A SELECTION OF RECENT HIGHLIGHTS:
(updated 10/8/2019 at 4.30pm EST)

 

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Over de Voortteeling en Wonderbaerlyke Veranderingen Der Surinaamsche Insecten, Waar in Surinaamsche Rupsen en Wormen, met alle derzelver Veranderingen, naar het leeven afgebeelt en beschreven Waar in ook wonderbare Padden, Hagedissen, Slangen, Spinnen en andere zeltzame Gediertens worden vertoont en beschreven. Alles in Amerika

MERIAN, MARIA SIBYLLA. Amsterdam, By Jean Frederic Bernard, 1730. Folio (515 x 355mm). pp. (8), 51, (1), with engraved title vignette and 72 splendidly hand-coloured engraved plates (Together with:) MERIAN, MARIA SIBYLLA. De Europische Insecten. Naauwkeurig onderzogt, na 't leven geschildert, en in print gebragt . Met een korte Beschryving, waar in door haar gehandelt word van der Rupsen begin, Voedzel en wonderbare Verandering . Amsterdam, J.F. Bernard, 1730. Folio. pp. (4), 84, with engraved title-vignette, 184 splendidly hand-coloured engraved plates printed on 47 leaves and a hand-coloured engraving on page 84. Contemporary Dutch calf, richly gilt decorated spine in 10 compartments, old spine laid down with some repair at head and foot, corners with old repair. (I). Third Dutch edition and the second enlarged edition adding 12 plates to the 60 of the 1705 edition. One of the finest coloured copies we have seen of this important work. Maria Sybilla, daughter of the German engraver and publisher Matthias Merian, devoted herself to the study of European insects and their metamorphoses. As a result of the wealth of tropical varieties being brought back by the Dutch West Indies Company, she decided to visit the Dutch colony of Surinam herself to study and paint the insect life there. She sailed with her daughter Dorothea on June 1699 from Amsterdam, and remained in Surinam until 1701. Her work, first published in 1705 with sixty plates, 'gave an unprecedented glimpse of the teeming insect life of tropical South America, with gorgeous butterflies flying around luxuriant flowering or fruiting plants and with large many-coloured caterpillars crawling over the leaves. [The plates] have earned Maria Merian an honoured place in the history of tropical entomology as also in botanical illustration' (W.T. Stearn, introduction to The wondrous transformation of caterpillars 1978).The work opens with an imposing frontispiece which shows the artist studying specimens presented to her by six putti. In the background a spacious arch opens onto a tropical landscape. The foreword is full of fascinating information, the author describing in detail her venturesome and costly voyage and the methods she employed when painting. Each insect was carefully examined, often with the aid of a microscope, and depicted together with the plant, flower or fruit on which it normally fed. Each written entry begins with useful botanical information, thus providing us with indications as to how the artist composed her pictures.'Merian's sensibility to the minutest aspects of the natural world, and her rich visual vocabulary (the fruit of a lifetime of study and practice), is reflected in every detail of the work. It contains a myriad of exotic species, most of them shown in the various phases of their life-cycle.'Merian's vision was certainly not one of an idyllic tropical paradise: in not a few of her paintings she has depicted next to the insect its natural predator. As Luigi Figuier colourfully expressed it: "Every one of her paintings depicts a drama in miniature". The implacable laws of nature do not spare the splendid tropical flowers depicted by the artist, who often saw the fresh green leaves and fleshy, vividly coloured petals as nourishment offered up to ravening insects' (Lucia Tongiorgi-Tomasi, An Oak Spring flora pp 382-3).Botanical notes on the plants depicted were supplied by Caspar Commelin. For this edition 12 further plates with accompanying text were added; the first ten by her daughter Johanna after making her own voyage to Surinam, and using materials left at Maria's death, and the last two by the great collector Albert Seba.(II). First Dutch edition. This work in its earliest form was published as Merian's 'Der Rupsen Begin, Voedzel en Wonderbaare Verandering' (1713-1717), which was issued in 3 parts in 4to. Merian's 'De Europische Insecten', includes her earlier published 'Blumenbuch', of which the first edition of 1675-1680 was sold a few years ago at auction for Pounds 565,250 (including premium). Of the second edition renamed 'Neues Blumenbuch' only 6 copies have survived. Frédéric Bernard, the publisher of the 'De Europische Insecten .', had purchased the copper plates of the 'Der Rupsen Begin' and the 'Blumenbuch' from Johannes Oosterwyk, and believed that the plates for the 'Blumenbuch' had not previously been published, which suggests that Merian's earlier work had already been forgotten. Maria Sibylla Merian was one of the first to observe and describe metamorphoses of European insects, portraying, describing and publishing them with painstaking precision. Her 'Der Rupsen Begin' is a pioneer study. It is dedicated to 'explorers of nature, art-painters and garden lovers'.Maria Sibylla Merian was one of the most remarkable naturalists of the 17th and 18th century. Already at the early age of thirteen she began studying insects. She became the most celebrated woman artist of her time and many of her drawings were acquired by Tsar Peter the Great. "The work of these years consisted of both scientific and artistic activity: Merian collected and raised insects, fed them with their host plants, observed them, described and drew their metamorphoses from egg to caterpillar and from pupa to butterfly imago. She then compiled her individual observations and studies in pictorial compositions" (Maria Sibylla Merian, Artist and Naturalist 1647-1717, p. 103).Provenance: Old bookplate of E. Grendel.(I) Pfeiffer B6; Hunt 484; Nissen BBI, 1341. (II) Pfeiffer A9; Nissen BBI,1342.
THE COURTSHIP OF MILES STANDISH

