GREENAWAY, KATE
101 x 95 mm (4 x 3 3/4"). [18] leaves. The special binding of cream-colored imitation morocco, covers with blind-stamped striped blue frame, central panel with gilt-stamped lettering surrounding the image of a young girl with a skirt full of flowers in a round frame, edges gilt. A TOTAL OF 18 CHARMING FULL-PAGE COLOR ILLUSTRATIONS, comprising the frontispiece and title page, one page for each month of the year, followed by four illustrations representing each of the seasons, all engraved and printed by Edmund Evans after the Greenaway originals. Schuster & Engen 14 (12b); Spielman & Layard, p. 288; see also Muir, "Victorian Illustrated Books," pp.170-73. âMinor rubbing to the spine, corners very lightly bumped, one page with a minute tear to the tail margin, otherwise very fine condition. Offered here in the special binding (other copies were in cloth and boards), this miniature volume was the penultimate almanac created by the productive partnership of illustrator Kate Greenaway (1846-1901) and wood engraver Edmund Evans (1826-1905). This series of almanacks, which began in 1882, was beloved because of Evans' skillful color renderings of Greenaway's magical watercolors. Her illustrations, described by Muir as creating a "dream-world" or "never-never land," feature dancing and playing children and graceful young ladies in romantic scenes representing the months and seasons of the year, making this almanac a nostalgic time capsule to an idealized world created by Greenaway's lush imagination.
GOLDSMITH, OLIVER
210 x 127 mm. (8 1/2 x 5"). Two volumes. Modern half calf over marbled paper boards by D&D Galleries (signed on the front pastedown), the spines with raised bands and gilt lettering on black morocco labels, edges sprinkled, new endpapers. Scott 119. âMinor intermittent foxing, other trivial defects, but a pleasing copy with clean text in an attractive, unworn binding. This is an attractive copy of the first Swiss edition of one of Oliver Goldsmith's most popular historical works. The friend of many of the celebrated literary figures of his time, Irish poet and journalist Goldsmith (1728-74) was known as a brilliant writer and a keen social observer--as well as a gambler and profligate who couldn't hold onto his money. As a result of the constant financial difficulties caused by his flawed character, he not infrequently turned for help to publisher John Newbery, whose off-and-on employment became part of a symbiotic relationship. The present book was an early work produced through this partnership, for which Newbery paid Goldsmith £21. First published in 1764, it was never released under Goldsmith's name. Instead, the "nobleman" was variously identified as Lord Chesterfield, Lord Orrery, and Lord Lyttelton. The book was immensely popular and remained so for over half a century, as this edition makes clear. Our 1800 edition includes additional letters, keeping the history up-to-date with events after the initial publicationâ"notably, the American Revolution. This was the first Swiss edition, the second one to be published in continental Europe.
CIBBER, COLLEY
198 x 120 mm. (7 3/4 x 4 3/4"). [12] p.l., 488 pp. Contemporary smooth calf, spine with raised bands and gilt-ruled compartments, crimson morocco label with gilt title, the covers double-ruled in gilt, rebacked retaining much of original backstrip, corners restored. Decorative head- and tailpieces, woodcut initials, bound without the inserted frontispiece portrait (as usual with copies in boards). Arnott & Robinson 2556. âThe binding somewhat worn, beginning to separate at the front hinge (but the board still firmly attached), half-inch internal tear to the title page, the final five leaves with light discoloration from turn-in glue, other minor defects, but still an attractive copy, quite clean and fresh internally, in a solidly restored binding. First published in 1740, this autobiography was the first work of its kind about the London stage, and it has become a classic of theatre history (the words "apology for" are roughly equivalent here to "account of"). A man of considerable versatility and achievement, Colley Cibber (1671-1757) was a prominent actor, theatre manager, playwright, and ultimately poet laureate of England. One of his many plays, "Love's Last Shift; or, The Fool in Fashion" (1696) is generally considered to be the first sentimental comedy, a form of drama that prevailed on the (albeit un-invigorated) English stage for most of the 18th century. Because Cibber found success on the stage playing foolish fops, and since his laureateship was tainted by political partisanship, he was an easy target for satirists of the day. Nevertheless, he was a skillful (if not witty) playwright, and this autobiography, for which he is chiefly remembered, is an invaluable source of information on the contemporary life of the theatre. It contains, in particular, admirable theatrical portraits of Nokes, Mrs. Bracegirdle, and Betterton. This is the second edition, published a little more than a month after the first; the text was revised, and it cost five shillings instead of a guinea, making it accessible to a wider audience.
