Ian Brabner, Rare Americana

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1799 ALS to American Historical Painter and Portraitist Ralph Earle seeking His Tuition of Young Artist

1799 ALS to American Historical Painter and Portraitist Ralph Earle seeking His Tuition of Young Artist, William Southgate]

John Southgate; [Ralph Earle, sometimes Earl, (1751-1801)]; [William Southgate (1782-1811)] Leicester [Massachusetts], September 14, 1799. 1-page. Autograph Letter Signed. Folds; some staining at upper left; short splits and overall weakness at fold lines; good. 1799 letter of introduction addressed to American historical painter and portraitist Ralph Earle (1751-1801) seeking his trial tuition of a young artist ".long enough to satisfy your self and him whether it is worth his while to endeavour to obtain your Art." Ralph Earle is famed for his four iconic paintings "Scenes of the Battle of Lexington" which were subsequently engraved on copper by Amos Doolittle (1754-1832) and published in New Haven in 1775. As the DAB notes: "[T]hey have been celebrated as among the first historical paintings to be produced in this country." Here, John Southgate of Leicester, Massachusetts writes to Earle on behalf of his 17-year-old son, William Southgate (1782-1811), who would later go on to become a portraitist as well: "Sir, My Son William Southgate the Bearer here is Verry Desirous to obtain an opportunity to spend some time under your Tuition in in the Art of Painting and Drawing &c." William Southgate, who also studied with artist Gilbert Stuart (1755-1828), was remotely related to Ralph Earle. John Southgate alludes to this family relationship in a not-very-subtle postscript: "P.S. Some of your Friends suppose my son has so much Earle Blood in him that he will not fail of making himself master of your Art if he applyes himself to it. - I wish to see you at my House when ever you come to Leicester or Paxton." During the American Revolutionary War, Earle fled to England when his Loyalist sympathies became too apparent as he would not arm against King George III. He escaped to London where he studied under American expatriate artist Benjamin West (1738-1820) and was made a member of the Royal Academy, painting the king and other nobles. Earle returned to America in 1785 and, at one point, he was imprisoned for debt in New York. While in prison, Alexander Hamilton had his own wife, along with other women, sit for Earle in his cell for their portraits to secure Earle's release. Earle was from a family of artists and he probably also taught his son Ralph Eleaser Whiteside Earl (c.1785-1838) who was an intimate of General, later President, Andrew Jackson. The son married Mrs. Jackson's niece and later lived in the White House in the manner of a "court painter." Eighteenth-century letters specific to American painters of any note are scarce to commerce. The present letter connects two American portraitists who they, themselves, are connected to the luminaries and portraitists Benjamin West and Gilbert Stuart. Refs. DAB. Fielding. Falk's. Early American Paintings, Catalogue of an Exhibition. (Brooklyn, 1917), p24. Notes. 1. Crane, Historic Homes and Institutions and Genealogical and Personal Memoirs of Worcester County, Massachusetts. Vol. I, Illustrated (New York, 1907), p255. 2. Andrew Jackson (1767-1845) - NCMALearn [North Carolina Museum of Art] accessed online.
The Four Snow-White Albino Boys. Born of Negro Parents! As they appear in their unrivaled musical entertainments.

The Four Snow-White Albino Boys. Born of Negro Parents! As they appear in their unrivaled musical entertainments.

Thayer and Co.] Boston: B.W. Thayer & Co. [c.1844]. Broadside. Approx. 20¾ x 16 inches. Conserved and mended (treatment report available). Rare broadside advertising this African-American albino quartet, shown performing in a minstrel array, playing the bones, the fiddle, the banjo and the tambourine. The quartet was one of the earliest such traveling attractions in America, though years later P.T. Barnum would make the exhibition of Black albino families, both real and fake, a standard item on the American sideshow bill-of-fare. The broadside illustrates the "tradition" of African-Americans being presented to the American public simultaneously as performers and peculiarities. (A similar example being the conjoined twins Millie-Christine, the singers known as "The Two-Head Nightingale.") Harriet A. Washington in Medical Apartheid: The Dark History of Medical Experimentations on Black Americans. (2008) notes: "as was usual with such 'white negro' attractions [the] subjects were not of mixed race but anomalies born of black parents." Charles D. Martin in The White African American Body. (2002) speaks further to the boys' representation as "medical curiosities." There are three endorsements from Nathaniel B. Shurtlieff, M.D., S.I. Abbot, and Dr. J.V.C. Smith. The endorsements emphasize the fact that the boys are of "true negro parentage and [possess] in an eminent degree all the characteristics of the Leucoethiopes (white negroes), viz: a pearly white skin, white hair, and pink pupils of the eyes, together with all the features of full-blooded negroes.not to be mistaken for or confounded with mulattoes." These endorsements were not inconsequential. Shurtlieff would serve as Boston's 20th mayor in the 1860s. Samuel Leonard Abbot (1818-1904) graduated from Harvard medical school and was an important player in the early years of Massachusetts General Hospital. Smith served as Boston's mayor, too, but he was also the editor of the Medical Intelligencer and had received his M.D. from Williams College and studied surgery under Dr. William Ingalls of Boston. OCLC returns AAS. Examples are also found at Schomburg (NYPL), Harvard (Houghton) and LOC.
Machinal. [illustrated play typescript]

