LYDIS, Mariette, illustrator. (James JOYCE). [Auguste MOREL, translator].
The earliest portrait of Leopold Bloom? Mariette Lydis contributed one illustration to the first issue of "900", placed with the fragment of Ulysses in the French translation by Auguste Morel. The image is clearly identifiable as a Leopold Bloom-like figure, yet is perhaps not a direct illustration (what are we to make of the Ostende tourist poster in the background?). It is dated 1925 in the lower corner and is captioned 'Illustration' at the foot. No earlier illustration of Bloom is known (nor indeed any earlier illustration of Ulysses) and the standard idea of him is drawn partly from Joyce's own inept sketch of him made in Paris in 1926.Joyce was nominally a joint editor of the radical literary review "900", with Massimo Bontempelli. Mariette Lydis was Bontempelli's lover at this period (her letters to him are preserved at the Getty Institute) and probably also know Joyce. She sketched his portrait the following year in Paris.The Ulysses excerpt translated by Morel is episode 4, 'Calypso', introducing Leopold Bloom with his morning visit to the butcher's shop for a kidney for Molly's breakfast. James Joyce is listed among the journal's editors on the half-title verso (along with Bontempelli, Ramón Gómez de la Serna, Jerog Kaiser and Pierre Mac Orlan). Among the adverts at the end of the volume is a full-page for the forthcoming German edition of Ulysses by Rheinverlag of Zurich (the book appeared in the autumn of 1927). Another advert is for the journal Critica Fascista (a 'Fornightly Fascist Review'). 8vo (192 × 130 mm), pp. 203, [13] (including adverts), the Ulysses fragment on pp. 107-131, illustrations. Partially unopened in original orange wrappers. Spotted and rather shaken, the wrappers fragile and with some loss at edges. Contemporary presentation inscription from Nino Frank (a contributor) to Saint-Légér. [Slocum & Cahoon, A Bibliography of James Joyce (953), D25 (p. 113).]
[WILLIAMS, Charles].
Napoleon, trampling over the map of Europe from 'Germany' to the 'British Channel', drops his sabre and raises his left leg, leaving behind the front part of his left foot, planted on the coast and sea between 'Holland' and 'France'. The foot has been slashed off by a little John Bull, who stands on the ocean pointing down at the two islands of 'Great Britain'and 'Ireland', towards which the amputated foot points. John holds a dripping sword, and looks up at the angry giant, saying, "I ax pardon Master Boney, but as we says Paws off Pompey, we keep this little Spot to Ourselves You must not Dance here Master Boney." Blood gushes from both sides of the amputation. Bonaparte, who wears his huge cocked hat, shouts, with gestures of pain and anger: "Ah you tam John Bull!! You have spoil my Dance, !! You have ruin all my Projets!!" 'Switzerland' and 'Italy' are also marked on the map in close proximity to France.Just weeks before the collapse of the Peace of Amiens in May 1803, the caricaturist Charles Williams captured this image of a colossal Napoleon "Boney" Bonaparte with a foot firmly planted in Germany about to straddle the English Channel. Such images galvanized British defence, and encouraged volunteers to enlist in the militia formed following the Defence of theRealm Act 1803. The heightened threat of invasion mobilized a 380,000-strong force by the year's end. Satires became increasingly cruel, when prints were used as government funded propaganda to stir up the populace with nasty images of the Corsican tyrant. Here, a feisty, pint-sized John Bull, not yet in the Volunteers uniform, with a blood stained sword has sliced off Boney's toes. He exclaims "Paws off, Pompey", associating Bonaparte with the hero of a popular novel, a lap-dog, known as 'Pompey the Little [by Francis Coventry]' (Dorothy George). Hand-coloured etched plate (350 × 250 mm, sheet cut within platemark, not touching text or image). Tiny hole to right hand margin, just touching one ruled border, but no engraved text or image. Neatly mounted at the corners on an early album leaf. [BM Satires, 9980.]
Sole edition, this copy signed and inscribed by the artist to Pierre Toreilles. For the Shakespeare 400 year centenary Hugo painted 13 very large panels depicting an imagined journey of Shakespeare from Stratford to Oxford, a journey the artist apparently traced on foot. His scenes comprise: Charlecote Park, Fowlers and the Red House of Tysoe, Gentry at Compton Wyngates, Mummers on the Green, Nearing Oxford, Chipping Camden Fair, The Road to Market,The Cotswold Games, Plough and Pasture, Hawking in the Stour Valley and Meon Hill.'The French artist Jean Hugo (1894-1984) produced. a set of six canvases he painted for the Shakespeare Festival Exhibition, organised by the ballet critic Richard Buckle in Stratford-upon-Avon. Opened by Prince Phillip on 23 April 1964, the exhibition celebrated the quatercentenary of Shakespeare's birth and aimed to portray the world of Tudor England as it may have appeared to Shakespeare. Jean Hugo was born in Paris the great-grandson of the poet and novelist Victor Hugo. He was a painter, illustrator, theatre designer and author, whose artistic career spanned the 20th century and whose work brought him into contact with many of the most influential artistic figures of the 20th century including Jean Cocteau, Pablo Picasso, Paul Elouard, Francis Poulenc, Max Jacob, Cecil Beaton and many others.' (V&A website). Folding leporello (1.75 metres × 14.5 cm), incorporating 2 long panoramic views reproduced in colour from Hugo's original paintings. Original cloth with pale blue foil lettering to the upper cover. Very slightly soiled but an excellent copy. [Not found in JISC/Libraryhub. Worldcat lists copies at National Gallery of Canada and University of Strasbourg only.]
