GIRAUD, Jane Elizabeth. William SHAKESPEARE.
An original hand-coloured lithograph from Jane Elizabeth Giraud's Flowers of Shakspeare (1845).Briars, furze, gorse and blackthorn illustrating 'The Tempest', Act IV, scene 1, Ariel's speech: 'So I charm'd their ears That, calf-like, they my lowing followed through Tooth'd briers, sharp Furzes, pricking Gorse, and Thorns.' Hand-coloured lithograph print. Print size 310 × 230 mm, mount size 410 × 315 mm. Framed and glazed.
GIRAUD, Jane Elizabeth. William SHAKESPEARE.
An original hand-coloured lithograph from Jane Elizabeth Giraud's Flowers of Shakspeare (1845). Illustrating 'Henry V', Act V, scene 2:'The even mead, that erst brought sweetly forthThe freckled Cowslip, Burnet and green Clover,Wanting the scythe, all uncorrected, rank,Conceives by idleness and nothing teemsBut hateful Docks, rough Thistles, Kecksies, Burs,Losing both beauty and utility'. Hand-coloured lithograph print. Print size 310 × 230 mm, mount size 410 × 315 mm.
GIRAUD, Jane Elizabeth. William SHAKESPEARE.
An original hand-coloured lithograph from Jane Elizabeth Giraud's Flowers of Shakspeare (1845). Honeysuckle illustrating 'Much ado about Nothing', Act III, scene 1, in Leonato's garden:'Bid her steal into the pleached bower,Where Honeysuckles, ripen'd by the sun,Forbid the sun to enter, like favourites,Made proud by princes, that advance their prideAgainst that power that bred it.' Hand-coloured lithograph print. Print size 310 × 230 mm, mount size 410 × 315 mm. Framed and glazed.
GIRAUD, Jane Elizabeth. William SHAKESPEARE.
An original hand-coloured lithograph from Jane Elizabeth Giraud's Flowers of Shakspeare (1845).Red and white roses illustrating Henry VI, Part I, Act II, scene 4, Warwick's speech: 'This brawl today,Grown to this faction in the Temple garden, Shall send, between the red rose and the white, A thousand souls to death and deadly night'. Hand-coloured lithograph print. Print size 310 × 230 mm, mount size 410 × 315 mm. Framed and glazed.
LÉVY, Albert.
A superb survey of turn-of-the century British domestic architecture by an important French photographer who used cyanotype to notable effect. These examples of seaside 'cottages' in East Kent and Sussex depicts an array of then recently constructed high quality houses, a good number of which survive. Broadly within the Arts and Crafts tradition, the houses fuse a variety of older English vernacular styles with modern innovations, notably in the range of moulded and cut bricks and tiles.Albert Lévy (1847-1931) was both a pioneering and prolific architectural photographer, unusual for his time in working on both sides of the Atlantic, with studios in Paris and New York. Characteristically, his collections were issued as cyanotypes printed directly from the original glass negatives. His collections included numerous sequences of French, British and American buildings of the Gilded Age, but are now very rare indeed. 72 original cyanotype photographs on paper, various sizes on sheets 300 × 250 mm, numbered in the negative, plus title leaf. Loose, as issued, without the original publisher's portfolio. A superb set. [Jisc locates no UK copies. FirstSearch locates US copies at Columbia, Princeton and Lawrence Technological University only.]
(JEWISH NATURALISATION ACT).
First edition. 'During the Jacobite rising of 1745, the Jews had shown particular loyalty to the government. Their chief financier, Sampson Gideon, had strengthened the stock market, and several of the younger members had volunteered in the corps raised to defend London. Possibly as a reward, Henry Pelham in 1753 brought in the Jew Bill of 1753, which allowed Jews to become naturalised by application to Parliament. It passed the Lords without much opposition, but on being brought down to the House of Commons, the Tories made protest against what they deemed an "abandonment of Christianity." The Whigs, however, persisted in carrying out at least one part of their general policy of religious toleration, and the bill was passed and received royal assent (26 Geo. II., cap. 26). The public reacted with an enormous outburst of antisemitism, and the Bill was repealed in the next sitting of Parliament, in 1754. (Wikipedia). pp. [2], 407-410, including general title with woodcut arms, black letter text. [and:] An Act to repeal an Act of the Twenty Sixth Year of His Majesty's Reign, intituled, An Act to permit persons professing the Jewish religion to be naturalized by Parliament; and for other Purposes therein mentioned, pp. 4, including general title with woodcut arms, black letter text. Small folio (290 × 182 mm), recent paper spines. Excellent copies.
(GAME).
A striking 'game of goose' celebrating Franco-American friendship, the 1889 Paris Exposition universelle and the newly-built Eiffel tower. It was issued as an advertisement for the doll manufacturer Jumeau, who made luxury ceramic dolls under the 'Bébé Jumeau' trademark. The tower has 63 game positions, with the goose positions occupied by Jumeau dolls, the negative positions occupied by German dolls - a piece of anti-German propaganda and a dig at the cheap German-manufactured dolls which competed with Jumeau's premium products. One German doll falls down a well, another off a bridge, one is stuck in jail, while a broken doll is the 'death' square, 58. On either side of the tower are Franco-American dolls holding their respective national flags. The Statue of Liberty is seen in the distance beyond the Paris Exposition grounds.A caption at the foot requests that the game be mounted on card and kept as a souvenir. This example is as issued, and though minimally restored at the folds is a rather remarkable survival. Large colour lithograph print (680 ×460 mm). Lightly browned, formerly folded (one vertical and seven transverse folds), slight loss along folds, expertly restored on verso. A very good example of a fragile piece. [Seville, 56. The Royal Game of the Goose four hundred Years of printed Board Games. Catalogue of an Exhibition at the Grolier Club, February 23 - May 14, 2016.]
