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With the V.A.D. Convoys in France

With the V.A.D. Convoys in France, Flanders, Italy

Mudie-Cooke, Olive First and only edition of this collection of World War I lithographs by ambulance driver and war artist Olive Mudie-Cooke (1890-1925), signed and dated on the printed plate list. In 1916, London art student Mudie-Cooke enlisted as an ambulance driver on the Western Front, driving for both the First Aid Nursing Yeomanry (FANY) and the Voluntary Aid Detachment (VAD). For the next two years, she transported wounded soldiers along the front lines in France, Flanders, and Italy, occasionally working as a translator for the British Red Cross. Throughout her service, Mudie-Cooke sketched and painted what she saw around her: field hospitals, stalled tanks, "Hun pillboxes," blasted trees, ruined churches, a line of ambulances parked in a dark forest, "standing by for orders." Her work is characterized by a documentary eye, with close attention paid to the logistics of the relief effort and the precise damage inflicted on buildings, vehicles, and bodies at the places she names: the Somme, Ypres, Paschendael. Landscapes are eerily depopulated, compositions spare and controlled. After two years at the front, Mudie-Cooke returned to London, where her work came to the attention of the newly founded Imperial War Museum. The museum acquired a number of her paintings, and commissioned more, including the uncharacteristically sentimental "In an Ambulance: A VAD Lighting a Cigarette for a Patient" (1919). After the Armistice, the British Red Cross asked Mudie-Cooke to return to Europe to document the VAD units still in operation there, and in 1921, the Cambridge University Architectural Society held an exhibition of her wartime work. It was then that these lithographs were produced. "The artist explained to the Imperial War Museum - when she requested permission to reproduce two of the watercolours they had commissioned - that she was creating the portfolio With the VAD Convoys in France, Flanders, Italy 'chiefly as a souvenir album for the VAD ambulance drivers with whom I worked during the war'" (50/50: Fifty Works by Fifty British Women Artists). With the exception of three comic "Caricatures, Etc.," depicting the VAD driver in theory, in fiction, and in real life, the portfolio is much more than a keepsake among friends. These stark lithographs would be the only published work by Mudie-Cooke, who took her own life in 1925. The signed plate list includes thirteen images, all present here ("Caricatures, Etc.," a group of three small images mounted together, counted as a single work), with fourteen additional lithographs included as well. The lithographs on the list are: "Beaulencourt Church;" "Tank on the Ypres-Poelcapelle Road;" "Étaples Siding," "V.A.D. Convoy," "Convoy at Camiers;" "Ypres Cloth-Hall;" "Peronne;" "The Somme;" "Étaples Military Cemetery;" "Paschendael: Hun 'Pill Boxes;'" "Calais, Boulogne Harbour;" "B.R.C.S. Headquarters;" and "Caricatures, Etc." They are joined by fourteen others: "Bethune;" "Arquata: Clearing Snow Off Cars at Hospital;" "Wimereux: Volunteers Laying a Plank Road;" "Old Bordiguera Looking Toward San Remo;" "Hospital Evacuation at Night;" "Remy Convoy;" "Genoa: The Hairpin Road to the Italian Barracks;" "Night: Convoy, Camiers;" "Beaulincourt: Board Road to Bapaume, Outside 43 C.C.S.;" "Étaples Raids: Nurses and VADs Camping Out in the Woods / Drivers Standing By for Orders;" "Rouen: The Drivers Hut;" "Italian Convoy - The Crush at 11B Hospital, Genoa;" "Treport;" and "St. Martin, Ypres." It seems likely that Mudie-Cooke assembled and signed portfolios as needed, pulling prints that were ready or requested at that time. We locate four institutional holdings of With the V.A.D. Convoys in France, Flanders, Italy, each with a different plate count: two at the Imperial War Museum (one with 26 lithographs, one with 40), Southern Illinois (29), and Brown (35). Over the past decade, Mudie-Cooke's work has received renewed critical attention, usually in the context of art by women, but also in the Turner Contemporary's 2018 "Journeys with The Waste Land" exhibition. All of her recorded original art is held by the Imperial War Museum, so the handful of surviving VAD portfolios (and the individual lithographs pulled from them) are likely the only other lifetime examples of her work extant. A powerful eyewitness document of the Great War. Collection of twenty-seven lithographs of varying sizes, ranging from 3 x 4.5 inches to 9.5 x 15 inches, printed on grey or white paper, some with additional hand-coloring, some with original mounts. Original list of thirteen plates, printed in red, signed and dated "1921" by Olive Mudie-Cooke in pencil, crudely mounted to remnant of original portfolio (not present). Original tan paper wrapper with pastedown title label. Some soiling and edgewear to surviving mounts; loss to top right corner of "Italian Convoy: The Crush at 11B Hospital, Genoa" (not touching image). Lithographs, mounted plate list, and wrapper housed in a custom box.
Hymen: An Accurate Description of the Ceremonies Used in Marriage

