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William Reese Company - Americana



Thomas, Henry Atwell Lithographic poster, 24 x 19 inches. Some rubbing to the upper left corner just touching the edge of the image. Light two- inch crease to the right center margin (no loss to image). Some tanning to margins from previous framing. Overall, quite crisp and sharp. Very good. A tremendously striking white-on-black lithograph for the popular pantomime artist and actor, James A. Maffitt. The design, artwork, and color scheme produce an image that remains strikingly "modern" nearly 150 years after it was created. The print features a realistic portrait of pantomimist James Maffitt in the center surrounded by a series of vignettes of the performer's various roles and routines, including (clockwise from top left): tramp, Harlequin (in one of several appearances) astride Maffitt's name, Civil War soldier, fisherman, Pierrot, Harlequin blowing characters away with fireplace bellows, Harlequin abducting a woman, and several fairies and imps in a variety of exciting scenarios. Below Maffitt's portrait is the word "Pantomimist," with the "P" formed by a dancer and a ribbon. All are bordered by grotesque faces in profile at all four corners, top and bottom, as well as midway along vertical edges. James S. Maffitt (1833-97) was a well-known actor and pantomimist at several theatres in Boston and New York, including Niblo's Garden, the Front Street Theatre, and the Boston Museum. Maffitt studied under George L. Fox, who helped revive pantomime in America in the 19th century and was regarded by many as "America's greatest pantomimist." Both Fox and Maffitt were inspired by the work of Joseph Grimaldi, legendary English clown and the most popular entertainer of the Regency era. However, while Maffitt often used the costumes and humor of Grimaldi, his style of mime followed more closely the French character Pierrot, a stock character from Italian pantomime and commedia dell'arte who is always sad and pining for love. Maffitt was perhaps best known for his creation and portrayal of the famous mute character the "Lone Fisherman" in EVANGELINE, one of the most popular musicals of the late 19th century. Maffitt held this role from the show's debut at Niblo's in 1874 until his retirement in 1894 (Graham, p.155; Smith & Litton, pp.20-2). Henry A. Thomas (1839-1904) trained as a lithographer and printer, working on city plans, historical prints, playing cards, product labels, and show posters. Around 1873, he opened his own studio, Henry A. Thomas, Artistic Lithographer (at 50 Bleecker Street), making this poster one of his first independent productions. He published portraits of most of the actors and artists on the New York scene, and was well known for high-quality work. In 1886, the American Academy of Music made him their official printer/lithographer for all publications. Thomas continued through the rise of Art Nouveau, printing the works of many artists, including Maxfield Parrish and Ernest Haskell. This poster is quite rare. We found no listing for it in OCLC and only one other instance at auction. An attractive artifact from a genre that once dominated the American stage. Annette Lust, FROM THE GREEK MIMES TO MARCEL MARCEAU AND BEYOND: MIMES, ACTORS, PIERROTS, AND CLOWNS (Lanham, Md.: Scarecrow Press, 2002). Cecil A. Smith & Glenn Litton, MUSICAL COMEDY IN AMERICA: FROM THE BLACK CROOK TO SOUTH PACIFIC, FROM THE KING & I TO SWEENEY TODD (New York: Routledge/Theatre Arts Books, 1981). Franklin Graham, HISTRIONIC MONTREAL: ANNALS OF THE MONTREAL STAGE, WITH BIOGRAPHICAL AND CRITICAL NOTICES OF THE PLAYS AND PLAYERS OF A CENTURY (Montreal, John Lovell & Son, 1902).


Kansas Photographica]: Pennell, Joseph Judd Panoramic silver gelatin photograph, approximately 8 1/4 x 19 1/4 inches. Minor degradation near bottom right corner, light surface wear. Very good. Mounted on original brown cardboard, as usual for the Pennell studio. A fine photograph depicting the training camp for the Kansas National Guard at Fort Riley, Kansas in 1908. The photograph shows a tent city ranged along the grassy flatlands near the Kansas River at Fort Riley. Hundreds of tents are shown on the prairie, with soldiers discernible as well. A railroad line runs between the river and the camp, and a small town can be seen in the far distance. The image was shot by local professional studio photographer Joseph Judd Pennell. Typical of Pennell's photographs, the image is well- composed, tonally-balanced, and crisply printed. Joseph Judd Pennell was a prolific, accomplished, and successful studio photographer operating in Junction City, Kansas from 1893 until 1922. Over the course of his career, Pennell shot hundreds of photographs and the prints and photographic plates he left behind constitute a vital record of Junction City, Fort Riley, and the surrounding areas. He photographed the town of Junction City in great detail, along with portraits of the residents (men, women, and children from diverse ethnic backgrounds), businesspeople (from attorneys to blacksmiths to tailors), businesses (both exteriors and interiors), vehicles, roads, farms and large farm equipment, railroads (including the nearby Union Pacific), and much more. Pennell recorded the life of Fort Riley in similar detail, photographing the grounds of the camp, camp life, barracks, maneuvers, the soldiers themselves, the regimental band, and shots of the training classes taken by the mounted service school (one such photograph depicts a tented classroom where a couple dozen students dissect a horse), among others. During Pennell's career, Fort Riley was a vital component of life around Junction City, where about 1,000 soldiers were stationed and often visited Junction City for mostly recreational reasons. The focus of Fort Riley itself was advanced cavalry and artillery training for both officers and enlisted men. It was also, obviously, a training location for the Kansas Army National Guard, as evidenced in the present photograph. Pennell often produced the images of Fort Riley to sell to soldiers as mementos of their time in northeast Kansas. "The photographs Pennell made seem to be the product of a transcendent, disembodied eye that silently traversed Junction City, chronicling the town's triumphs and defeats, with little trace of its own presence. Depicting objects and images dispersed throughout the town and beyond, they created a bond within the community and gave physical form to assumptions held by many of its citizens, investing their world with a level of detailed information and a three- dimensional solidity that has come to be synonymous with it" - Shortridge. A rare photograph (as Pennell images seem to be across the board) mounted on the studio's original cardboard. This particular photograph does not appear in OCLC; two similar images are recorded (one of Fort Riley dated 1908 with "Dakota in foreground" and a 1913 panorama of the Fort Riley training ground featuring the Kansas National Guard), both at the University of Kansas (which holds a substantial archive of Pennell's work). The University of Kansas, however, does not appear to hold this image. OCLC 961357071. James R. Shortridge, OUR TOWN ON THE PLAINS: J.J. PENNELL'S PHOTOGRAPHS OF JUNCTION CITY, KANSAS, 1893-1922 ([Lawrence, Ks.]: University Press of Kansas, [2000]).


African-American Photographica] Panoramic photograph, 10 x 30 1/2 inches, with captions printed below the image. Minor scuffs to edges, two slight creases (not affecting image). Very good. Backed on later flexible board. An unidentified panoramic photograph (possibly a proof) of an early African- American quartermaster training unit, likely at Camp Lee (now Fort Lee), Virginia in late 1941 or early 1942. The recruits are accompanied by the cadre of non-commissioned officers and their predominantly-white officers, with names of all printed below. In all, 240 trainees are shown and named. This unit would have been one of the first African-American training units to form at Camp Lee. The soldiers in this photograph were nearing the end of their training when the image was taken. They soon would be deployed overseas or around the United States, working to store, transport, and distribute food, fuel, clothing, and ammunition necessary to supply the army's combat divisions. Camp Lee was established during World War I as a training site and during World War II was expanded to provide training for quartermasters and related support specialists. Although some black soldiers saw combat during World War II, the majority were assigned to all-black quartermaster and engineer units, providing logistical support and distributing supplies and ammunition to troops around the world. President Truman finally desegregated the armed forces in 1948 with Executive Order 9981, and the last all-black unit was disbanded in 1954. African-American World War II Army panoramas are scarce in the marketplace.