Machinal. [illustrated play typescript]

Sophie Treadwell (1885?-1970) [Kansas City, Missouri?, c.1928]. 137pp. Bound Typescript. 11¼ x 8¾ inches. Black cloth with gilt titling on upper cover; cloth reinforced hinges. Illustrated with clippings from periodicals and an October 1928 play program. A few, likely contemporary, ink and pencil annotations. Bookplate of Kenneth McM. Dickey. Some fading to spine; rubbling at head and tail of spine and at tips; very good. Original typescript for an adaptation of the important 1928 expressionist play Machinal by American journalist and playwright Sophie Treadwell (1885?-1970). The play dramatizes the life, trial, and execution of real-life murderer, Ruth Snyder, who died that same year in the electric chair of Sing-Sing Prison for killing her husband. In the play, Snyder is simply referred to as "A Young Woman." The typescript is illustrated with 14 pasted-in clippings cut out from an original 1928 Broadway program-noting actor Clark Gable in the role of her lover (his Broadway debut)-and from Theatre Magazine and other publications. The Broadway premiere ran for only 91 performances despite rave reviews by Brooks Atkinson and other critics. Machinal had a number of excellent productions internationally in the following years and is considered not only a high point in expressionist theatre but has been described as a milestone in feminist theatre. The play continues to be performed well into the present-day. Originally produced as a two-act play with ten "episodes," this adaptation presents the drama in "Eight Episodes (Continuous, or in two Parts-with Division after Episode 4)." (p9) The eight episodes of the "Young Woman's" (Ruth Snyder's) life dramatized here are entitled "Business," "Home," "Honeymoon," "Maternity," "Prohibition," "Intimacy," "Law," and "Prison (The Machine)," the last named episode referring to the electric chair. The typescript was owned by Missouri-native Kenneth McMullen Dickey (1890-1957) whose father was the sewer pipe magnate and Kansas City newspaper publisher. Kenneth wrote of his father twice (OCLC 53845040 and 12124295) and was involved in the world of drama in some manner. We speculate that Dickey may have prepared this typescript adaptation, possibly for a production of Machinal in Kansas City, quite possibly around the time of the play's production on Broadway in 1928. Page design annotations on page 24 of the typescript suggest that they were preparative for publication of this adaptation of Machinal. Playwright Sophie Treadwell had a brief career in vaudeville and the theater, studying for four months under and helping to write the memoirs of celebrated actress Helena Modjeska (1840-1909). "In 1916 Treadwell became the first accredited woman war correspondent when she was assigned to report on World War I in France for the San Francisco Bulletin. Upon her return to the United States in 1918, the New York Tribune sent her to cover the Mexican Revolution.her biggest coup was conducting an exclusive interview with Pancho Villa at his Mexican ranch in 1922. Critical success came in 1928 with Machinal, an expressionistic drama based on the real-life Ruth Snyder-Judd Gray murder trial, which Treadwell had covered for the Tribune. The play was a psychological study of a simple young woman seeking escape from a whining mother, a monotonous job, and a loveless marriage. She and her lover, played by Clark Gable in his Broadway debut, murder her husband, but the young man flees to Mexico, and her dream of freedom ends with her execution. The critics were impressed by the play. Alison Smith described it as 'a stabbing, desperate, compassionate recital of a bewildered woman caught in life's machinery,' echoing Treadwell's own description that 'it is all in the title-Machine-al-machine-like.'" (ANB) A side-by-side examination of the present adaptation with the original play may yield interesting observations. Within the decades of the 1920s, 1930s and 1940s, we locate no examples in OCLC of Machinal, under that title or any variant, other than a single typescript held in microfilm at NYPL. 1. See The Jest. Kansas City, Mo.; prepared for private distribution by Kenneth McM. Dickey, 1929.
Slave Trade. Copy of the Tenth Article of the Treaty of Friendship and Alliance between His Britannic Majesty and His Royal Highness The Prince Regent of Portugal

Slave Trade. Copy of the Tenth Article of the Treaty of Friendship and Alliance between His Britannic Majesty and His Royal Highness The Prince Regent of Portugal, signed at Rio de Janeiro the 19th of February, 1810; and published by Authority. [caption title]