A rare perspective peepshow depicting a boar hunt in a forest, with horses and dogs. Engelbrecht (1684-1756) produced many different designs of these sets in three sizes, of which ours is an example of the smallest (and rarest). They were designed to be viewed when slotted successively into a perspective viewing box but can equally be appreciated when standing in simple slots or stands. One of the parts is marked 'N. 87' in the plate. In this example the prints have been mounted in the early nineteenth-century. 6 hand-coloured etchings, each 72 × 90 mm, mounted on thicker paper, hand cut, manuscript numbering to versos. Very slightly curved with minimal rubbing to edges. [cf. Ralph Hyde, Paper Peepshows (2015), pp. 14-15 and David Robinson, 'Augsburg Peepshows', Print Quarterly, Vol. 5, No. 2 (June 1988), pp. 188-191.]
A rare perspective peepshow depicting a stag hunt in a forest, with horses and dogs. Among the hunters is one with a rifle, and two with horns. Engelbrecht (1684-1756) produced many different designs of these sets in three sizes, of which ours is an example of the smallest (and rarest). They were designed to be viewed when slotted successively into a perspective viewing box but can equally be appreciated when standing in simple slots or stands. One of the parts is marked 'N. 87' in the plate. In this example the prints have been mounted in the early nineteenth-century. 6 hand-coloured etchings, each 72 × 90 mm, mounted on thicker paper, hand cut, manuscript numbering to versos. Very slightly curved with minimal rubbing to edges. [cf, Ralph Hyde, Paper Peepshows (2015), pp. 14-15 and David Robinson, 'Augsburg Peepshows', Print Quarterly, Vol. 5, No. 2 (June 1988), pp. 188-191.]
An attractive Venetian edition by Johannes Tacuinus de Tridino, which, like the first edition of 1499 consists of the first three books on the 'origin of things'. In this encyclopaedic work, Vergil addresses questions of origins, from the origin of the gods, man and languages to the origin of wine and liqueurs, marriage, magic, medicine, poetry, drama, geography and law. It notably includes an account of the invention of printing, attributing its birth to Peter Schoeffer, rather than Gutenberg. Small 4to (210 × 150 mm), 64 leaves, ff. [6], LVIII (A6, B-I8, K4), 3 ten-line decorative initials (one repeated), numerous other small decorative initials. Title slightly spotted with very slight loss at extreme lower forecorner (probably a paper flaw at the sheet's edge). Some early marginal annotations. Late seventeenth-century or early eighteenth-century quarter vellum with decorative block-printed pastepaper boards, tan label lettered in gilt. Remnants of old paper shelf label to front pastedown, overwritten with later (?nineteenth-century) manuscript shelf label (no other bookplates or remnants of labels/inscriptions). A few scattered wormholes to spine (with slight loss to the label), upper hinged cracked and front free endpaper becoming detached. A very attractive copy.
Second edition (first 1637) of this rare proto-feminist essay, probably first written around 1620 in response to the misogynist pamphletHic mulier, or, The Man-Woman.Austin's title Haec Homo is an epicene (ungendered or binary) construction which joins a female definite article (Haec) with the masculine noun homo (man) to introduce the author's thesis that men and women share common humanity as well as 'the same reasonable soule; and, in that, there is neither hees, or shees.' It was dedicated to 'Mistress Mary Gifford' and both first and second editions were issued with an engraved portrait of her, which is lacking in this copy (and in the EEBO copy). The book includes four woodcut illustrations of a 'Vitruvian woman'. This copy was rebound in the first decades of the nineteenth century by Auguste Marie Comte de Caumont, an aristocratic French emigré who worked as a bookbinder at addresses around Soho, London for more than 20 years from 1790. 'He is considered a very great binder, in an age when English bookbinding was temporarily at a high level, and actually far ahead of contemporary French binding' (Ramsden, French Bookbinders 1789-1848, p. 49). This example of his work bears his Gerrard Street address, his final workshop before returning to France around 1814-15. Interestingly there is no evidence that he had experience of bookbinding before leaving France. 12mo (130 × 72 mm), pp. [12], 189, [1], pagination includes additional engraved title. Wants engraved portrait frontispiece. Woodcut initials and 4 illustrations. Small worm track/hole towards inner margins of some 30 pages, affecting text, but not making it illegible. Early nineteenth-century English mottled calf, gilt, by the Comte de Caumont with his small yellow ticket, manuscript shelf mark. Joints just starting at head. Early ownership inscription to title 'Thomas Smith pr. 9d. 1686'. [STC 975. ESTC: BL (lacks letterpress title), Cambridge (lacks leaf A4 and engraved title), Folger (lacks letterpress title and portrait), LC (lacks letterpress title), Illinois (lacking portrait), Minnesota, Yale.]