DOBSON, AUSTIN
187 x 125 mm. (7 1/2 x 5"). ix, [1], 209, [1] pp. Attractive brown crushed morocco by Henry Wood (stamp-signed on front turn-in), the front cover with an onlaid roundel in blue and white, gilt tooled, depicting a platter, the back cover similarly decorated with a vase; the spine with raised bands and gilt lettering, turn-ins with gilt-ruled frame, marbled endpapers, top edge gilt. âThe spine just slightly darkened, trivial rubbing to the boards, intermittent minor foxing to the margins, otherwise a fine copy, quite clean internally, and in a very pleasant, lustrous binding. This is a handsomely bound copy of a book by a poet of the Aesthete School, described by Day as a "genteel bureaucrat" who specialized in "the graceful insouciance of 'vers de société' rather than the 'flowers of evil'" favored by others of his cohort. Specifically, Henry Austin Dobson (1840-1921) wrote light, witty verse that reflected his fascination with the 18th century; Day notes that "he could write heroic couplets with much of Pope's conversational ability" and "could reproduce the elaborate French stanzas" of triolet, ballade, and rondeau with a finesse matched by few Englishmen. Dobson's extensive knowledge of the 18th century was so respected that DNB says "any publisher intending to reissue an eighteenth-century work went to Dobson for an introduction." "Proverbs in Porcelain" was his second published work of poetry, which DNB claims was "almost all in his best vein." Dobson's contemporary, American Writer Thomas Bailey Aldrich, wrote of these poems in the Atlantic Monthly that Dobson was "a young English poet with special gifts, a writer of winged lyrics." Certainly the public agreed: "Proverbs in Porcelain," containing a variety of poems with Neoclassical and contemporary themes, enjoyed considerable popularity. This copy is offered in a striking binding by Henry Wood, who worked as a finisher for Zaehnsdorf for 12 years while developing the impressive technique for which he was known. In 1890, Wood went out on his own, continuing to execute bindings to a high standard that ranked with the work of Sangorski & Sutcliffe, Riviere, and his former employer. Fittingly, this binding is decorated with depictions of the porcelain objects indicated by the work's title.
LAWRENCE, T. E.