King George III of Great Britain and Ireland (1738-1820)]; [Prince Regent John, later John VI, of Portugal (1767-1826)] London: G. Ellerton, Printer, Johnson's Court, [c.1810]. [1]p. Circular. Bifolium. 9 x 7¼ inches. Folds; light toning, short closed edge-tear; split at top of fold, very good. Unrecorded circular proposing new policies to enable the gradual abolition of the African slave trade in Portugal, reprinted from the 1810 Anglo-Portuguese Treaty of Friendship and Alliance. London's G. Ellerton printed numerous anti-slavery and reform items. Boldly titled "SLAVE TRADE" and wide-margined, we posit the circular served as an anti-slavery tract used by supporters of the abolitionist cause. By 1810, no European nation was more deeply involved in the Trans-Atlantic slave trade than Portugal, including its territories in Brazil (where this treaty was signed); they had to be reckoned with if the abolition of slavery was to come to fruition. Crown Prince John of Portugal conceded "the injustice and impolicy of the Slave Trade" and agreed to modulate the purchasing and trading of slaves by 1.) respecting Britain's (and other European powers') policies discontinuing the African slave trade in their African colonies and 2.) only "purchasing and trading in Slaves within the African dominions of the Crown of Portugal," certain exceptions, however, remaining in effect. The 1810 Anglo-Portuguese Treaty became law three years after the Slave Trade Act 1807-which ended the slave trade, but not slavery itself. Separately-issued; rare. COPAC and OCLC reports no copies.
Folk Art Painting of Bottle Kilns and Pottery Factory]

Folk Art Painting of Bottle Kilns and Pottery Factory]

Unkwn [Likely Great Britain. ca.1840s-1860s]. Oil on Canvas. Untitled [Landscape with Pot Bank]. 62cm x 76cm unframed. (Approx. 241?2 x 30 inches). Professionally cleaned, conserved and re-lined (full treatment report with photo documentation available on request). Nineteenth century landscape painting documenting a "Pot Bank" or pottery manufactory, an industrial complex of buildings for the commercial manufacture of ceramics. Additionally, ten workers-men women and children, including a supervisor in an elevated loading bay-inhabit the smoke-filled scene, the soot from the kilns and chimneys rising in columns to meet a cloud-filled sky. This painting depicts three large bottle ovens or kilns for firing ceramics. On the right, there can be seen a smaller glost oven for firing glazed wares. The pot bank depicted here is typical of those seen in Stoke-on-Trent in Staffordshire, England, the center of the English pottery industry. According to decorative arts and material culture scholar Prof. J. Ritchie Garrison, the painting is likely English, painted in the 1840s-1860s, and depicts a manufactory similar to a surviving 19th century pot bank maintained by the Gladstone Pottery Museum in Staffordshire. He describes the scene in the painting in this way: "The long low warehouses were where the firm housed various processes used in production: molds for slip casting, wheels for throwing pots, jollying equipment for standardizing forms, facilities for making saggars into which the pots were placed for firing, and the all-important shop for refining and processing clays. The tall square chimneys were for heating and for the steam engine that was typically involved in mixing the clays. The pit in the foreground may actually have been a used up coal seam as the general ratio was as much as 10 tons of coal to one of clay in order to run a pot bank: the point being that the important geography was the coal seam with the clay generally imported from various parts of the U.K. (Garrison)" The pit was also where "wasters" or very defective pottery pieces were tossed away. The labor of several of the workers seen in the painting is oriented toward this pit, the men, women, and children moving toward it carrying buckets possibly containing wasters. Prominent is the center is a man driving a horse-drawn wagon and, behind him in the upper doorway or loading bay, a male supervisor. The wagon appears to be carrying open-top, slat-sided crates packed with what appears to be straw, this workman likely transporting finished wares-a clever simultaneous depiction of industry and commerce. It is curious to note that some of the workers seem to be posed or staged, a few even looking directly at the viewer. This documentary quality is vaguely photographic and lends an "on-the-spot" immediacy to the painting. A very unusual subject to find portrayed in this manner.
To the Voters of the 8th Congressional District. [opening lines of 1855 Harpers Ferry

To the Voters of the 8th Congressional District. [opening lines of 1855 Harpers Ferry, Virginia Know Nothing broadside]

John G. Wilson et al. Harpers-Ferry [Virginia]: np, May 21, 1855. Broadside. Approx. 9½ x 9½ inches. Wove paper; text with signatures printed in three columns. Folds and creases; some soling and foxing; small expert tissue mend at fold; very good. Over four years before John Brown's "raid" on the Harpers Ferry armory, the town is already a fault line. Unrecorded "Know Nothing" or American Party political broadside protesting a Cincinnati abolitionist Know Nothing newspaper, The Times, for spreading a "palpable falsehood" libeling party members employed at the U.S. Armory at Harpers Ferry, Virginia. The broadside's 47 subscribers, all men who worked at the Armory, claim the Ohio newspaper was seeking "to influence voters in the coming election to sustain the Know-Nothing ticket." The reference to the Cincinnati Times as an "abolition" newspaper points to a growing division among Know Nothing party members on the issue of slavery, some in favor and others opposed, specifically, as seen here, Know Nothings in the South (Virginia) separating from those in the North (Ohio). The broadside reprints a newspaper article which reported that "[a] Lodge of Know-Nothings was instituted at Harper's-Ferry." and that after officials at the armory became aware of it, ".every man was told he must either leave the Armory, or leave the American Party! .[and] that these men.were compelled against their wishes.to withdraw from the organization and make a public avowal of it." The subscribers, the men alluded to in the article, found the allegations intolerable and insulting to them "as independent citizens of Virginia." They here combine to address the electorate directly. Rare. No copies in OCLC.
1864-1882 Diaries of New Jersey Farmer and Teacher