African-American Photographica] Panoramic silver gelatin photograph, 9 1/2 x 49 1/2 inches. Minor silvering, else very good. Framed. [with:] CAMP OF THE 25th U.S. INFANTRY ON DUTY ON MEXICAN BORDER, 5.12.'19 [caption title]. San Diego: Tunnell & Sansiper, [ca. 1919]. Panoramic silver gelatin photograph, 9 1/2 x 50 1/2 inches. Very good. Framed. An interesting pair of large-format panoramic photographic collages featuring the Buffalo Soldiers of the 25th United States Infantry in training in Arizona just after World War I. The great majority of the Buffalo Soldiers were stationed in reserve in Hawaii during the First World War, but some Buffalo Soldiers were sent to Mexico to participate in the Punitive Expedition and later to Nogales to guard the Mexican border in southern Arizona during the waning years of Pancho Villa's Mexican Revolution. Buffalo Soldiers of the 35th Infantry Regiment were embroiled in the Battle of Ambos Nogales in August 1918, after which the 35th Regiment was replaced by the men seen in the present panoramic photographs - the 25th Infantry regiment. The first of the present panoramas features the sprawling camp of the 25th Infantry from an elevated vantage point in Nogales, showing dozens of buildings in the foreground, with the vast Arizona desert in the background. Below this is an equally-long image of a "Grand Review" of the hundreds of African- American soldiers who make up the unit. A photograph at left captures the activities of four African-American soldiers comprising the unit's color guard; a photograph at right shows presumably the unit's Caucasian commander at his desk, though he is unidentified. The second panorama also features the encampment of the 25th Infantry along the Mexican border as it stood on May 12, 1919. Above this is another panoramic photograph which is quite interesting; it shows the breadth of Nogales from a local hillside, spanning both Nogales, Arizona and Nogales, Sonora, Mexico. As it still exists today, the border between the United States and Mexico is here depicted by "International Avenue" running east/west through the left portion of the image. Several sites on the Mexican side of Nogales are captioned in the negative, including the border fence, the "Location of Battle between Obregon and Villa," "Place of execution," "Prison," "City Hall," the "Plaza de Mexico" among others. The panoramic photographs are flanked on each side with a vertical photograph featuring a member of the color guard of the 25th Infantry. The 25th United States Infantry was formed in 1866 as a racially-segregated unit of the United States Army. Members of the 25th Infantry fought in the American Indian Wars, the Spanish-American War, the Philippine- American War, and World War II, and also served in south Texas and along the Mexico border after World War I. The African- American units of the 10th cavalry earned the nickname "Buffalo Soldiers" from Native American tribes during the Indian Wars, and the name came to be applied to all five African-American regiments of the American Army formed in 1866, including the 25th Infantry. The Buffalo Soldiers of the 25th Infantry were stationed in Nogales from late 1918 until 1933. The soldiers became an integral part of the community, though life in a border town brought racial discrimination from people in both the United States and Mexico. An interesting side note: jazz multi- instrumentalist Charles Mingus was born in Nogales in 1922 while his father, Charles Mingus, Sr. served as a sergeant in the 25th Infantry. Panoramic photographs of Buffalo Soldiers are extraordinarily rare; these examples are especially interesting for their Mexican border content.


Burnham, Geo. P. 58pp. including numerous in-text illustrations (some full-page), plus handcolored frontispiece and three double- sided lithographic plates. Original pictorial stiff card wrappers. Mild abrading to covers, minor soiling, spine ends chipped. Mild foxing or thumbsoiling to a few leaves, otherwise clean internally. Very good. A rare and profusely-illustrated game cock manual that promises to teach breeders how to "mate, feed, breed, handle and match" game fowl, with additional "practical suggestions as to cures for their peculiar ills and ails," and with a lengthy section on cockfighting. According to the Preface, the work is a "companion treatise" to two of Burnham's earlier works, DISEASES OF DOMESTIC POULTRY and SECRETS IN FOWL BREEDING. As such, despite the beginning of the title, the work is complete in itself. The hand-colored frontispiece, highlighted in gum arabic, is a brilliant representation of the "'Earl of Derby' Game Cock; or, American Black-Breasted Red Game." Additional illustrations feature the Brown- Breasted Red game cock and hen, the Irish Grey, Game Bantam Cock, English Ginger, American Silver Duckwing, Yellow Duckwing, English Black-and-Red game cock and hen, and others. A two-page "Game Breeder's Directory" is also included. Perhaps the most interesting chapter for modern sensibilities is the twelve-page section devoted to cockfighting, entitled, "The American Cock-Pit." Here, Burnham presents some historical background on the bloodsport, along with extensive rules, dimensions for the fighting ring, and typical action seen during "these exciting struggles," with illustrations of the fights in progress. There is also a short passage devoted to "steel gaffs" - barbaric-looking spurs intended to be worn by the fighting cocks, with six examples illustrated in the text. An interesting cradle-to-grave juxtaposition - a manual on both effectively breeding and brutally destroying game cocks. Rare, with only four copies in OCLC, at Fenimore Art Museum, the Huntington Library, the American Antiquarian Society, and the Library of Congress. OCLC 228735225, 1128060139.


Oklahoma Photographica]: Banks, E.J. Panoramic photograph, 7 1/4 x 42 1/2 inches. Minor surface wear, a few soft wrinkles. Very good. Matted and framed. A rare panoramic photograph featuring a tiny Oklahoma town at the height of its oil boom. The panorama captures the expanse of the town of Braman, Oklahoma, the center portion of which shows the intersection of the main street and the railroad line. A tight-knit mixture of houses, barns, grain elevators, churches, and other commercial buildings are clustered around the main street, and quickly dissipate into flat farmland. The present photograph captures Braman solidly in the midst of its oil boom. In fact, the only landmark captioned in the negative is the "Community Oil Well" far off in the distance, attributed to the Herbert Oil Company. The Herbert Oil Company was based in Cleveland, Oklahoma (about eighty miles from Braman) and was a very active oil producer in Oklahoma during the 1920s. The photographer, E.J. Banks was an important chronicler of the oil industry in Kansas, Oklahoma, and Texas in the early-20th century, and other panoramic photographs of oil fields by Banks survive today. Braman is a small town located in the extreme north of Oklahoma, just five miles from the Kansas border. In fact, Braman is half as close to Wichita, Kansas as it is to Oklahoma City, a proximity that also would have secured the photo job for Wichita's E.J. Banks. The town was founded by a railroad developer named Dwight Braman. Throughout the last century, Braman has usually consisted of no more than 300 residents and has traditionally been an agrarian community, concentrated mostly on wheat farming. When oil was discovered close to Braman in the 1920s, the unofficial population numbers ranged as high as 5,000 people, though the population returned close to normal by the 1930 census, when 507 people were counted (the highest census count ever recorded for the town). A wonderful panorama featuring a tiny Oklahoma town caught up in oil fever, but still somehow a small community.


World War I Photographica] Panoramic photograph, 11 x 39 3/4 inches, with title caption, publisher, and "No. 233" written in negative in lower part of the image. With two-page "Duty Roster" in envelope on verso. Framed. Wear to frame, minor water damage to left margin of photo, slight creases along upper margin, small scrape to center-right of photo. "Duty Roster" worn and chipped along several edges and with a few small holes (from previous hanging). Overall very good. A panoramic photo of the 13th Provisional Company, U.S. Army Air Service, a specialized training unit for aircraft mechanics. The photo features 112 soldiers in three rows (note the propeller insignia visible on several of the soldiers' sleeves, designating them as aviation mechanics). Four officers in campaign hats sit in the middle of the front row. The accompanying typed "Duty Roster" divides soldiers by "Sergeants," "Cooks," and "Privates," with tent and cot numbers added in manuscript. The officers are not included on the roster. The Air Service started as the Air Service of the American Expeditionary Force in 1917, and then on May 24, 1918, merged with the the Aviation Section, Signal Corps of the U.S. Army to become the U.S. Army Air Service. The Air Service's early organization fluctuated substantially during World War I, with numerous units (like this one) formed temporarily and then disbanded, renamed, or merged with other units. There is no record of this unit in the ORDER OF BATTLE OF THE UNITED STATES LAND FORCES IN THE WORLD WAR., although extrapolating from personnel records and oral histories, this unit was likely stationed at Hazelhurst Field or Mitchel Field, both located on the Hempstead Plains of Long Island, two of the largest air bases in the country at the time. This unit was likely formed toward the end of the war, and while they could not have known it at the time, most of these soldiers were never deployed overseas or even served active duty stateside. In an oral history conducted by the Chesaning (Michigan) Public Library in 1976, former Sgt. Arthur Walser (1898-1980) relates how he was working at Curtiss Aircraft and had hoped to join the Army, but had trouble obtaining a release from his employer, and for good reason: aircraft manufacturing had exploded with America's entry into World War I, and Curtiss was a major military contractor. Walser was finally released, but enlistments had closed, although "they opened enlistments if you could pass a certain exam in Detroit, motor mechanics, and there was four of us went down and we passed, then we came home and sat here and waited until they called us and we were supposed to be trained in what we went in. We were sent directly to Long Island." (Art and Ferne Walser Oral History Interview). This was October 30, 1918. Walser was transferred to the 107th Aero Squadron, which was in France at the time, but he never departed; the Armistice was signed on November 11. He was discharged on December 10. Walser notes that his fellow sergeant (and hometown friend), Wayne Perrott (1899- 1939), had been transferred to the 45th (in England), but he never departed either. An uncommon photo at the dawn of American air power. Transcript, Art and Ferne Walser Oral History Interview. River Rapids District Library (Chesaning, Mi., 1976) (accessed online). ORDER OF BATTLE OF THE UNITED STATES LAND FORCES IN THE WORLD WAR (Washington, D.C.: Center of Military History, United States Army, 1949).