Hymen: An Accurate Description of the Ceremonies Used in Marriage, by Every Nation in the Known World. Shewing, The Oddity of Some, the Absurdity of Others, the Drollery of Many, and the Real or Intended Piety of All. Dedicated to the Ladies of Great-Britain and Ireland

Uxorius" (pseudonym) First and only edition of this Enlightenment-era guide to marriage rites around the world, positioning English matrimony as the height of civilization, and English women as the most fortunate of wives, enjoying "liberties which foreigners can hardly give credit to." The survey begins close to home, with accounts of Jewish and Roman Catholic practices, and then surveys the wedding customs of a variety of exoticized cultures: the native tribes of North and South America, the "Bramins," the Chinese, the Persians, the Japanese, the Greeks, the "Mahometans," and the Hottentots. The more remote the nation, the more sensational the description: "Uxorius" deals lightly with accounts of foreign polygamy, incest, homosexuality, slavery, rape, and murder. "An old woman of Canada that is still fond of the sport, will adopt a prisoner of war and keep him for her own private use," while the Hottentot ceremony is performed by a priest "pissing" on the bride and groom "till he has exhausted upon them his whole stock of urine." The chapter on England promotes a public, contractual, and consensual model of marriage, while conceding that real-life unions often fall short of the ideal. ESTC T116155; Sabin 34131. A near-fine copy of an ethnographic curiosity, in a contemporary binding. Twelvemo, measuring 6.25 x 4: xx, 206. Contemporary calf, raised bands, boards double-ruled in gilt. Typographical headpieces and tailpieces. Early bookseller description ("very scarce, 12s 6d") clipped and mounted to front pastedown. Lightest shelfwear, marginal offsetting to first and last leaves.
Traits of Nature

Traits of Nature

Burney, Sarah Harriet; [Broome, Charlotte Burney Francis] Early edition of Sarah Burney's third novel, published one year after the first, a Burney family copy in a homemade binding. Sarah Harriet Burney (1772-1844) was the much younger half-sister of acclaimed novelist Frances "Fanny" Burney, whose anonymous debut Evelina was the talk of London when Sarah was a young child. Sarah grew up in the shadow of Fanny and five other half-siblings, a close-knit group who resented their father Charles Burney's second marriage to Sarah's mother. Always something of an outsider in her own home, Sarah struggled, throughout her life, to forge stable family relationships, setting up house with her half-brother James for a period, and caring for her father in his last years, only to be effectively disinherited all the same. Sarah's first two novels were published anonymously, without great success, but Traits of Nature, the first to appear under her own name, went through multiple editions in England and the United States. The young heroine Adela Cleveland, exiled from her family as a child, eventually finds happiness in marriage, but the real drama of the novel is in the contempt Adela endures from her hostile relations: "in the midst of society, to experience loneliness; in the thickest concourse, to feel like an outcast; and amongst a multitude of eager speakers to be the only being to whom no one addresses a word." This copy of Traits of Nature belonged to Sarah's youngest half-sister, Charlotte Burney Francis Broome, eleven years her senior: "I loved her warmly and fondly, -- perhaps the best of any of my family" (The Letters of Sarah Harriet Burney, xxxiii). The original publisher's paper boards have been neatly but inexpertly covered in silk, with handwritten labels pasted to the spines: very possibly Charlotte's own work. A poignant association copy of the novel Sarah Burney considered her best, with notable parallels to her own precarious family position. Five octavo volumes, measuring 7.5 x 4.5 inches. Original paper boards covered in green silk, manuscript paper spine labels. Publisher's advertisements present, text uncut. Ink ownership signature of Charlotte Broome facing half-title in each volume. Light shelfwear to silk bindings, spines toned to brown, partial loss to spine labels.
Le Musée des Dames et des Demoiselles. Règne Animal 1-3 (Les Oiseaux