1864-1882 Diaries of New Jersey Farmer and Teacher, Elijah Hankinson]

Elijah Hankinson (1827-1882) [Various places in Warren County and Stillwater, Sussex County, New Jersey, January 1, 1864-March 2, 1883]. Approx. [630] manuscript pages. Hand-sewn fascicles or gatherings of leaves, some leaves loose and others lacking; all leaves approx. 12 x 8 inches. Some gaps in the narrative (see description). Brief handling and some foxing; light wear with some folds, closed tears and minor losses; very good. An interesting and very substantial group (over 600-pages) of handwritten, large-format diaries kept by Elijah Hankinson (1827-1882) of Pahaquarry Township, Warren County and later Stillwater, Sussex County, New Jersey, from 1864 to 1882, when he died. All unpublished. This 19th century diary offers a good glimpse into rural life in northern New Jersey. The entries through 1872 mainly describe farming activities including chopping and hauling wood, thrashing oats, butchering beef, killing hogs the day after Christmas, husking corn, sheep shearing, tapping sap trees, building "cow stables," nearly constant repairing of his wagon and wood sleigh, repairing a small bridge, a "stone frolic," where one's neighbors come and help clear a field of stones, etc. Hankinson's personal life includes weekly Sunday church, with the subject of the sermon usually given, going to singing school, going to town with his wife, children or friends, dealing with illness and financial matters, and more. Hankinson records voting for Abraham Lincoln in the election of 1864. The following April there is an entry mentioning Abraham Lincoln's assassination and funeral, with services at churches across the land. Later he mentions Grant's election, cabinet choices etc. There are no diary entries from April 1872 to April 1874, Hankinson having business reverses during this time and losing his farm in 1873. After this setback, he returned to work as a teacher, a profession he had followed for two years as a young man. After Hankinson lost his Warren County farm, he moved his family-wife Mary C. née Schooley Hankinson (1832-1889) and 4 children (possibly 6 by this time)-to Stillwater in nearby Sussex County, where he qualified to teach again. For a while he taught at Mt. Pleasant School. Through these years, Hankinson often writes details on the subjects he's teaching, and seems more keyed in to events. In one diary entry, for February 11, 1876, he writes poignantly a visit to the grave of Rev. Jacob S. Harden who poisoned his wife and was hanged for her murder in 1860: "The grave is in the north corner of a square field, a short distance west of the dwelling house, on the farm then occupied by the murderer's father. It has settled until it is even with the surrounding earth, and has neither head nor foot stone, overgrown with blackberry briers, and nothing marks his last resting place.now intermingled with the wild briers of the field." Hankinson became ill in the summer of 1881 and needed to give up teaching that fall. He was a life-long member of the Stillwater Presbyterian Church, and the pastor, Rev. T. B. Condit, who is mentioned often in the diaries, preached at his funeral. Some of the places mentioned in the diaries include Flatbrookville, Pahaquarry, Newton, Hardwick, Blairstown, Paulina, Hope, Columbia, New Harmony, Middleville, and more, and he often talks about going to "The Fort," likely one of the French and Indian War-era fortifications in Sussex County. Ref. Fretz, A Genealogical Record of the Descendants of Andrew Newbacker of Hardwick Township Warren County New Jersey. (Netcong, N.J., 1908), pp17-18.
We Can't Wait. Join Meredith Mississippi March. Meet! Mobilize! March! "A Sunday with Martin Luther King" Sunday June - 26 Jackson Mississippi [opening lines of broadside]

We Can’t Wait. Join Meredith Mississippi March. Meet! Mobilize! March! “A Sunday with Martin Luther King” Sunday June – 26 Jackson Mississippi [opening lines of broadside]

Martin Luther King, Jr. (1929-1968)]; [James Meredith (b.1933)]; [Illinois Central Railroad] [Chicago, 1966]. Broadside. 14 x 8½ inches. Half tone and line illustrations. Horizontal center fold; fine. Unrecorded. Voting Rights broadside mobilizing Chicagoans to rally in Jackson, Mississippi with Dr. Martin Luther King, Jr. at the "Meredith Mississippi March" in support of civil rights activist James Meredith. "In June 1966 [Meredith] began a solitary protest march, which he called the March Against Fear, from Memphis, Tennessee to Jackson, Mississippi, when he was shot by a sniper. The crime mobilized many civil rights leaders to resume the march, which Meredith was able to rejoin after a period of hospitalization." (Encyclopædia Britannica) Meredith's call-to-action encouraged African American voter registration in light of the U.S. Voting Rights Act of 1965 and urged black Americans to fight racism. Meredith was the first black American to break the color barrier at the University of Mississippi. Half tone illustrations show Meredith ("recuperating from shotgun wounds") and a profile view of Dr. King's face. The text includes the Illinois Central Railroad schedule of trains leaving Chicago to go to the protest. Contact information is listed for the excursion's sponsors, the Community Ministers and Christian Workers Alliance and the Ministerial Council on Race Relations. Note. 1. James Meredith | American civil rights activist and author | Britannica [] accessed online.
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C.1894-1901 Naches Valley, Yakima, Washington Hop Ranch Photograph by E.L. Meyer]