An attractive portable atlas. A reissue of the plates of the 1790 edition, with the dates altered to 'Sepr. 1, 1792' on all of the maps except the map of Yorkshire. Letterpress printed by C. Rickaby, whose name appears at foot of first page. 8vo (164 × 100 mm), engraved title, advertisement, contents leaf and 43 maps on 22 leaves (most printed both sides) and one (Yorkshire) on large folding sheet, pp. [6], [2] in letterpress at end (list of markets and an advert). The maps partially hand coloured. Short closed tear t the large folding map of Yorkshire (no loss). Contemporary tree calf, expertly rebacked to style. Purchase inscription (1872) to front free endpaper, bookplates of George S. Fry and James M. Osborn. A very nice copy.
First edition, rare. M. Baboulard is something of a dandy (notably sporting tartan trousers of a type then fashionable in both Britain and France) but he also has a wife and family of seven children and a taxing job in the ministry. Grands déplaisirs à l'occasion d'un train de plaisir is a graphic satire in the mould of Daumier on the aspirations of the newly-leisured middle classes seeking recreation on the railways. Tempted by newspaper advertisments, Baboulard books a trip to Le Havre, only to be assailed by friends and family loading him parcels, packages and a pair of dogs to deliver. The trip turns out to be a holiday from hell, and Baboulard returns to Paris duly chastened. Only one of the plates is signed by Adam, though all are demonstrably his. Among his numerous lithograph collections reflecting the rise of modernity in France this must be one of the rarest and it is especially so in coloured form. Oblong 8vo (140 × 205 mm), pp. 46, plus 16 hand-coloured lithograph plates. Occasional light spotting, mainly marginal. Later marbled boards (c. 1910) by Alfred Farez, morocco spine label. A very good copy. [Gumuchian, Livres de l'Enfance, I, p.18. Worldcat lists the Bn copy only, there is also a copy in the National Library of Scotland (probably on account of the hero's tartan trews).]
Napoleon, trampling over the map of Europe from 'Germany' to the 'British Channel', drops his sabre and raises his left leg, leaving behind the front part of his left foot, planted on the coast and sea between 'Holland' and 'France'. The foot has been slashed off by a little John Bull, who stands on the ocean pointing down at the two islands of 'Great Britain'and 'Ireland', towards which the amputated foot points. John holds a dripping sword, and looks up at the angry giant, saying, "I ax pardon Master Boney, but as we says Paws off Pompey, we keep this little Spot to Ourselves You must not Dance here Master Boney." Blood gushes from both sides of the amputation. Bonaparte, who wears his huge cocked hat, shouts, with gestures of pain and anger: "Ah you tam John Bull!! You have spoil my Dance, !! You have ruin all my Projets!!" 'Switzerland' and 'Italy' are also marked on the map in close proximity to France.Just weeks before the collapse of the Peace of Amiens in May 1803, the caricaturist Charles Williams captured this image of a colossal Napoleon "Boney" Bonaparte with a foot firmly planted in Germany about to straddle the English Channel. Such images galvanized British defence, and encouraged volunteers to enlist in the militia formed following the Defence of theRealm Act 1803. The heightened threat of invasion mobilized a 380,000-strong force by the year's end. Satires became increasingly cruel, when prints were used as government funded propaganda to stir up the populace with nasty images of the Corsican tyrant. Here, a feisty, pint-sized John Bull, not yet in the Volunteers uniform, with a blood stained sword has sliced off Boney's toes. He exclaims "Paws off, Pompey", associating Bonaparte with the hero of a popular novel, a lap-dog, known as 'Pompey the Little [by Francis Coventry]' (Dorothy George). Hand-coloured etched plate (350 × 250 mm, sheet cut within platemark, not touching text or image). Tiny hole to right hand margin, just touching one ruled border, but no engraved text or image. Neatly mounted at the corners on an early album leaf. [BM Satires, 9980.]
![Lesbos [illustration for Les Fleurs du Mal].](https://rarebookinsider.com/wp-content/uploads/2023/12/31694166715.jpg)