260 x 190 mm. (10 1/4 x 7 1/2"). 672 pp. Publisher's tan buckram, front cover with gilt-stamped crossed swords and motto "the sword also means clean-ness and death," the smooth spine with gilt lettering. With a total of 48 plates, seven illustrations in the text, and four inserted fold-out maps. INSCRIBED BY SIR RONALD STORRS ON THE FRONT FREE ENDPAPER: "The 7 Pillars / A Major, Capital / work of history and personality. / Höchstes Glück der Erdenkinder / Ist nur die Persönlichkeit / Ronald Storrs / 19 IX 35;" AND FURTHER SIGNED IN ENGLISH AND ARABIC ON STORR'S PORTRAIT found on p. 62. âCorners and spine ends a bit bumped, top two-inch area of front cover sunned, a few small stains to the boards; front hinge mostly separated (rear hinge beginning to separate), but still an attractive copy, extremely clean internally. This is the first regularly published edition of Lawrence's account of the campaign that made him famous as "Lawrence of Arabia," signed twice and with a long inscription by one of the major players in that campaign and one of Lawrence's intimate friends. Archaeologist, soldier, and diplomat Thomas Edward Lawrence (also known as T. E. Lawrence and T. E. Shaw, 1888-1935) became involved in the Arab revolt against the Turks while a British officer during the First World War. As much a storyteller as a soldier, he wrote a stirring memoir of his exploits, which became "Seven Pillars of Wisdom." After an initial publication in a small private run in 1926, this is the first general circulation edition, released shortly after Lawrence's death. It immediately became a bestseller, solidifying his status as a national hero and inspiring the hit film "Lawrence of Arabia." The text established a legend, and this particular volume is inscribed by one of the people involved in its creation. Sir Robert Storrs (1881-1955), whom Lawrence described as "the most brilliant Englishman in the Near East," was British Oriental Secretary in Cairo in the early days of the war. There he met Lawrence, who accompanied him on an October 1916 diplomatic mission to meet with the leaders of the revolt that would become Lawrence's main involvement in the war. Their friendship outlasted the war: Storrs was one of Lawrence's pallbearers at his funeral. The inscription in this volume speaks to the respect Storrs held for Lawrence. The German line is a quote from Goethe's "West-östlicher Divan," a series of poems inspired by the Persian poet Hafez, which explore the themes of connections between East and West--a topic dear to both Lawrence and Storrs. With this line, translated by Dowden as "in sense of personal being lies / A child of earth's chief happiness," Storrs celebrates the strength of personality that made his friend unique-the same strength of personality that made this book a classic. First Edition for General Circulation (after a small private printing in 1926).
(ASCETICISM). BLOSIUS, LUDOVICUS. [BLOIS, LOUIS DE]
103 x 60 mm. (4 1/16 x 2 3/8"). 6 p.l., 232 pp. Pleasing contemporary sprinkled calf, raised bands, spine densely gilt in compartments with central fleuron and leafy cornerpieces, marbled endpapers. In a repaired cardboard slipcase. Front pastedown with book label of Abel E. Berland. âShallow chip across head of spine, extremities a bit rubbed, small abrasion and half a dozen minor scratches to lower board, text a bit browned, with occasional mild foxing (because of inferior paper quality), a handful of leaves trimmed a bit close at head (without loss of text), but still a very satisfactory copy, clean and fresh internally, and in its sound, pleasant original binding. This is a rare edition of a pocket-sized High German translation of a portion of Blosius' "Instructions for the Ascetic Life," written for monks and nuns. Blosius, also known as Louis de Blois (1506-66), entered the Abbey of Liessies in Flanders when he was 14, and became its abbot at 24. He reformed the lax monastic practices of his predecessors, and wrote a number of popular works on spirituality that were widely translated. The present volume comes from the very distinguished collection of Chicago bibliophile Abel Berland (1915-2010). The sale of books from his library at Christie's in New York on 8 and 9 October 2001 was one of the most important bibliophilic events of the new century, bringing in more than $14,000,000.