E.L. Meyer [Edward L. Meyer]; [E. J. Hamacher (Ephraim J. Hamacher)]; [W.R. Stewart] N. Yakima, [Washington], c.1894-1901. Photograph on mount. Image 4 ½ x 7 ½ inches; mount 6 x 9 inches. Photographer's ink stamp, with manuscript canceling, on verso of mount. Captioned within image. Faded, light surface wear to image; light staining in margins and on verso; else very good. Occupational photograph of hop pickers in Yakima, Washington taken by Washington State photographer Edward L. Meyer. The caption within the image reads: "W.R. Stewart's Hop Ranch, Natchees [Naches] Valley, Yakima, Wash." The image shows a group of 16 men and boys gathered around a large wooden container filled with hop flowers or seed cones; two men and a boy are seen holding hop vines, the latter two are seen in the foreground proudly wearing hop vines over their shoulders. Behind the group, hop vines can be seen growing up poles staked out within a vast field. Hop flowers, of course, are essential to beer making and are used in a variety of herbal medicines. The photograph is stamped on the back by Seattle, Washington-based photographer Edward L. Meyer who was active from 1894 to 1901. Meyer's Seattle address, however, has been crossed out or canceled and written by hand below it is the name and location of another photographer: "E.J. Hamacher, N. Yakima." Meyer may have been temporarily using Ephraim J. Hamacher's studio in Yakima while the latter was absent, working in Oregon, Alaska, or the Yukon. While the image is uniformly faded, digital manipulation could make this very presentable for online purposes. Ref. Archives West: Early photographers collection, 1860-1943 [Orbis Cascade Alliance] accessed online.
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Eighteen Stencils with Two Signed Drawings attributed to Edna M. Walker, Byrdcliffe Colony Artisan.]

Edna M. Walker [Byrdcliffe, Woodstock, New York, 1905]. Twenty Items: Two Drawings signed, "E. M. W., 1905" and "Edna M. Walker, '05". Measure: 14¼ x 10¼ inches, and 14¾ x 12¼ inches. Graphite on ivory wove paper [AND:] Eighteen Stencils, two signed "Walker '05." Measurements range from 4 x 13 inches to 6 x 8 inches to 12½ x 16½ inches. Coated paper with cut-out designs, with evidence of inking on versos. All items housed in mylar sleeves: the drawings have acid-free cardstock backings; the stencils have acid-free Mohawk Superfine paper backings. All in very good to near fine condition. After both women painters graduated from Brooklyn's Pratt Institute, Zulma Steele and Edna M. Walker removed in 1903 to Ralph Radcliffe Whitehead's Bydcliffe Colony in Woodstock, New York, in the Hudson Valley. Romantically involved, inseparable, and known as "Steelie and Walker" both women were gifted. The pair eventually became responsible for designing most of the decorations found on Byrdcliffe's Arts and Crafts furniture. With this lovely and intricate design group, Walker's drawings and stencils incorporate natural and geometric designs such as a fleur-de-lis, thistle, marine fauna, and pine boughs with cones. Walker's work can be seen at the Metropolitan Museum of Art, Winterthur Museum, The Hudson Valley Visual Art Collections Consortium's digitization project, and elsewhere. Note. 1. Stylistically, we believe some of the present stencils were executed by other Byrdcliffe artisans who were contemporary to Walker. Ref. See "Zulma Steele: Gender blender extraordinaire" [and:] "Made by Byrdcliffe Arts and Crafts Colony / Linen press / ca. 1904" accessed online.
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Valentines:] Accept this little pledge of love, / And love’s request obey. [opening lines of broadside or printer’s proof sheet]

Unkwn.] [Philadelphia?: np, c.1840s-1860s?]. Broadside or Printer's Proof. Approx. 23¾ x 18 inches. Printed in six columns. Folds; creasing; some old inexpert tape mends on verso; some staining and foxing; good. Fascinating broadside of Valentine sentiments, printing over 275 poetical quatrains and couplets of romantic love in very small type. Cupid, damsels, "lovely Venus," future wives, and bachelors abounding. The random short poems are printed in columns on the sheet without titles. They were not imposed by the printer, however, for folding and binding into a book or pamphlet. Were these sentiments of love printed with the intention of cutting them apart to make Valentine cards? Or was their use for parlor games of romantic fortune, popular in the antebellum period? Authorship of the verses is not credited. They poems range in quality of writing, suggesting they were possibly drawn from multiple sources, some possibly original to the broadside. A search for the source of the first verse, to give one example, reveals that it was published in The Bower of Love; or, The Compleat Valentine Writer ([London], 1830): "Accept this little pledge of love, / And love's request obey; / And ever kind and constant prove, From this auspicious day." The broadside may have been printed in Philadelphia. This is suggested by the couplet "You are the sweetest girl, my Kitty, / In all this Philadelphia city." There is even evidence of a typographical mistake being corrected, while still in the press, by the addition of bracketed notations in the margin: "That man true dignity will find, / Who tries the matrimonial estate, {3d line} / Who pours contempt on woman kind, {2d line} / Will mourn his folly when too late." Verses are written from the perspective of both male and female Valentine senders; some are sentimental, others more comic or teasing, more "vinegar Valentine"-like. Some examples: ? To chaff with a belle I like very well, / But to marry I'm not quite so hasty, / As well as unfurl both ringlet and curl, / My wife must learn to make pastry. ? Loves and Doves! Cupids and Darts! / Rings and Kisses and Bleeding Hearts! ? What a pitiful set these poor bachelors are? / Every person of taste must allow; / And to kiss one-believe me, I'd rather by far, / Give a buss to my mammy's old cow. ? Such eyes as thine in the olden time / May well have made their owner quake, / For sorcery was thought a crime, // And witchcraft punished at the stake. ? My mamma scolds, because I give so many kisses; / But really it is all in vain-I vow'd to be a Mrs. ? To make a pudding, darn a stocking, and to wash, / Will be the fate of her that marries me-by gosh! ? I am one of Temperance's daughters, / And use health's refreshing waters, / But repudiate quite the vine, / With all who quaff its maddening wine. ? I bow to thine almighty gold, / In homage love and duty, / 'Tis strange that one so very old / Should capture by his beauty-(booty)? An engaging and intriguing Valentine broadside and very unusual.
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The Monarch” [caption title of 1930 illustrated Maryland women's political broadside attacking Democrat Governor Albert Ritchie who was seeking a fourth term]