Le Musée des Dames et des Demoiselles. Règne Animal 1-3 (Les Oiseaux, Les Insectes, Les Papillons), Règne Végétal 1-2 (Les Fleurs, Les Fruits), Règne Minéral (Les Minéraux et Les Coquillages)

EDUCATION] Complete set of natural history guidebooks for French ladies, covering the animal, vegetable, and mineral kingdoms. The brilliant hand-colored plates depict staged tableaux of butterflies, insects, and birds; mixed bouquets of flowers and fruits; and a cabinet stocked with minerals and seashells. The subject matter reflects the nineteenth-century vogue for collecting, cataloguing, and arranging natural specimens, a scientific pursuit deemed appropriate for women and girls. Text in French; publisher's imprint located in Les Fleurs. Gumuchian 4234 (volumes), 4232 (box). OCLC locates holdings at ten American institutions. Bright, near-fine examples, housed in the publisher's original box. Six twelvemo volumes, measuring 5.75 x 4 inches: 36 pages each. Original glazed pastel paper boards in different shades, upper boards elaborately blindstamped with oval gilt-ruled color pictorial pastedown labels. Hand-colored, tissue-guarded lithographic plate in each volume; title vignettes and tailpieces. Lightest soiling and shelfwear to bindings; occasional faint foxing; chip to lower margin of front free endpaper in Les Oiseaux. Housed in publisher's decorative card box covered in ivory and gold embossed paper, lined in green paper, with calligraphic title lithographed on lid.
The Handmaid to the Arts. . . . A New Edition

The Handmaid to the Arts. . . . A New Edition, with Considerable Additions and Improvements

Dossie, Robert] Third edition, revised and expanded, of this important guide to the industrial arts and decorative trades, following editions of 1758 and 1764. The work includes detailed chapters on painting, gilding, casting, lacquering, engraving, glassblowing, ceramics, and marbling, with the aim of improving England's "skill and taste, in the execution of works of design," a field the French had historically dominated. The encyclopedically knowledgeable author, Robert Dossie, was supported in his bid to join the newly founded Society for the Encouragement of Arts, Manufactures, and Commerce by no less than Samuel Johnson: "of the objects which the Society of Arts have chiefly in view, the chymical effects of bodies operating on other bodies, he knows more than almost any man" (Life of Johnson). ESTC notes that the London imprint on this 1796 edition is false; the volumes were likely printed in York. A near-fine copy of a rich historical resource, in a handsome contemporary binding. Two twelvemo volumes, measuring 6.75 x 4 inches: xxv, [3], [25]-344; xx, [13]-324. Contemporary full tree calf, raised bands ruled in gilt, red morocco spine labels lettered in gilt, gilt numerals to spines. Appendix and index in Volume II. Armorial bookplate in each volume; small ink note to front free endpaper of Volume I. Marginal browning to first and last leaves; occasional light scuff to boards.
African Cities Are.

African Cities Are.

Bernheim, Marc (photographer); Bernheim, Evelyne (photographer); Wright, Betty Atwell (author); Dietz, Betty Warner (editor) First edition of this striking photobook, part of Betty Atwell Wright's Urban Education Studies, "a fascinating group of albums designed primarily for teaching urban slum children" (Library Journal 91:1, 1966). Wright's Special City Albums included chart-sized photobooks on New York, Washington, Chicago, Detroit, Denver, San Francisco, and Los Angeles, as well as two photobooks on cities overseas: the first on Tokyo; the second, this survey of African cities. Rather than teaching historical or geographical facts, the Special City Albums were designed to draw inner-city children into conversation about their own experiences: "The urban child meets himself in these pictures, which were selected to inspire discussion. He recognizes himself and others and is able to talk about thoughts, feelings, and hopes." The albums were also intended to give "children of upper and middle socio-economic areas a sensitivity to real living in great cities." The photographs of Africa are almost all the work of Marc and Evelyne Bernheim, who published a number of children's books about Africa in the late 1960s and early 1970s. In keeping with the educational aims of the Special City Albums, the images are not identified by city or nation. Instead, they focus on urban Africans across the continent living their lives: children lining up for ice cream, a family playing a game of mancala, a man in tribal dress riding a city bus, a woman learning to read, supermarket shoppers, worshippers in church, factory workers and doctors, architects and airline pilots. OCLC locates only one holding, at Duke. A near-fine example of a scarce and stunning book. Spiral-bound photobook, measuring 18 x 18 inches: [48]. Glossy photographic card boards, printed recto and verso. Thirty-six black and white photographs (twenty-four recto and twelve verso), printed on heavy card stock. Boards lightly soiled and creased.
Ireland's Literary Renaissance