(PREMATURE BURIAL). [BRUHIER, JEAN-JACQUES] and [JACQUES BENIGNE WINSLOW]
175 x 100 mm. (6 7/8 x 4"). 4 p.l., 219 pp. Pleasant early 19th century polished calf, covers with blind-rolled palmette border, raised bands, spine panels with small gilt cross or cinquefoil, gilt lettering, gilt-ruled turn-ins. With six engraved plates depicting incidents of mistaken death. Front pastedown with bookplate of James Elwin Miller, D.D.; verso of front free endpaper with old bookseller description (noting the volume's provenance in the Hamilton Palace Library) and a tipped-on newspaper clipping about a man in a trance who was nearly buried alive; front flyleaf with pencilled note "Mrs Blunden page 78" in William Beckford's hand. ESTC T139496. âMinor shelfwear, occasional trivial spots of foxing or marginal smudges, but an excellent copy, clean and fresh internally, in an unsophisticated binding showing surprisingly few signs of use. Sure to trigger taphophobia (the fear of being buried alive), this work recounts harrowing cases of persons mispronounced dead, only to revive, sometimes during the preparation of the body for burial, sometimes at the funeral, and sometimes after being interred. Our work originally appeared in 1740 as a thesis entitled "An mortis incertae signa minus incerta a chirurgicis quam ab allis experiments" by Danish-French anatomist Jacques Benigne Winslow (1669-1760). Two years later, Bruhier (d. 1756) published a French version, with his own added commentary. An unknown translator rendered the work into English, and added a brief treatise, "Measures to be taken for the Relief of those, who are thought to be drowned." This addition was pertinent and revealing, as it suggested the possibility that someone could enter a state where outward signs of animation had been suspended, and yet where life persisted nevertheless. However unrefined they are, the sometimes frightening plates here add to the macabre mood, with scenes of the not-yet-dead rising from their coffins (causing a gravedigger to flee and a sexton to faint). Fear of premature burial persisted into the next century, becoming a familiar Gothic trope in works by Poe and others, and leading inventors and entrepreneurs to develop and offer devices to prevent or correct untimely interment. Our copy was once in the collection of Gothic novelist William Beckford (1760-1844), reputedly the richest commoner in England, who amassed an impressive library at his celebrated Gothic Revival mansion, Fonthill Abbey. The library was later inherited by his son-in law, the 10th Duke of Hamilton; in 1882, the it was sold at Sotheby's, bringing in the then-enormous sun of £86,000 (around $13 million in today's money). This volume was lot 2393 in that sale, and was purchased by publishers Nattali & Bond for 14 shillings. This work is scarce in the marketplace, with RBH and ABSA finding just five copies of the first edition at auction since 1980, the last in 2011.
TENNYSON, ALFRED LORD
170 x 125 mm. (6 3/4 x 5"). [3] p.l., 256 pp. Publisher's deep green buckram with bevelled boards, covers stamped with an elaborate pattern of fleurs-de-lys and foliate compartments, front cover and spine heavily gilt. With an engraved frontispiece portrait of Tennyson by Vincent Brooks, the poems with charming woodcut headpieces and tailpieces. Ink inscription to the tail margin of p. 192: "see lines in the summer house on 'the Mount' Building." Text ruled in red. Wise, 114; Thomson, XLVII. âThe binding with very minor shelf wear, open at the gutter in one place, freckled foxing to the frontispiece and adjacent pages, other minor defects, but an attractive copy, very clean inside and out, and with especially bright covers. Selected by the author for a popular audience, this pleasing volume is a collection of works by Tennyson (1809-92) that includes the first appearance of five poems. The five are: "The Captain: A Legend of the Navy," "On a Mourner," and "Three Sonnets to a Coquette." This edition is the first to appear in "Moxon's Miniature Poets" series, issued by Tennyson's longtime publishers Edward Moxon & Company. (It was also Tennyson's final book published through Moxon.) The volume features an especially attractive and ornate publisher's binding after a design by John Leighton.