(WINCHESTER).
First edition. A series of measures of prison reform at Winchester, resolved by the Justices of the Peace 'for the prevention, as far as may be found practicable, of abuses and grievances of every description' through a system of prison visiting by the Justices. The rules make provision for the appointment of a governor at an annual salary of £400 and outline a system of governance. Welfare is in the care of a chaplain and a surgeon (the latter also acting as apothecary); debtors are subject to a lighter regime than other prisoners (convicts, felons and 'other criminals'). Nine articles are devoted particularly to women prisoners who are under the authority of a matron.William Prowting (d. 1821) was a Winchester Justice of the Peace - a near neighbour and friend of Jane Austen's family at Chawton. Austen mentions the Prowtings several times in her letters and it appears that the families visited each other frequently; she apparently sent a copy of the three volumes of Emma to William's daughter, Catherine Anne in 1816 (Letters, 136). 8vo (207 × 120 mm), pp. 63, [1], with half-title. Original blue boards with with drab paper spine, letterpress title label to upper cover. Contemporary ownership inscription (W[illia]m Prowting). Rubbed, joints and spine a little frayed, but a very nice unsophisticated copy. [Jisc/LibraryHub lists the BL copy only, Worldcat adds copies at Cornell and Rutgers.]
(GIN ACT).
First edition. The Gin Act (or 'Tippling Act') of 1751 was designed to reduce consumption of raw spirits - regarded by contemporaries as one of the main causes of crime in London. By prohibiting gin distillers from selling to unlicensed merchants and increasing fees charged to merchants, it eliminated small gin shops, thereby restricting the distribution of gin to larger distillers and retailers. It was widely supported, not least by William Hogarth, who issued his famous Beer Street and Gin Lane prints in the same year. 'Hogarth's illustration of the evils of gin-drinking was published as a pair with 'Beer Street', as part of a campaign against the uncontrolled production and sale of cheap gin. It culminated in the Gin Act of 1751, through which the number of gin shops was greatly reduced' (Tate Gallery). Though separately published with a general title for a complete sitting of Parliament, individual Acts of Parliament were paginated to be bound together in yearly volumes hence the pagination 975-995 here. Small folio (288 × 180 mm), pp. [2], 975-995, [1], including general title with woodcut arms, black letter text. Small stain to extreme lower forecorners. Recent wrappers. An excellent copy. [ESTC N52491 (NLS, New College Oxford, UCLA Clark and Kansas only, though copies are under-recorded since they are often catalogued within volumes and sets of the Acts of Parliament.).]
GIRAUD, Jane Elizabeth. William SHAKESPEARE.
An original hand-coloured lithograph, the title-page from Jane Elizabeth Giraud's Flowers of Shakspeare (1845). Illustrating roses, honeysuckle and thistles with the quotation:'And this our life, exempt from public haunt, finds tongues in trees, books in the running brooks, sermons in stones, and good in everything' ('As You Like It', Act II, scene 1, the Duke in the Forest of Arden). Hand-coloured lithograph print. Print size 310 × 230 mm, mount size 410 × 315 mm.
GIRAUD, Jane Elizabeth. William SHAKESPEARE.
An original hand-coloured lithograph from Jane Elizabeth Giraud's Flowers of Shakspeare (1845). Illustrating Ophelia's 'mad speech' in Hamlet:'There's Rosemary, that's for remembrance. Pray you, love,remember. And there is Pansies, that's for thoughts. There's Fennel for you, and Columbines. There's Rue for you,and here's some for me. We may call it herb of grace o' Sundays.O, you must wear your Rue with a difference! There's a Daisy. Iwould give you some Violets, but they wither'd all when my fatherdied'. Hand-coloured lithograph print. Print size 310 × 230 mm, mount size 410 × 315 mm. Framed and glazed.
FINI, Leonor. André Pierre de MANDRIARGUES, text. André OSTIER, photographer.
First edition, copy numbered 64 of 722 copies (after 28 signed copies on papier vélin, total edition of 750) with ten superb photographic portraits of Fini in her celebrated bird and animal masks by André Ostier. The four plates are Fini's designs for costume or ballet. Folio (325 × 245 mm), pp. [24] (including colophon leaf), 4 photogravure reproductions for drawings by Fini, 10 portrait illustrations, also photogravure, after Ostier. Partially unopened in original yellow wrappers. Very slightly faded and dust-soiled, but still bright and fresh. A very good copy.
GIRAUD, Jane Elizabeth. William SHAKESPEARE.
An original hand-coloured lithograph from Jane Elizabeth Giraud's Flowers of Shakspeare (1845). Wild pansy ('Love -in-idleness') illustrating 'Midsummer Nights Dream', Act II, Scene 2, as the basis of the elixir which makes Titania, Oberon's queen, fall in love with Bottom the ass. 'Yet mark'd I where the bolt of Cupid fell:It fell upon a little western flower,Before milk-white, now purple with love's wound, And maidens call it love-in-idleness'. Hand-coloured lithograph print. Print size 310 × 230 mm, mount size 410 × 315 mm.
FINI, Léonor.
First edition of Leonor Fini's playing cards, reissued several times, but rare in this first edition by Acanthe. The set is as issued, comprising 52 cards, one joker and one blank card. 54 playing cards (89 × 63 mm), in the original parchment covered slipcase with printed label. Light browning, and the box slightly rubbed/chipped but a very good set, as issued. [Hoffman, Französische Spielkarten des XX jahrhunderts 79-103; Cinque Siècles de cartes a jouer, Bibliothèque Nationale, 1963 n° 267; Bielefeld, Deutsches Spiekarten Museum, Inv 663]