Mrs. John A. Holmes, Pres. Fed. Rep. Women of Md. (Clara C. Holmes); Mabel Kaji (1891-1965), cartoonist; et al. [Baltimore]: Published by Authority Chas. W. Pohlman, Treas. Rep. City Commission, [1930]. Illustrated Broadside. 11 x 8½ x inches. Printed on pink paper in two columns; cartoon illustration signed "Mabel Kaji." Minor creasing and handling; very good. Blunt political document by women, aimed at women and illustrated by a woman. Political broadside aimed at women voting in Maryland's gubernatorial election of 1930 and opposing Gov. Albert Ritchie who was seeing a fourth term. The broadside is signed in type by Mrs. John A. Holmes, President of the Federation of Republican Women of Maryland. A cartoon illustration by Japanese-American woman artist and designer Mabel Kaji (1891-1965) of Baltimore shows a smug Gov. Ritchie wearing a crown and sitting atop a map of Maryland while holding a list of his enemies in one hand while his other hand locks them up in a jail cell; at the bottom left is a bloody executioner's chopping block and axe. The text of the broadside is presented as a series questions posed to women and then answered. For example: "WOMEN[:] separate "FACTS" from theories and arguments, they want to know about Governor Ritchie's appointive power. ANSWER[:] in 1922 Governor Ritchie reorganized the Maryland State Government and delegated to himself the power of a MONARCH. .even the Ritchie opponents in the Democratic Party assisted in digging their own graves.and gave to this "ONE" man an appointive power which is surpassed by no official in the world."
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The Schemer. A Monthly Magazine of Money-Coining Information

L.V. Patterson, Editor Alliance, Ohio: L.V. Patterson Publisher, October 1912. Vol. XIV, No. 10. pp[435]-478 (i.e. [44]pp). Serial Publication. 7¾ x 5¼ inches. Illustrated wrappers; staple-bound. Half tone illustrations and cuts; ads. Four pieces of mail-order ephemera laid in. Light wear and handling to wrappers with short separation at tail of spine; small loss to corner of upper cover; very good. Scarce early issue of the long-running mail order business scheme periodical, The Schemer. A Monthly Magazine of Money-Coining Information. Founded in 1899, the magazine features articles on effective advertising and salesperson advice, money-making tips, mail order pointers, and numerous ads and testimonials for various business schemes. Classified ads include solicitations for sales agents and demonstrators for a variety of products, business opportunities, the mailing of business and promotional circulars, lists of names and addresses of potential buyers according to customer profile, and printers' services. Featured articles include "Business Letter-Writing," "Odd Jobs," and "Self-Supporting Homes," the latter touting home chicken raising. Four advertising circulars are laid in: "Mail Order Tips" from Robert H. Gerke of Marietta, Ohio; "Valuable Hints To Those Already in The Mail-Order Business" issued by The National Institute of Science in Chicago; and a product order blank doing double duty as a "Circular Mailers' Test," itself a scheme to harvest names and addresses of other circular mailers. Only three libraries in OCLC have issues of this publication. Other issues are at Hagley.
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1832-1886 Archive pertaining to the Hale Donation, a Charitable Fund in Support of the Training of Christian Ministers and Missionaries, with one item of American Judaica]