(FRENCH ILLUSTRATED BOOKS). (BINDINGS - BRANY). [GRESSET, JEAN-BAPTISTE-LOUIS]
212 x 130 mm. (8 1/4 x 5 1/4"). Two volumes. LOVELY LATE 19TH CENTURY DARK BLUE MOROCCO, VERY ELABORATELY GILT, BY BRANY (stamp-signed on front turn-ins), covers with large, lacy central lozenge formed by floral tools, shells, volutes, stars, and other small tools, cornerpieces of similar style, raised bands, spine compartments with central quatrefoil containing a bird in flight, gilt lettering, turn-ins with floral gilt roll, marbled endpapers, all edges gilt. WITH A TOTAL OF 28 FINE ENGRAVINGS: three engraved portraits, EIGHT ENGRAVED PLATES BY MOREAU LE JEUNE, BEFORE LETTERS, EACH PRESENT IN TWO STATES, and EXTRA-ILLUSTRATED WITH NINE PLATES from another edition showing different versions of the scenes, seven by Moreau le jeune (six, plus one in two states), one by Marillier, and one unsigned. A Large Paper Copy. Cohen-de Ricci 463; Vicaire III, 1131. âSpines just slightly (and evenly) darkened, barely perceptible wear (that is expertly retouched) along front joints, trivial imperfections internally, otherwise quite a fine and handsome copy--clean, fresh, and bright internally, in lustrous bindings shining with gilt. Produced by a bibliophile for bibliophiles, this is, in Brunet's opinion, the best and most complete edition of the works of Gresset, and our copy is offered with illustrations by Moreau le jeune in two states before letters, with additional engravings from two other editions of Gresset, and in elegant bindings. Jesuit poet Jean-Baptiste-Louis Gresset (1709-77) is best known for the first work here, the mock-heroic poem "Ver-Vert," which tells the story of a talented parrot, the pet of a convent who has learned to repeat prayers and other pious phrases. Its owners take the pet to another convent to show off the bird's prowess, but during the journey, the parrot picks up startling new vocabulary and arrives cursing and swearing, much to the consternation of the nuns who brought it. The accompanying illustrations by Moreau le jeune illustrate with considerable charm the parrot's fall from grace. We have the opportunity here to see two corresponding interpretations of the episodes by Moreau, as additional--sometimes quite different--plates by him from a 1794 Didot edition have been inserted in our copy. A book collector turned publisher, bookseller, and bibliographer, Antoine-Augustin Renouard (1765-1853) was known for his collaborations with Moreau le jeune and other talented illustrators, and for issuing his books in varying levels of luxury. According to Vicaire, the present work was offered with or without engravings, on "papier vélin satiné" with engravings, or, as here, on that smooth, satiny paper with the plates before letters--at four times the price of the basic edition. Jean-Michel Moreau, known as Moreau le Jeune (1741-1814), provided illustrations for Diderot's encyclopedia and engraved works for François Boucher, in addition to illustrating the works of Rousseau and Voltaire. According to the Getty Museum, "publishers sought him out for his powers of observation and ability to capture nuances of gesture, pose, and light." Ray says that the best work by Moreau "showed him to be the equal of the established rococo masters Boucher, Eisen, and Gravelot," and that in his heyday, "he carried all before him." Our set was bound by the Parisian artisan Brany, who was, according to Flety, active in the last third of the 19th century. The bindings here, featuring very elaborate, precise finishing, are exceptionally accomplished.
RALEIGH, WALTER
220 x 140 mm. (8 3/4 x 5 1/2"). vii [1], 332 pp. Pleasing contemporary dark green half morocco with gilt accents, the spine with raised bands and gilt lettering, top edge gilt. With the book-stamp of Vernon J. Watney, Cornbury on front free endpaper. âSpine a little sunned, minor shelf wear to the boards; the text with a few intermittent spots to the margins, but a fine copy, very fresh and clean internally. This is a very pleasing collection of essays by an important figure in early 20th century literary scholarship. Sir Walter Alexander Raleigh (1861-1922) was a Scottish academic and literary critic who had a distinguished career as Oxford's first appointed Chair of English Literature. He was known for his eloquent writing as much as his scholarly analysis, and produced a variety of works on literature as well as current events concerning the First World War. The present group of 13 essays cover literary topics ranging from Boccaccio to Dryden to Don Quixote. Brought together from various sources, they were published the year after the author's death. Our copy, in its attractive contemporary binding, bears the book-stamp of brewer, politician, and writer Vernon J. Watney (1860-1928), who, among other things, was for a time Master of the Worshipful Company of Brewers and High Sheriff for Oxfordshire.
![OEUVRES DE GRESSET. [with] LE PARRAIN MAGNIFIQUE](https://rarebookinsider.com/wp-content/uploads/2024/07/31926068650.jpg)