Texas]: [Circus Advertisement] Broadside printed in red, approximately 40 x 13 inches. Some creasing, soiling, and rubbing. Short closed marginal tears, mild chipping. Dry- mounted to foam-core board. Good. A large and striking display piece advertising the "Wild Animal Shows" of the Christy Brothers Circus in Texas in the 1920s. The broadside promises to deliver "Texas' Greatest Show Organized and Built in Texas by Texas Brains and Texas Capital" with an invitation to visit the Christy Brothers' "Winter Quarters at Beaumont the City of Opportunities." The Christy Bros. Circus began when George Washington Christy, a Pennsylvania native opened the "Christy Hippodrome Shows" in 1910. In 1914, Christy adopted the circus- style show and tweaked the name to "Christy Bros. Circus." In 1919, he purchased surplus railroad cars from the Ringling Brothers when they discontinued their parades, and Christy concentrated his efforts on multi-ring exotic animal shows. The animals that participated in these shows included the now-familiar panoply of nature - elephants, hippos, rhinos, giraffes, lions, tigers, and monkeys - along with unusual circus subjects such as polar bears, camels, water buffalo, and anteaters. Between 1924 and 1930, Christy and his circus spent the summers in South Houston, Texas, just southeast of Houston proper, and not far from the city of Beaumont advertised on the present broadside. He liked the area so well that when he closed the circus in 1930, Christy remained in South Houston, and served as the city's mayor for three terms. The present broadside, with its patriotic invocation of Texas pride, likely advertises a local show in Houston or the surrounding area. It is also likely from the earlier years of Christy's tenure in Texas, as it advertises a four-ring show; much of what survives from the Christy Bros. Circus advertises five-ring affairs, which likely came later. The broadside is exceedingly rare, perhaps a unique survival, with no other copies known to us.
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Wyoming Photographica] Panoramic silver gelatin print, 12 x 50 1/2 inches, with title and publisher written in negative at lower right of image. In a contemporary frame. Minor wear to frame, one thirteen-inch and one two-inch closed tears at right margin of image (image only slightly affected), minor creasing and warping (possibly from framing). Overall very good. A striking panoramic photo of the U.S. Army's 11th Infantry Regiment on maneuvers in the Fort D.A. Russell Target and Maneuver Reserve near Pole Mountain, Wyoming. The photo is taken from the summit of Pole Mountain looking southeast across the valley. The tents in the foreground house non- commissioned officers of the 11th. Also participating in the maneuvers were the 8th and 12th Cavalry (note the dozens of horses in the center of the photo) as well as the 15th and 18th Infantry. The maneuvers were substantial: the photo depicts at least nine separate encampments spanning one edge of the image to the other. Some encampments have over one hundred tents visible. There are several horse-drawn wagons both parked and moving along the dirt roads, and horses tethered in or near most of the camps. The Target and Maneuver Reserve, located about twenty-two miles east of Laramie, was created in 1879 as a wood and water reserve for Fort D.A. Russell. The fort itself was originally established in 1867 to protect workers for the Union Pacific Railroad. Initially spanning over 55,000 acres, the fort, together with its reserve, was an active base for many troops operating in the West, including the Buffalo Soldiers. By the turn of the 20th century, Fort D.A. Russell was one of the largest cavalry bases in the U.S., and subsequent expansions before and after World War I further increased its size. The 11th Infantry, the "Wandering 11th," was constituted on May 3, 1861 by President Lincoln. Fighting as part of the Army of the Ohio and later the Army of the Cumberland, they participated in the Battle of Shiloh, the Kentucky Campaign, Chickamauga, Murfreesboro, the Battle of Atlanta, and the march through Georgia. After the Civil War, they were active in Indian conflicts in Texas and the Dakota Territory, including the Great Sioux War and Custer's campaigns. During the Spanish American War, they traveled to Puerto Rico and then to the Philippines for the Philippine-American War. After the Philippines they were stationed at Fort D.A. Russell until the Mexican Border Crisis and World War I. The regiment became known as the "Wandering 11th" because, from 1898 to 1920, they made twenty-nine changes of station, including seven years of foreign service. This photograph is rare. We found no instances of it at auction and only one other photo of Camp Otis in OCLC, at the U.S. Army War College. G.B. Dobson, "Fort D.A. Russell Target and Maneuver Range" in WYOMING TALES AND TRAILS (2011) (accessed online). OCLC 49899269.
    • $2,000


Japanese-American Photographica]: [World War II] Panoramic silver gelatin photograph, 9 1/2 x 18 inches. Backed on linen. Several vertical creases, minor fading. Very good. A significant group portrait featuring over 100 Japanese-American members of the 2nd Battalion of the famed 442nd Infantry Regimental Combat Team during their training before World War II. The soldiers stand proudly, many of them smiling, with a flagman at left holding the unit's guidon. Six commissioned officers, none of them Japanese- American, stand in the middle of the front line. This image was taken just four months after the activation of the 442nd on February 1, 1943. The 442nd Infantry Regiment was composed almost entirely of second- generation American soldiers of Japanese ancestry (Nisei). They trained at Camp Shelby near Hattiesburg, Mississippi, not far from places like Rohwer and Jerome, Arkansas, where Japanese-Americans were interned during World War II. When many of their families were imprisoned in camps within the United States, the 442nd fought with outsized courage and uncommon distinction in Italy, Germany, and southern France, living up to their motto to "Go for broke." Over 800 Japanese-Americans would be killed or declared missing in action during their brief stint in the war, an unusually-high percentage relative to their force numbers. But they would also earn unusually- high combat rewards, including seven Distinguished Unit citations, one of them awarded by President Truman himself, who remarked on July 15, 1946, "You've fought not only the fought prejudice and won." Japanese-American service members also earned twenty Medals of Honor, 4,000 Purple Hearts, twenty-nine Distinguished Service Crosses, 588 Silver Stars, and more than 4,000 Bronze Stars for World War II alone. Since the Second World War, the 442nd has become the most highly decorated military unit in the history of the United States Armed Forces, with twenty-one Medal of Honor recipients and 9,486 Purple Hearts. Images of individual units of the fighting 442nd are rare, especially those emanating from their first few months in service.