Ireland’s Literary Renaissance

Boyd, Ernest; [Joyce, James]; [Joyce, Stanislaus] "New Revised Edition" of Ernest Boyd's classic survey of the Irish literary revival, the first to include James Joyce as a subject, inscribed by Joyce to his younger brother. Boyd published the first edition of Ireland's Literary Renaissance in 1916. Moving away from celebrated Anglo-Irish writers like Oscar Wilde and George Bernard Shaw, Boyd focused on the late nineteenth-century revival of interest in Celtic history, folklore, and mythology, with three chapters on William Butler Yeats at the center. Joyce's Dubliners and A Portrait of the Artist as a Young Man were already well-known to serious readers on both sides of the Atlantic, but Boyd dismissed Joyce's writing in a single line: "curious studies of lower-class city life." His decision to write Joyce out of Irish literary history was noted by critics like John Quinn, who expressed his hope that "Joyce would be given a separate chapter in a second edition" (Kiely, "The Go-Between," 27). In this revised edition of 1922, Boyd admits Joyce (and his experimental new novel Ulysses) to the modern Irish literary pantheon, although he characterizes fiction as "the weak point of the revival." Writing in the wake of the Easter Rising and Bloody Sunday, Boyd notes that the recent political turmoil has distracted the Irish from literary concerns altogether: "There is no sign of the influence of James Joyce in his own country, although his daring technique has manifestly arrested the attention of some of his English contemporaries." Still, Boyd concedes that "no Irish writer is more Irish than Joyce," given the "almost incredible faculty of detailed material observation" that informs his depiction of Dublin: "the matter is as local as the form is universal." Ever sensitive to slights from the Irish, Joyce seems to have appreciated his belated inclusion in Ireland's Literary Renaissance, making a gift of this new edition to his beloved younger brother, Stanislaus Joyce, and signing his name as he did for his family alone: "To Stannie / Jim / Paris / 6 September 1923." A great association copy, and a decisive moment in Joyce's critical reception. Octavo, measuring 9.5 x 6.25 inches: [2], 456, [6]. Original dark green cloth lettered in gilt, top edge stained green, other edges uncut, some signatures unopened. Ink presentation inscription from James Joyce to his brother Stanislaus on front free endpaper; a few words in Joyce's hand, indecipherable, on rear pastedown. Occasional pencil annotations. Bookplate of Alexander Neubauer to front pastedown. Hinges split, closed tear to page 405, lightest shelfwear. Housed in a custom chemise and slipcase.
Wooings and Weddings in Many Climes

Wooings and Weddings in Many Climes

Miln, Louise Jordan First edition of this anthropological survey of courtship and wedding customs, richly illustrated with photographs of brides and bridegrooms from around the world. Louise Jordan Miln began her career as a regional American stage actress: she and her actor husband traveled through Australia, India, Burma, China, and Japan, inspiring her 1894 memoir, When We Were Strolling Players in the East. She went on to a prolific career as a writer of travel narratives and novels, most with a decidedly Orientalist slant. In Wooings and Weddings, Miln argues that "marriage is the most important act," an institution that unites all nations. Given to casual remarks like "the Japanese are the French of the Orient," she indulges enthusiastically in every imaginable ethnic stereotype over the course of the book's four hundred pages. The enduring appeal of Wooings and Weddings lies in its images, which testify to a growing popular interest in photographs of faraway places and peoples; the book was published just as National Geographic was reinventing itself as a photographic magazine. While several European countries are discussed, the photographs focus on weddings in comparatively closed, traditional societies - Brittany, Southern Italy, Hungary - likely to seem exotic to a reader in London or New York. A near-fine copy of a fascinating period piece. Single volume, measuring 8.75 x 5.5 inches: xx, 395, [1]. Original blue patterned boards stamped in white, black, and gilt; top edge gilt, other edges uncut. Illustrated with forty-eight black-and-white photographic plates, index at rear. Scattered foxing, lightest rubbing to extremities, hinges repaired.