloth over bevelled boards, the front cover blocked in black and gilt with the title at centre, the rear cover blocked in blind, the spine in black and gilt, light yellow endleaves, plain edges. (Rubbed and a little marked). With an errata slip before the half-title. There are advertisements throughout the text, and three of the leaves are not included in the pagination. The four photographs are of Warwick Castle, Kenilworth Castle, Shakespeare's House at Stratford-upon-Avon and Washington House (Geo. Wostenholm & Sons, Sheffield). A very good copy. The Preface is signed "J.A.W." and dated June 1875. There is a pencil note identifying the author as John Warren. COPAC and WorldCat locate only a single copy of this edition, at the British Library. There was also an edition for 1876-77 published by Hackett and Rawlinson, with one copy on COPAC at Birmingham University, and six on WorldCat, including Manchester University. This later edition names the author as "Renwar".