Female Society for the Relief of British Negro Slaves]: [Roberts, Margaret] Thirty-six works detailed below. Quarto. Contemporary three-quarter calf and marbled boards, rebacked in matching style, spine gilt, gilt morocco label. Noticeable edge wear and rubbing to boards. Front and rear marbled free endpapers detached but present. Long closed tear and long fold separation to one folding plate (number 15 below). Very good overall. A rare subscriber's copy of a collection of abolitionist works compiled by the Female Society for the Relief of British Negro Slavery, designed to garner publicity and funding for the organization in the late-1820s. The album is composed both of works printed specifically for the Society and its subscribers and also contemporary works printed elsewhere but supportive of the Society's anti-slavery position. Perhaps most notable among the works included in the present album is a large folding plate showing the interior conditions on the slave ship VIGILANTE, which is rarely included in other examples of the album that we have traced. The Female Society for the Relief of British Negro Slavery was an important organization dedicated to the eradication of slavery in Great Britain and its territories. The Society was founded in 1825 and continued to advocate for the abolition of slavery around the globe until the end of the First World War. According to its first annual report, the Society vowed to "waken attention, circulate information, and introduce to the notice of the affluent and influential classes knowledge of the real state of suffering and humiliation under which British Slaves yet groan." Monies collected through sales of volumes such as this funded the Society's activities in Britain, its overseas colonies, and beyond. The Society's efforts even reached as far as the United States, where they funded early projects by Booker T. Washington and Amanda Berry Smith's orphanages in Chicago. "The Female Society played an important role in the propaganda campaign against slavery. Under Lucy Townsend's and Mary Lloyd's leadership the society developed the distinctive forms of female anti- slavery activity, involving an emphasis on the sufferings of women under slavery, systematic promotion of abstention from slave-grown sugar through door-to-door canvassing, and the production of innovative forms of propaganda, such as albums containing tracts, poems, and illustrations, embroidered anti-slavery workbags, and seals bearing the motto 'Am I not a woman and a sister?'. The society was at the height of its influence during the 1823-33 campaign against British colonial slavery, which culminated in the passage of the Emancipation Act in 1833" - Oxford Dictionary of National Biography Online. This copy of the album carries a contemporary ownership inscription reading, "M Roberts 1828" on the front flyleaf. Later penciled notes identify the inscription as belonging to "Margaret Roberts Aunt of Arthur Roberts Sister of William Roberts." As such, the Margaret Roberts who owned this album is the same Margaret Roberts who took care of the aged Hannah More in the famous author's last years. Roberts was, in fact, the executrix of More's will until preceding More in death in 1832. After both Roberts and More died (the latter in September 1833), Roberts' brother William Roberts compiled the first biographical treatment of More, entitled MEMOIRS OF THE LIFE AND CORRESPONDENCE OF MRS. HANNAH MORE. Both Margaret Roberts and Hannah More were active in abolitionist circles, and both seem to have been correspondents of William Wilberforce. Margaret's sister, Mary was one of the leaders of the Female Society's chapter in Sheffield, and it is likely that Margaret was intimately involved, as well. Three "Miss Roberts" are listed as subscribers in the Society's THIRD REPORT bound here (along with Margaret's nephew, Arthur); two of these three "Miss Roberts" are certainly Mary and Margaret Roberts. The present album also retains the binder's ticket on the front pastedown belonging to Richard Peart - bookseller, binder, stationer, and printer in Birmingham. In addition to binding the Society's albums, Peart printed some of the works contained in them; Peart printed three of the works contained in the present album. This copy of the Society's publicity album, belonging to Margaret Roberts, includes an unusually-large number of items. Usually, such albums are composed of between ten and twenty printed works and a handful of engravings. The present album includes thirty-six items, as follow (listed in the order in which they are bound): 1) [William Cowper]: Undated engraving of a chained African with a caption consisting of anti-slavery verse from Cowper's THE TASK. Undated. [1]p. 2) THE THIRD REPORT OF THE FEMALE SOCIETY FOR BIRMINGHAM, WEST BROMWICH, WEDNESBURY, WALSALL, AND THEIR RESPECTIVE NEIGHBOURHOODS, FOR THE RELIEF OF NEGRO BRITISH SLAVES. Birmingham: Benjamin Hudson, 1828. [3]-60pp. Large paper copy. Includes a list of subscribers that names "Miss Roberts" and hundreds of others across Great Britain devoted to the cause of abolition. This, and the other works here printed by Benjamin Hudson were likely produced specifically for these albums. 3) [Robert Walsh]: DEGRADATION AND CIVILIZATION, OR LANDING AT RIO JANEIRO [caption title]. Bristol: Wright and Bagnall, [ca. 1829]. 8pp. 16mo. Stitched as issued and loosely laid in. An account of landing in Brazil to find slaves in a condition "revolting to humanity." GOLDSMITHS 26508. 4) FEMALE SOCIETY FOR THE RELIEF OF NEGRO SLAVES, EXPLANATION OF THE CONTENTS OF THE SOCIETY'S ALBUM [caption title]. Birmingham: Richard Peart, [n.d.]. [1]p. A version of a contents leaf that appears in other versions of the album, with general contents notes. 5) EXTRACTS FROM THE ROYAL GAZETTE. VOL. 1. NO. 10. Jamaica: Alex. Aikman, Junior, 1828. 8pp. This issue covers events in Jamaica for the week of March 1 to March 8, 1828. It includes numerous advertisements and notices for runaway slaves, with detailed descriptions of the physical c


Minstrel Broadsheet]: [New Orleans] Printed broadsheet, 28 1/2 x 10 inches. Old soft creases, a couple tiny edge chips, short closed tear to bottom margin. Very good. A seemingly-unrecorded printed broadsheet advertising a 20th- anniversary traveling show for the New Orleans black-face minstrel company owned by promoter and band leader Joseph Gorton. The broadsheet advertises shows in New York for Gorton's company in 1887. The show promised the "Kings of Minstrelsy! The Oldest and Most Reliable Company on the Road!" The "Program of Novelties" was designed to bring "A Grand Corelation [sic] of Minstrel Forces!" The show also included Gorton's New Orleans Quintette singing "choruses, glees, madrigals, and character and sentimental songs." Joseph Gorton, Sr. was born in Friendship, New York in 1835. In November 1867, Gorton took over management of the New Orleans Minstrels, and spent the next forty-odd years managing and touring with his minstrel company and gold band. A 1911 book titled, MONARCHS OF MINSTRELSY, FROM 'DADDY' RICE TO DATE refers to Groton as "the oldest manager, in point of service, of any man in the annals of minstrelsy." The verso advertises more Joseph Gorton produced shows, featuring The Mirth Forgers (called "the big guns of minstrelsy") and "Gorton's Great Gold Band," performing on September 30. Also advertised is a "grand street parade every day, rain or shine.Make no mistake this the event of a lifetime." The Library of Congress holds a series of later color pictorial posters for Gorton's minstrel company, but the present broadsheet does not appear in OCLC.


Mexico]: [Texas] 141 separate printed items (140 broadsides and one 10pp. report), plus three manuscript sectional titlepages and two additional manuscripts. Broadsides measure from approximately 12 x 8 inches up to 25 x 11 inches (twenty-three broadsides are folded to fit the binding). Folio. Contemporary half calf and marbled boards, with "COLECCION DE DECRETOS 1834 A 36 F. BEIZTEGU" in gilt on spine. Small abrasion near spine head, moderate edge wear and rubbing, corners worn and bumped. Uneven toning, occasional minor foxing and staining, some minor fold separations, a small area of loss to a few leaves. Overall very good. Untrimmed. An impressive volume, containing 141 separate Puebla gubernatorial declarations, transmittals of Mexican congressional and presidential decrees, and other administrative notices regarding a vast array of internal political and legislative issues during an important two- year span in Mexican history. The broadsides are signed in type by the various military governors of Puebla, in the following order: Cosme Furlong, José Juan Sanchez, Guadalupe Victoria (the former first president of Mexico after achieving independence from Spain), José Mariano Marin, Manuel Rincon, and and José Antonio Mozo, and other Mexican officials, including José Antonio Grajales and José Mariano Duarte. The documents are dated from January 1834 to December 1836, and are bound roughly in chronological order. The two manuscripts appear to be copies of decrees not present here in letterpress. Of the printed items, only one is not a broadside; it is a ten-page report from August 4, 1836 on "tarifa de patentes" for a wide variety of businesses from hotels to factories to breweries. Manuel Rincon's declaration at the end of January 1835 includes news of another resignation by Antonio Lopez de Santa Anna as president of the United Mexican States. This would signal the end of Santa Anna's fourth term as president of the United Mexican States, though he would go on to serve seven more terms as the president of either the Mexican Republic or the reconstituted United Mexican States. The Texas Revolution erupted in the winter and spring of 1836, culminating with the signing of the Texas Declaration of Independence on March 2, the Texian defeat at the Battle of the Alamo on March 6, and the ultimate triumph of the Texas revolutionaries at the Battle of San Jacinto in late April. Three broadsides here include content relating to Texas. The first, issued by the governor of Puebla on July 28, 1836 transmits Mexican President José Justo Corro's July 16 presidential decree regarding the port of Matamoros, the first article of which begins "Durante la guerra con los sublevados de Tejas." (STREETER TEXAS 880, citing the Mexico City printing). In this decree, President Corro authorizes the importation of provisions into Matamoros and approves supplies for an expedition of the Mexican Army into Texas. President Corro's decree specifically exempted mules and supply wagons from seizure when entering the port of Matamoros. The Mexican government continued to assert rights to Texas even after the Texas Revolution, refusing for some time to recognize the Velasco treaties, signed under duress by Santa Anna in May. OCLC reports two Mexico City printings of this decree, as well as one in Monterrey and one in Zacatecas, but none from Puebla. The second Texas-related item is an October 25 Puebla printing transmitting an October 15 presidential decree extending protections to other Mexican ports used for the expeditionary force against Texas, in addition to Matamoros. This relates directly to and expands the decree above. The original presidential decree published in Mexico City is STREETER TEXAS 881, but Streeter does not record this Puebla imprint. The third item relating to Texas, and perhaps the most obscure and interesting item in the volume, is a two-page broadsheet circular by Puebla Governor José Antonio Mozo dated September 21, 1836. Mozo's tirade begins "Los anarquistas, tan impotentes para sobreponerse al poder nacional que los tiene condenados al desprecio.Escarmentados en Etla, ya no osan saltar a la arena para batir frente a frente a la autoridad; pero por una notable inconsecuencia, los mismos que han apoyado y no cesan de apoyar la causa de los advenedizos de Tejas a pesar de que ella tiende a robarnos la independencia hoy quieren ostentarse zelosos defensores de esta y suponer en el Gobierno siniestras miras" Mozo is raging against the "devious" activities of the current crop of "anarchist troublemakers" in Mexico, who continue to stoke the flames of conflict with Spain. The anarchists claim that the Mexican government is succumbing to blackmail and pressure from Spain. Mozo wants the Mexican government to quell the continued defamatory communications from the anarchists. He is also accusing the anarchists of supporting the uprising in Texas, claiming their stance on Texas is hypocritical in light of their stance on Spain, since the Texas troubles robbed the Mexican government of land and revenue. Not in STREETER TEXAS, no copies in OCLC, and no results in auction records. A vast collection of provincial Pueblan imprints covering two years of Mexican history that saw the end of the United Mexican States and the birth of the Mexican Republic, with rare content on Mexico's troubles in Texas. STREETER TEXAS 880 (ref) and 881 (ref).