B. Tyler [Bennet Tyler (1783-1858)]; Chauncey A. Goodrich (1790-1860); Wallace Nutting (1861-1941); et al. [Hartford and various places in Connecticut; New York City; Amherst, Massachusetts. October 22, 1832-December 1, 1886]. Approx. [17] manuscript pages + one partly printed 1-page circular with one additional page of manuscript. Letters, certificates, and documents; various formats; includes bifoliums with integral address leaves; 13 items in all. Some contemporary docketing. Folds; very good to near fine. Containing one interesting item of American Judaica, a small archive of letters, certificates, and other documents-13 items in all-relating to the Hale Donation, a charitable fund named after Congregational minister Rev. David Hale (1761-1822) of South Coventry, Connecticut, the brother of American Revolutionary patriot spy Nathan Hale (1755-1776). The Hale Donation offered educational grants to young men preparing for Christian ministry and missionary work. The letters and documents here include letters from applicants to the Hale Donation-including students at Yale and Amherst, testimonials on behalf of the applicants, and receipts acknowledging monies received by grantees. In the latter documents, the grantees state that if they fail to go into the gospel ministry the funds must be re-paid. Also seen is a partly-printed circular letter concerning a dividend, for which Hale Donation was a beneficiary, paid by a bank in Hartford. One notable item is an 1849 testimonial from a Rev. W. Thompson for (later Reverend) Jacob William Marcussohn, the son of Austrian Jewish parents, who emigrated to America to become a naturalized citizen. Thompson writes from the Theological Institute of Connecticut at East Windsor Hill to inform that Marcussohn had an "earnest desire to become a missionary to the lost sheep of the house of Israel." Marcussohn, recently converted from Judaism to Christianity and writing from Amherst College, then pens, on Thompson's bifolium, of his need of the Hale funds and further states: "Several years since I was led by the grace of God, I trust to renounce Judaism & profess my faith in Christ Desiring to preach his serious Gospel to my kindred according to the flesh, two years since I came from Constantinople to this country in pursuit of an education." As author Roger Rochlen, affirms, Marcussohn "planned to perform his evangelical labors among the Jews of the Ottoman empire." In fact, Marcussohn did go to Turkey between 1856 to 1859. Other notable documents seen here include an autograph letter signed by Yale professor, clergyman, and lexicographer, Chauncey Allen Goodrich (1790-1860); an autograph letter signed and an autograph testimonial note signed by Bennet Tyler (1783-1858), Congregational minister and the fifth president of Dartmouth College; and a manuscript receipt signed by six students at Hartford Theological Seminary including young Wallace Nutting (1861-1941), later Congregational minister, photographer, antiquarian, and furniture maker. One letter from Sylvester Gilbert (1755-1846), a United States Representative from Connecticut and Dartmouth graduate, gives a testimonial: "I certify that John Phelps of Hebron is in pursuit of literature and science with a view to qualify for the christian minority, but is poor and unable to sustain the experience of an education." Note. 1. Thompson, Memoir of David Hale (New York, 1850), pp7-10. 2. Rochlen, Onward Christian Soldier: The Life of Rev. E.R. Beadle (Self-published 2015).
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Women Want Information [caption title of c.1929-1935 illustrated women's broadside attacking the president of Johns Hopkins University for giving political cover to Maryland Democrat governor Albert Ritchie]

Mrs. Mae H. Burrows, Pres. City Fed. of Rep. Women; [Albert Ritchie (1876-1936), Governor of Maryland]; [Joseph Sweetman Ames [Baltimore]: Published by Authority Chas. W. Pohlman, Treas. Rep. City Committee, [c.1929-1935]. [1]p. Illustrated Broadside. Approx. 11 x 8½ inches. Printed on pale green paper; cartoon illustration "Courtesy of Observer." Light creasing; light wear at bottom edge; very good. Political broadside issued by the Baltimore City Federation of Republican Women, aimed at women voters. It attacks the president of Johns Hopkins University, Joseph S. Ames, for his uncritical support of Maryland Governor, Albert Ritchie. A cartoon illustration shows "Dr. Ames & Co." spraying "political perfume" on Governor Ritchie who gazes on a laundry list of public expenses-here called "loot"-to benefit his "regime." "WOMEN Want to know if Johns Hopkins University is open to students of all Political 'FAITHS'? If so by whose authority is Dr. Ames trading in the Presidents Chair of the INSTITUTION to the Democratic Political Party in Maryland?" The broadside is signed in type "Mrs. Mae H. Burrows" as president of the Baltimore City Federation of Republican Women. Interestingly, Governor Ritchie was also attacked by the political left, notably by Baltimore socialist and civil rights advocate Elisabeth Gilman (1867-1950). Gilman portrayed Ritchie as a friend of bankers and big business and she too attacked Johns Hopkins' President Joseph Ames for supporting Ritchie. Note. 1. Jones, Elisabeth Gilman, Crusader for Justice (Salisbury, Md., 2018).
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The Works of Francis J. Grimké [First three volumes of four-volume set]