Japanese Internment Camp Yearbook]: Teraji, Itsuko, and Ben Ninomiya, [editors] [60]pp. Profusely illustrated. Quarto. Molded blue leatherette with gilt inset title on front board. Occasional ink annotations and signatures throughout. Fraying to head and tail of spine. A few stray stains and fingerprints. Very good. A yearbook for the first year of the the high school (grades 7-12) of the Minidoka War Relocation Center in Idaho. As with other internment camp school yearbooks, it looks eerily like any other high school yearbook from the 1940s. Located in the Magic Valley of south central Idaho in Jerome County, Minidoka was in operation from 1942-45 and was one of ten camps at which Japanese Americans, both citizens and resident "aliens," were interned during World War II. By order of President Roosevelt's Executive Order 9066, all persons of Japanese ancestry were excluded from the west coast of the U.S., even though intelligence reports at the time found no evidence of fifth column activity among Japanese Americans (or Japanese immigrants) and advised against mass incarceration. At its height, Minidoka housed 9,397 Japanese Americans, predominantly from Oregon, Washington, and Alaska. Each internment camp had its own schools and most produced yearbooks, just like any other school. Belonging to seventh-grader Richard Yutaka Yamano (1930-2009), this yearbook contains everything one would expect: individual photos for the seniors, group photos for the other classes; photos of class officers, faculty, clubs, sports teams, community service programs, and other activities; humorous illustrations on the endpapers, and even signatures and notes from other students and teachers wishing Richard a good summer, etc. Richard has circled his face with an arrow pointing and the note, "ME." According to the 1940 Census, Richard was from Portland (1022 SW 2nd Ave.) where he lived with his parents, Shigetaro (born in Japan) and Alice Kazuye Nawa (born in Hawaii), along with his baby brother Harry. Edited by Itsuko Teraji and Ben Ninomiya, the yearbook is a moving document highlighting the efforts of Japanese-American students and their teachers to maintain some semblance of normalcy during what must have been a terrifying and humiliating time. The large majority of the students were relocated from the Pacific Northwest (mostly Portland and Seattle), as were their teachers, who are reduced to "Cadet Teachers" at Hunt High School. The white faculty and administrators are predominantly from the Midwest. The opening dedication sets forth the internment as the student's contribution to the war effort: "We, the Americans, born of Japanese ancestry, together with our fellow citizens, are at present engaged in a great conflict which will determine whether or not we can live in a world of peace and security blessed by the four freedoms of Democracy. The members of the Memoirs staff proudly dedicate this annual to those of us who have gone off to bear arms in order that we can live in such a world." Yet, in subsequent pages, a class "Diary" reveals that life at Hunt is really quite challenging: "SEPTEMBER.Dust - blinding, penetrating, suffocating dust!.There are no school, no recreational facilities, hot water. We start from almost nothing. OCTOBER.We see our first movie in the Center in a dingy dining hall.We join the harvesters to save the crop.still we have no school house. NOVEMBER. School begins!.In base, unfurnished barracks we sit at 'seat-attached' dining tables and try to study with the meager supply of books on hand.FEBRUARY.'Hunt' becomes the official school name.A volunteer fire brigade is formed. MAY.We are proud to have from among us eleven young patriots who are leaving to fight on the battlefront for America.JULY.Commencement looms before our eyes.And so, dear Diary, we say 'Goodbye'.we, the first graduating class of Hunt High School, faced the future with our heads held high." Richard finally departed Minidoka on August 4, 1945. He served in the U.S. Army, then married Mary Kondo (who was also detained at Minidoka) and settled in Dayton, Ohio. A fascinating artifact of the Japanese internment during World War II.


Jackson, William Henry Mammoth-plate albumen photograph, 17 x 21 inches, on original printed grey card mount, approximately 20 1/2 x 25 inches. Mounted to larger white card stock and framed. Some fading to image. Closed 1 1/2-inch vertical tear in bottom margin of the print. Closed circular tear and old stain in the lower edge of the white mount. Overall very good. A splendid and rare mammoth-plate albumen photograph produced by William Henry Jackson about 1882 after he traveled the Denver & Rio Grande Railroad. The previous year, General W.J. Palmer of the D&R.G. hired Jackson to take a series of photographs along the rail line for promotional purposes. The railway provided Jackson with a specially-built railway car that included a flat portion which served as a photographic platform. The present photograph captures the silver-mining town of Silverton, Colorado with Sultan Mountain in the background. A title in the lower margin of the photograph (partially faded), printed in the negative, reads SILVERTON SULTAN MOUNTAIN, along with Jackson's imprint. William Henry Jackson's "Denver and Rio Grande R.R. Scenic Line of the World" series stamp appears in the top margin of the original grey mount, along with the generic title THE ROCKY MOUNTAINS. SCENES ALONG THE LINE OF THE DENVER AND RIO GRANDE RAILROAD printed in the bottom margin. Jackson's images of Colorado along the D&R.G. Railroad were produced in small numbers as mammoth plate prints, and those that are most often encountered in the market are views of tracks winding through canyons or along rivers. The present image, showing a bird's-eye view of Silverton with its scores of simple wooden buildings (including a handful of two and three- story structures), is most uncommon. It is similar to one held by the State Historical Society of Colorado, showing Baker's Park, Silverton, and Sultan Mountain, pictured as plates 100-101 in Beaumont Newhall and Diana E. Edkins' 1974 study of Jackson. William Henry Jackson began his career in photography in 1858, working as a retouching artist in a studio in Troy, New York. In the 1860s, after serving briefly in the Union Army, he worked at several studios in Vermont before moving to Omaha, Nebraska in 1867, where he established his own studio. He worked on an extensive series of views for the Union Pacific Railroad, which earned him enough notice to be recruited by Ferdinand Hayden for the U.S. Geological Survey team. With the USGS, Jackson explored and photographed vast areas of the West, including Yellowstone and parts of Colorado, Montana, Utah, and Nevada. In 1879, his work with the USGS at an end, he set up a commercial photography studio in Denver, marketing landscape photographs of the West. Jackson stayed in Denver until 1898, when he moved to Detroit. The present photograph was taken during Jackson's Denver era when he did extensive work for the railroads of Colorado, the first of which was the Denver & Rio Grande Railroad. Beaumont Newhall & Diana E. Edkins, WILLIAM H. JACKSON (Fort Worth: Amon Carter Museum, [1974]), p.145, plates 100-101.