Carter Woodson (1875-1950), editor; [Francis James Grimke (1850-1937)] Washington, D.C.: The Associated Publishers, Inc., (1942). First Editions. 3 Volumes. First Edition. xxii, 633pp; ix, 604pp; iv, 645pp. 8vos. Publisher's brown cloth with black spine titling. Both volumes in very good to near fine condition. First three of four volumes of collected essays, addresses, sermons, and letters by and to anti-slavery and civil rights activist Francis J. Grimké (1850-1937), an African American member of the noted Grimké family of Charleston, South Carolina. Grimké was a Princeton-trained Presbyterian minister associated with W.E.B Du Bois' Niagara Movement that actively opposed racial segregation and disenfranchisement: "As Jim Crow laws became more manifest and lynching increased, he moved from an accommodationist philosophy represented byBooker T. Washingtonto a more strident demand for government action in protecting the civil rights of black American citizens. . He repeatedly stressed self-improvement as a means of achieving equal rights with other segments of American society. . Through industriousness black citizens could, he argued, insist on parity with whites because they deserved it. In the years around 1895 Grimké moved from an accommodationist to a gadfly, impatient at slow progress and insistent on faster change. He criticized Booker T. Washington for being too meek, and his prophetic ardor did not diminish with age. (ANB)" Grimké's writings include biographical essays on noted abolitionists and African Americans; addresses on race and lynching; sermons on contemporary events-especially as they related to racial issues; sermons on training children, marriage, temperance, and womanhood.
1945 Boston Bruins Hockey Program Signed by 4 Hockey Hall of Famers: Art Ross

1945 Boston Bruins Hockey Program Signed by 4 Hockey Hall of Famers: Art Ross, Bill Cowley, “Dit” Clapper, and Eddie Shore]

Boston Garden] Boston Garden Sport News and Daily Program, Season of 1944-1945. [Boston, 1945]. Volume XVII, No.5. 24pp. with bound-in 4-page insert, "Current Hockey Notes," dated February 4, 1945. Illustrated color wrappers. Half tone illustrations and portraits; ads. Some general wear and handling; overall, very good. Souvenir Boston Garden program for a February 4, 1945 professional hockey game between the Boston Bruins and the New York Rangers, signed by 4 Bruins-including legendary General Manager Art Ross-all Hockey Hall of Fame inductees. All four autographs appear on the front cover: "Art Ross Mg."; "Bill Cowley"; "Dit Clapper"; and "Eddie Shore". Shore additionally signed his name on the title page, both times noting the date, February 22, 1945. Ross was the Bruins' first coach and general manager and had been himself a professional hockey player and Stanley Cup champion. The "Art Ross Trophy" for leading regular season National Hockey League scorer is named for him. An article in the program, "Ten Famous 'All' Lines-in Twenty Years," notes Ross' formation of two significant lines of offensive players, one of which, "The Dynamite Line," included "Dit" Clapper. Athletes "Dit" Clapper, Bill Cowley, and Eddie Shore appear in The Hockey News' list of the "Top 100 NHL Players of All Time," Shore appearing in the top ten.
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Important Events and Dates in Negro History [Lois Mailou Jones, artist]

Carter Godwin Wilson (1875-1950)]; [Lois Mailou Jones, illustrator (1905-1998)] Washington, D.C.: Association for the Study of Negro Life and History, [1936, but likely c.1950s-1960s; a separate issue ]. Illustrated Broadside. 24¾ x 18½ inches. Printed in three columns within ornamental border. Illustration signed at lower right, "Lois M. Jones." A near fine example, unfolded. Striking broadside calendar of important dates in African American history illustrated by Harlem Renaissance-influenced artist Lois Mailou Jones and with brief notices of events commemorated on select dates: "January 1. Emancipation Proclamation issued by Abraham Lincoln, 1863. The Liberator first issued by William Lloyd Garrison, 1831. Haiti declared its independence, 1804. February 14. Frederick Douglass's "Birthday.". February 28. Phillis Wheatley, Negro writer of verse, invited by George Washington to visit him, 1776. June 10. Richard Allen started independent African Methodist movement, 1794. July 17. The arming of Negroes approved by Congress. October 7. William Still, Negro abolitionist and agent of the Underground Railroad, born, 1821. Juan Latino, Spanish Negro poet, wrote Latin poem in celebration of the Battle of Lepanto, 1571. November 26. Sara Grimké, South Carolina anti-slavery worker, born, 1792. December 18. Thirteenth Amendment declared ratified, 1865." The broadside was derived from and designed to accompany the book The African Background Outlined, or Handbook for the Study of the Negro (1936) by African American historian Carter Godwin Woodson (1875-1950), Director of the Association for the Study of Negro Life and History in Washington, D.C., and the "father of black history." The artwork-a mural-like panoramic depiction of African American achievement-was done by Lois Mailou Jones (1905-1998), who often illustrated works by Woodson's Associated Publishers. The broadside's ornamental border incorporating African design motifs reflects her background in textile design. Note. 1. The broadside was advertised variously as a poster a calendar, and table. The first issue in 1936 measures 27¼ x 19¼ inches. This separate issue measures 24¾ x 18½ inches and is printed on different paper stock. The poster was advertised for sale in trade publications in the 1930s, 1940s, 1950s and 1960s. The last date we find is a 1967 advert in The Journal of the National Education Association and giving its measurements of 24 x 19 inches. The 2019 Swann Sale 2503:280 ($2,000) described a poster with identical measurements to ours (24¾ x 18½ inches) as a separate issue, but gave 1936 as its publication date. Provenance: From the estate of a long-time bookseller who purchased the poster directly from its publisher in the mid-1980s.