Gould, Ralph A.] Two volumes. [96]; [192]pp., approximately 45,000 words. Contemporary calf notebooks. Worn, rubbed, some soiling and contemporary ink inscriptions on front board of each volume, ink stamp on rear board of second volume. Family ink notes on pastedowns of both volumes. Internally clean and legible. Very good. In a cloth clamshell case, leather label. Two naval journals kept by Landsman Ralph A. Gould of El Reno, Oklahoma, covering the period beginning Aug. 19, 1903 to December 1, 1905, providing a detailed narrative of Gould's voyages aboard the USRS Independence, the USS Petrel, and the USS Princeton. Visiting bases all over the Pacific Ocean, Gould's journals are fine evidence of the increased American naval presence in the region in the era of the "Great White Fleet" and expanded imperial holdings following the U.S. victory in the Spanish-American War. The journals comprise an appealing below-decks narrative, including accounts of Gould's experiences at sea and on shore at various land- falls. Born July 20, 1885, Gould was between eighteen and twenty years old when he kept these journals, and he records his activities in a lively and entertaining style. The majority of the journals relate to his service aboard the USS Petrel, a gunboat belonging to the Asiatic Squadron, patrolling the Pacific, at a time of heightened international watchfulness due to the Russo-Japanese war. He visits numerous anchorages including but not limited to, the Aleutian Islands - Dutch Harbor and Kiska Harbor - Sausalito Bay, Acapulco, Magdalena Bay, Panama, and various places on the Pacific Coast. Often docking to pick up and discharge cargo - coal and wool are mentioned - Gould reports, in colorful detail, the incidents aboard and ashore: scouting parties, the capture of a bald eagle, the near death experiences of several crew members after a whale boat capsizes, and the frequent communication with other vessels in the fleet. Early in his service time, Gould records his experiences in Acapulco on Christmas Day, 1903: "All hands troubled with the heat. Arrived at Acapulco, Mexico, a fortress & beautiful village. The stranded ship. First foreign port to enter. Looking over Acapulco. A night of solid revelry and theft. The fight. Buying relics.The old church & fortress were relics & very ancient. All hands bought plenty of fruit and etc. The snake hides." By early September 1904, Gould and his mates arrive in the Bering Sea among the Aleutian Islands, specifically mentioning the trouble in finding safe anchorage near Semisopochnoi Island and Kiska. They lose one of their officers, who is recovered shortly thereafter but is very much worse for wear. Here, Gould witnesses the harvesting of a sperm whale: "Well we are not out whaling but while the hearty gales were on a young sperm whale was beaten upon the rocks and killed and after taking several different photographs of him the crew of the Patterson towed him alongside that vessel, cleaned him and then hauled him on board. They are going to render for the oil and the sperm whales bones are the best so they will save his bones." Later, on January 5, 1905, Gould finds himself in Honolulu: "I received my Kodak yesterday and the six rolls of film and today went to Honolulu and took a couple of snap shots, and had a very nice time in the city. The band was playing at the Capalanu [Kapiolani] Park and we met Kiskel and he was paid off yesterday and is going home on the first transport which arrives. Went all over the city of Aiei and met the Poastmaster and several of the leading men of the sugar refinery and had a very nice time with them." But the Russo-Japanese War continues to surface in his journal when on August 31, 1905, five days before the Treaty of Portsmouth is signed, Gould receives news while in Panama of the recent negotiations between the two warring countries: "The whole city of Panama is celebrating the peace conference, and all flags are being displayed all day and everyone is in good humour," concluding remarkably presciently, "I myself am glad that war is over but there will not be peace with all nations very long. There will be another war soon, and a more bloody affair than this." An engaging glimpse into the life of a seaman at the turn of the century. Journals by regular seamen are most unusual from this period, and this is a truly wonderful example - literally and figuratively - of history from below.


Waud, Alfred R.] Ink and wash drawing on paper, approximately 10 3/4 x 15 3/4 inches. Couple short closed marginal tears. Near fine. Matted. A unique piece of original artwork documenting the early history of Japanese-American relations, this is a sketch of the 1860 Japanese Embassy to the United States. Rendered in pen and ink washes, the piece depicts six men of the Japanese diplomatic delegation. Presumably the seated gentleman and the other two wearing tate-eboshi (tall black hats, worn by samurai) are the three plenipotentiary members of the Embassy: Ambassador Shinmi Masaoki (1822-1869), Vice- Ambassador Muragaki Norimasa (1813-1880) and Observer Oguri Tadamasa (1827-1868). The subjects are pictured wearing traditional Japanese dress and notably carry daisho, the matched pair of katana and wakizashi swords traditionally carried by the samurai class. One of the other men depicted stands in the background, wears less formal clothes, and is without a hat. He bears a resemblance to images of the youngest member of the delegation, translator Tateishi Onojiro (1843-1917), affectionately referred to by American observers as "Tommy." A contemporary manuscript note on the verso reads "Ambassadors in robes of state." The Embassy was the first-ever diplomatic mission from Japan dispatched to the United States. While Japan did have some contact with Europe prior to establishing its isolationist "Sakoku" policy in the early 17th century, there had been no formal contact with early colonial America. With the arrival of Commodore Matthew C. Perry in Edo Bay in July 1853, Japan began ending its isolationist policies. During this process a Treaty of Amity and Commerce was negotiated between Japan and the United States, signed on July 29, 1858 on the USS Powhatan in Edo Bay. The treaty was ratified by the United States Senate on December 15, 1858, and by Japan on March 19, 1859. A formal Embassy was organized to travel to the United States to exchange the ratifications. They arrived in Washington, D.C. on May 14, 1860 and were formally presented to President Buchanan on the 17th. The ratifications were exchanged on the 22nd, a grand banquet was held on the 29th, and on their final visit on June 5th, the delegates were gifted with commemorative gold medals. The Japanese were met with great interest and enthusiasm at each point of their journey with the newspapers reporting huge crowds. Noted battlefield artist Alfred Rudolph Waud (1828-1891) was born and raised in London, where he attended the Government School of Design at Somerset House before immigrating to the United States in 1850. Upon his arrival, Waud worked primarily as a freelance artist until May of 1861 when he was retained as a sketch artist and special correspondent by the NEW YORK ILLUSTRATED NEWSPAPER to report on the war. At the close of 1861, Waud joined HARPER'S WEEKLY, where he was one of their foremost illustrators through the end of the war, and afterwards. He is best known for his depictions of Gettysburg that appeared as engravings in HARPER'S WEEKLY, and for his rendering of "The First Vote" by former slaves during Reconstruction. Waud died in Marietta, Georgia in 1891, while touring southern battlefields. While some of Alfred Waud's work remains in private hands, the Library of Congress houses most of his original wartime sketches. This includes two pencil drawings by Waud documenting the same visit by the Japanese Embassy as the present wash drawing. The first is titled, "Scene in the corridor; outside the Japanese apartments at Willards showing one of the princes the use of the microscope and stereoscope" and the second is "One of the Rooms at Willards in which the Japanese will be located - and where their reception will take place." Both are impromptu, rough, preliminary pencil sketches and do not show the delicate ink washes seen here that give this more complete drawing increased depth and humanity. Plus, those drawings feature only one member of the Japanese Embassy in one of the drawings. The present drawing presents a dignified image of the Japanese diplomatic mission as a whole. Though the drawing is unsigned, it is accompanied by a letter from Waud's great-grandson Norman Burns, dated February 14, 1977, in which he states that the drawing was left to him by Waud as part of his collection. A powerful and unique group portrait of an important delegation from the early years of post-Perry Japanese-American diplomacy.


Japanese Americana] [16],1-42,42A,43-138,[2],[10],1-[144],[4],145-243,[3]pp. Text in Japanese and English. Illustrations. Quarto. Publisher's textured pictorial wrappers. Minor stain to left portion of front wrapper, mild edge wear. Light foxing to terminal leaf, else clean internally. Very good. A fascinating guide designed to assist Japanese Americans with resettlement after their forced evacuation and confinement in internment camps earlier in the decade. This guide would have been of great help in assisting Japanese Americans in reconnecting and reuniting with family, friends, and business associates from whom they had been separated during the internment period. It would have also been helpful for Japanese-Americans businesspeople looking for a fresh start after their companies were taken away from them at the outset of the relocation program, and for new businesses to connect with the growing Japanese-American community in San Francisco and other places after World War II. The guide, illustrated with numerous photographs and a front cover illustration featuring the Golden Gate Bridge by renowned Japanese- American artist Chiura Obata, consists of a lengthy report printed entirely in Japanese, followed by a bilingual directory of Japanese- American organizations (including the Japanese American Citizens League, the Anti-Discrimination Committee, and others), churches (mostly Buddhist), professional organizations, businesses, and a residential directory. The latter is organized by cities, with the great majority listing names and addresses of individuals in dozens of cities throughout California, but also Utah, Oregon, Washington, Colorado, Idaho, Minnesota, Michigan, Illinois, Maryland, New Jersey, New York, Massachusetts, Louisiana, Washington, D.C., Alaska, Hawaii, Canada, Mexico, Cuba, Argentina, and Peru. The directory is interspersed throughout with advertisements for Japanese-owned businesses and other businesses friendly to the Japanese-American community; advertisements are also printed on the inside covers and back cover. Advertised businesses include the Yamate Brothers, importers and exporters; Takeuchi Brothers, "wholesale distributors of quality fishing tackle;" Mackay Radio & Telegraph Co., which touts "Direct high-speed radiotelegraph service to and from Japan;" Shibata Mt. Eden Nursery Co.; Kusano Hotel; Ogi Jewelry company; Wm. S. Yamashita Company, grocers; Dr. G.I. Kawamura and his medical partners; the Namimatsu Farm; Hime Brand Sacramento Noodle Factory; Mukai Brewing Co., and scores of others. The photographic illustrations at the beginning of the text are interesting. They open with a page showing various California buildings, including the state capitol in Sacramento. These are followed by pictures of the evacuation of Japanese Americans in 1942, a couple of scenes inside the internment camps, including Heart Mountain, and two aerial views of internment camps, one identified as Topaz in Utah. These photographs are followed by several pages of San Francisco street scenes showing various buildings of Japanese- American interest, ending with the NICHI BEI TIMES office. This directory was published by the NICHI BEI TIMES, an important Japanese-American newspaper started in San Francisco in 1946 by former employees of the NICHI BEI SHIMBUN, after the return of Japanese Americans to the Bay Area from internment camps. The paper quickly became an important source of news for Japanese Americans that the mainstream media often neglected, including important issues such as civil rights violations dealing with discrimination and hate crimes. At the time of its print demise in 2009, the NICHI BEI TIMES was the longest-running Japanese-language newspaper in northern California; it continues today as an online newspaper. OCLC records just three copies, at the San Francisco Public Library, the Bancroft Library, and the University of Washington. OCLC 55742908, 21851426.


Rankin, John 118pp. plus [1]p. of advertisements. 18mo. Publisher's green cloth with blind stamping of vines, title label on front board. Boards lightly worn, faint scrape to rear board, corners bumped, spine ends frayed. Two-inch tear to lower edge of front free endpaper; contemporary ownership signature of Wells M. Gaylord of Utica, New York on front flyleaf. Occasional light foxing. Very good. Second edition of Rankin's influential work against slavery. As Rankin explains in the Preface, "[t]he following letters were originally designed for the benefit of the Brother to whom they were addressed. For his convenience they were inserted in the Castigator [a Ripley, Ohio newspaper], and by that means were first brought to public view." John Rankin (1793-1886) was a Presbyterian minister and abolitionist originally from Tennessee. His abolitionist views forced his departure from Tennessee and he eventually settled in Ripley, Ohio. In 1824 he discovered that his brother Thomas had purchased slaves, and was determined to convince him otherwise through a series of letters that he also published in the local paper. Apparently the letters were successful, as Thomas moved to Ohio in 1827 and freed his slaves. The letters were reprinted in Isaac Knapp and William Lloyd Garrison's newspaper THE LIBERATOR in 1826, then published as a book by Knapp and Garrison in 1833, and were some of the first explicitly anti-slavery arguments written west of the Appalachians. In no time, LETTERS ON SLAVERY became standard reading for abolitionists throughout the United States. Garrison called Rankin his "anti-slavery father; his book on slavery was the cause of my entering the anti-slavery conflict" (quoted in Hagedorn, p.58). In addition to preaching, speaking, and writing, Rankin was also one of Ohio's first and most active "conductors" on the Underground Railroad. From 1822 to 1865, Rankin, along with his wife and children, assisted thousands of escaped slaves. Located on the Ohio River, John Rankin's home (and Ripley, Ohio) was considered one of the first stations on this particular branch of the Railroad. Harriet Beecher Stowe memorialized Rankin in UNCLE TOM'S CABIN, basing the character of Eliza on Rankin's account of a woman who stayed at his home after crossing the frozen Ohio River with her child. This is the stated second edition published by Charles Whipple in Newburyport; the first was issued by Knapp and Garrison in Boston. While not a formal partner, fellow abolitionist Charles Whipple worked with, and published several works that first appeared from, Knapp and Garrison. In the advertisement page in this volume, Whipple lists for sale: "MRS. CHILD'S ANTI-SLAVERY CATECHISM.LECTURES ON SLAVERY AND ITS REMEDY, by Rev. A.A. Phelps.Anti-Slavery Hymns, Cards, and Handbills, in great variety. Subscriptions received as above, for the NEW YORK EVANGELIST, EMANCIPATOR, HUMAN RIGHTS, CONCORD HERALD OF FREEDOM, BOSTON LIBERATOR, NEW ENGLAND SPECTATOR, and ANTI-SLAVERY QUARTERLY MAGAZINE." An attractive copy of a vital work in the evolution of abolitionism. HOWES R62. SABIN 67882. AMERICAN IMPRINTS 39838. Amy Hagedorn, BEYOND THE RIVER: THE UNTOLD STORY OF THE HEROES OF THE UNDERGROUND RAILROAD (New York: Simon & Schuster, 2002).


Randall, William Edgar Three notebooks. [92]; [40]; [55]pp., on lined paper. Illustrations. Uniform contemporary black leather over limp paper covers. Spines partially perished, some rubbing and soiling. Minor dust-soiling to text. Overall very good. A collection of three fantasy-tinged illustrated storybooks composed and illustrated by William Edgar Randall, a teenaged San Francisco storyteller and artist in the first few years of the 20th century. These three journals detail "Ed" Randall's fertile imagination, which takes the form of stories or fake letters, most of them illustrated with charming black and white ink title vignettes or calligraphic titles, which are sometimes accented with watercolors. As an adult Randall would work as a civil engineer and as a commercial illustrator - these volumes are early evidence of his artistic skill and imagination. At the start of each journal is a titlepage that often features an original ink-drawn bookplate, one of which hilariously states, "This book was dug up from under Carlisle Castle and supposed to have been written about anno domino 1902 or 1903 by one W Edgar Randall who lived at that remote period of the Earth's existence." At the beginning of each journal is also a manuscript table of contents or "Index," illustrated. Some of the more straightforward entries, such as short biographies of Nathaniel Hawthorne, John Greenleaf Whittier, or Paul Revere (or an essay on Chalk) appear to have been school assignments for which Randall was using the journal to compose a draft. In other entries it is clear that Randall is weaving what he has recently learned in school or experienced in real life into fanciful, detailed, re- imaginations of trips or adventures. In one of his imaginary letters he details a trip to Egypt and describes the sites he sees from his hotel window and the excavation of the Sphinx. An excerpt from the letter reads: "To relieve you of any burdensome illusions about the city of Cairo, I may and will tell you that most of the city and its people are quite civilized, and the high class are really quite progressive.Early in the morning, (very early indeed, 10 AM), came a 'jellah', or peasant, guiding a small flock of fowls with a palm- leaf, singing their praises the while, in sentences containing words from the English, French, Italian and Egyptian and a great many Greek words through in at random. A gayly turbaned cook spoke a few words to him, and there immediately ensued a lengthy debate over the price of the 'priceless birds.' In about an hour and a half the gaily turbaned personage, aforementioned, carried off a fowl in high satisfaction as having (as I afterwards learned) beaten down the price [to] two piasters which is about ten cents!"). In another letter he describes arriving in San Francisco and the various sites around the city like the Golden Gate and the Presidio: "When we got off the boat and came trough the Ferry Building, into San Francisco, a man with 'Lick House' on his cap informed me that his hotel was the best.A person residing at the St George wanted to explore the Golden Gate Park so we went together. It is oblong in shape with a 'Panhandle' a mile long at the eastern end. There are public tennis courts, packed down with oil, a deer and buffalo paddock.The Police are all very kind, most of them big-hearted Irishman, and when I got lost one night, came to the hotel with me. Yesterday we went to the Presidio. It is very much like other concentration camps but larger. Within it are an extensive golf links, and a life-saving station." There are also original short stories throughout the journals, such as "Vacation," detailing a short adventure to Santa Cruz; "Emperor's Bird's Nest," which describes a swallow nesting in the Emperor's tent; "Adventures of W.E.R.," a fanciful retelling of Ed's own childhood in which he writes, "W.E.R. was a boy. He was a very small boy when he got lost in the cornfield and never went near the place again [sic] for the simple reason that he was not allowed to;" "A Winter's Story," in which Randall details the exploits of an American corporal in Manila; "A Rolling Stone," a short story of two brothers, one whose "steadiness prospered" and one who gathered moss; and "The Minutes of the 37th Assembly of the Spider's Congress," a story which recounts the fateful meeting between city and country spiders. A descriptively-interesting excerpt of the spider story is as follows: "A member then told of how he saw a boy put a spider on a stick in the middle of a puddle of water. This did not trouble the spider for he sat down on the top of the stick and started to spin threads about a foot in length. After he had spun ten threads the wind lifted them and the spider and carried off. When the spider wanted to land, he cut one thread at a time and came easily to the ground." Randall's numerous illustrations include starfish, clams, shrimp, various insects, skulls, stylized gnome-like humanoids, and other fantastical figures throughout. Another humorous illustration is a set of drawings that showcases a snake's last meal. In one notable entry Randall composes a limerick about himself, reading: "There once was a fellow named Randall - / Who lived on peanuts and scandal / One day in his mirth / He jumped clean off the earth / And now the planets he'll handle." The most charming aspect of this entry is the "music" Randall composed to accompany the limerick, in which the notes of the stanzas are actually little costumed men acting out various scenes. William Edgar "Ed" Randall was born on January 29, 1888 in Marin, California to William James Randall (1852-1908) and Abbie Louise Perham Randall (1853-1908). He had a younger brother, Lawrence George Randall (1893-1953). After marrying Polly Randall (1888- 1966), the couple moved to New York City where Ed was employed as a civil engineer. Later in life Randall found work as an illustrator and columnist. Ed Randall passed away on December 15, 1964 after a short stay in Bell


Museum of Foreign Literature and Science] Broken run of twelve volumes, described below. Contemporary half calf and marbled boards, spines ruled in gilt, gilt leather labels. Front board of volume XII detached, bindings of most volumes rubbed and with wear to spine ends. Minimal foxing generally, more prevalent in the final volume. About very good. A run of twelve volumes of a leading American periodical. THE MUSEUM OF FOREIGN LITERATURE AND SCIENCE grew out of a weekly newspaper founded in 1818 by Eliakim Littell and R. Norris Henry called the PHILADELPHIA REGISTER. In 1822 it became a monthly under the present name and "for twenty years it was the leading American eclectic" (Mott). Like many such periodicals, it gained most of its news and information from British magazines. The majority of its contents were reviews, poetry, literary and scientific news, biographical sketches of authors, lists of new publications, and articles on literature, almost exclusively British. "The plates, which came to be a prized feature of the magazine, began in 1827, but were not published regularly until 1830; they added much to the attractiveness of the periodical" - Mott. In 1833 the name was changed yet again, to THE MUSEUM OF FOREIGN LITERATURE, SCIENCE AND ART (see Vol. XXII below). The volumes included in this grouping are: 1) Vol. X. January to June, 1827. Philadelphia & New York: E. Littell; G. & C. Carvill, 1827. 572pp. with engraved portraits and illustrations. Front board nearly detached. 2) Vol. XII. January to April, 1828. Philadelphia & New York: E. Littell; G. & C. Carvill, 1828. 706pp. with engraved portraits and illustrations. Front board detached, rear hinge loosening. 3) Vol. XIII. July to December, 1828. Philadelphia & New York: E. Littell & Brother; G. & C. Carvill, 1828. 766pp. with engraved portraits and illustrations. Front board nearly detached. 4) Vol. XIV. January to June, 1829. Philadelphia & New York: E. Littell; G. & C. & H. Carvill, 1829. 574pp. with engraved illustrations and portraits. Front board loosening. 5) Vol. XV. July to December, 1829. Philadelphia & New York: E. Littell & Brother; G. &. C. & H. Carvill, 1829. 574pp. with engraved illustrations and portraits. 6) Vol. XVI. January to June, 1830. Philadelphia & New York: E. Littell & Brother; G. & C. & H. Carvill, 1830. 574pp. with engraved illustrations and portraits. Front board nearly detached. 7) Vol. XVII. July to December, 1830. Philadelphia & New York: E. Littell; G. & C. & H. Carvill, 1830. 573pp. with engraved plates and illustrations. 8)Vol. XVIII. January to June, 1831. Philadelphia & New York: E. Littell; G. & C. & H. Carvill, 1831. 576pp. with engraved plates and illustrations. 9) Vol. XIX. July to December, 1831. Philadelphia & New York: E. Littell; G. & C. & H. Carvill, 1831. 718pp. including engraved plates and portraits. 10) Vol. XX. January to June, 1832. Philadelphia & New York: E. Little; G. & C. & H. Carvill, 1832. 669pp. including several engraved portraits and plates. 10) Vol. XXI. July to December, 1832. Philadelphia, Baltimore & New York: E. Littell; E. J. Coale; and G. & C. & H. Carvill, 1832. 584pp. with portraits and sketches. 12) THE MUSEUM OF FOREIGN LITERATURE, SCIENCE AND ART. Vol. XXII. January to June, 1833. Philadelphia, Boston & New York: E. Little and T. Holden; Kane & Co.; G. & C. & H. Carvill, 1833. 837pp. including several engraved portraits and plates. Prevalent foxing, else fine. MOTT, AMERICAN MAGAZINES I, pp.130 and 306-09.


African Photographica]: Mbirika, Vincent Elyidardy Abukuse [37]pp., consisting of a manuscript narrative interspersed with seventy-four vernacular photographs (twelve 2 1/4 x 2 1/4 inches, the remaining sixty-two approximately 3 1/4 x 5 1/4 inches) all with extensive captions, and four mounted telegrams. Oblong quarto. Contemporary blue leatherette photograph album, string- tied. Minor wear and rubbing to covers. Near fine. A unique and heart-wrenching manuscript and photographic memorial documenting the last illness, death, and funeral of a Christian preacher in Kenya, Petro Andayi Mbirika in the spring of 1960. The author of the narrative and captions, and compiler of the album is Petro Andayi Mbirika's son, Vincent Elyidardy Abukuse Mbirika. Vincent signs his name on the third page of the album, at the conclusion of the introductory manuscript text. Also, three images in the album capture the younger Mbirika, including one showing him at the side of his father's coffin, dressed in coat and tie. According to the manuscript narrative at the beginning, Vincent composed the present album on his last night in Nairobi before returning to the United States "for higher studies." Mbirika would indeed go on to higher education in the United States, earning a doctorate from New York University in 1970. His dissertation is titled, AN EXAMINATION OF THE FUNCTIONS OF THE UNIVERSITY OF EAST AFRICA IN RELATION TO THE NEEDS OF THE PEOPLE. He then returned to a professorship in Kenya, where he apparently still lives. Ever the devoted son, Vincent writes that his father "was a great person, not by body, even not by fame, but he was great in the way he dealt with different people and in the manner in which he handled everyone.My father preached the Gospel of Christ from 1913 to his death, and in so doing established 10 churches in Kisa Location." Vincent also recounts the circumstances leading to his father's death, which involved his father falling more than twelve feet from the roof of his own house. Petro seemed to recover for awhile, but was ultimately struck down with brain damage as a result of the fall. The subsequent photographs and captions record the life, death, and funeral of Petro Andayi Mbirika in vivid detail. Vincent includes several photographs of his father and other family members in happier times, and also his father's house from as early as 1956. These are followed by a handful of photographs of Petro in the hospitals at Maseno and Mwihila. After the four telegrams Vincent received from various friends informing him of his father's accident and death, the remainder of the album is concerned with Petro's wake and funeral, with numerous photographs of Petro's body. Various images show Petro's wife (and Vincent's mother) "seated near my dead father's body;" Vincent's uncle "Ernest seated beside the dead body of his elder brother Petro Andayi;" various relatives in group shots and seated at Petro's coffin; the funeral itself which "more than 5,000 people attended;" preachers such as Rev. Andreya Muyela and Mr. Jotham Koli sermonizing at the funeral; the procession of the funeral to the gravesite; the fencing in of Petro's grave "to stop it from getting spoiled by animals;" Sunday church service held near Petro's grave; and finally the elaborate cementing of Petro's gravesite in late August. Before 1963, Kenya was a British colony; as such, the Mbirika family were British citizens at the time the present album was composed, but seemed to have preserved many African traditions. One of these traditions is evident from the present album, in which the ritual of esilemba is observed and captured in six photographs. Esilemba is a funereal dance staged for respected members of the Abanyole people in Kenya, designed to elevate the spirit of and ward off evil influences surrounding the deceased. The ritual was performed for Petro Andayi Mbirika, a testament to his stature among his community. A sad but precious record of a devoted son's final memorial to his departed father in Africa.