THE COURTSHIP OF MILES STANDISH

Longfellow, Henry Wadsworth A Longfellow-penned, SIGNED-and-dated quotation from "A Psalm of Life" (stanza 1: on 4 3/4" x 6" stock) has been tipped in between the frontal leaves (after the brown-coated front free endpaper & before the half-title), small 8vo (4 3/4" x 7 1/2"), original publisher's brown cloth with gilt title on spine and decorative blindstamping and bordering rules on front cover, brown-coated endpapers, 215 pages, [1] blank verso + [1],2-11,[12] pages of Ads for Ticknor and Fields inserted at rear, dated October, 1858. Housed in a fine quarter-Morocco brown leather and thin-ribbed purple cloth slipcase with five hubs & elaborate gilt patterning on spine with protective sliding tri-fold purple inner casing to protect this splendid volume. Henry Wadsworth Longfellow (1807 - 1882) was a great American poet and educator whose works include "Paul Revere's Ride," The Song of Hiawatha, and Evangeline, and "A Psalm of Life" (1838) which were and remain mainstays of national culture. He was also the first American to translate Dante Alighieri's Divine Comedy, and was one of the five Fireside Poets from New England. In addition to being in SUPERIOR overall condition, this impressive volume includes a handsome Longfellow SIGNED-and-dated poem dated June 3, 1875 (with one horizontal fold: 4 3/4" x 6"): it is the first stanza from one of his most famous poems, "A Psalm of Life." "Tell me not, in mournful numbers, Life is but an empty dream! For the soul is dead that slumbers, And things are not what they seem." The handsomely written poem has been professionally affixed to a ~1" strip inserted before the half title. The front free brown endpaper has affixed a single sheet advertising Scott's Waverley novels, noted by BAL (V, p.497) as present in some early copies. The inner hinges (front and rear) have been professionally reinforced with brown-shaded binder's tape. The cloth is in remarkable condition: clean, minimally rubbed, with moderately faded gilt on the spine, and a minute (~1/16") chip lost from the upper spine by the rear upper gutter. There is also an attractive bookplate by the previous booklover on the front pastedown (from whose local estate we obtained this fine copy). First edition, First printing. First issue with "Cry of pain on crags Caucasian, (p.119, last line); and "The revel of the treacherous wine," (p.124, line 3); and twelve pages of ads for Ticknor & Fields inserted at the rear dated October, 1858. BAL 12122. Slipcase: Quarter Brown Morocco and purple cloth over boards
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Un Autre Monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, peregrinations . &c.

GRANDVILLE. (Delord, Taxile). Large 8vo. (272 x 212 mm). pp. (ii), (i), (i), 295, (i). Half-title in red with pseudo-privilège verso (also in red), leaf with frontispiece verso, printed title in red and printed text illustrated with 36 hors-texte wood-engraved plates all with additional colouring by hand and 146 wood-engravings in the text, final two leaves with 'Table', 'Explication' and 'Errata' verso. Original publisher's full green morocco, the front board with large central pictorial vignette reproducing the frontispiece beneath the pictorial title vignette, rear board with gilt vignette from 'Petites Misères de la Vie Humaine', banded spine with elaborate gilt tooling and titles in five compartments, marbled endpapers, green silk placemarker, t.e.g. [PROVENANCE: With the printed bookplate in red and black of 'I. C. A. Chicora' to front pastedown]. Grandville's finest book and magnum opus, an extraordinary imaginative tour de force in a variant of the publisher's de luxe full morocco binding. 'Un nouveau monde est né; que Grandville soit loué.' (Max Ernst). Grandville's most remarkable book, an expansive flight of inspirational fantasy, and a remarkable precursor. It is clear that the influence of this work extends onward in the nineteenth and well into the twentieth centuries and beyond. A remarkable work of sui generis imaginative verve, Grandville produced the illustration which was then 'illustrated' with a commissioned text. The tale of three demi-gods, 'Dr. Puff', 'Dr. Krackq', and 'Dr. Hahblle', their created worlds and travels. The work, a descendant of the works of Swift and Goya, inspired, in passing, Lewis Carroll ('La Battaille des Cartes'), Max Ernst, the Surrealists in general as well as later caricaturists such as Steadman and Scarfe. The binding for the present copy, not cited by Carteret is likely unique. As for the very few other known copies in the deluxe binding, the front board reproduces the frontispiece showing 'la Charge et la Fantaisie passant de l'ancien monde à l'autre' signed by Liebherre. The rear board normally blank or displaying the same stamp, here features another, taken from the 'Petites Misères de la Vie Humaine'. 'In this remarkable book, of the boldest possible originality, Grandville dared to reveal his dream to the public.' (Ray). The full title - which gives a good indication of the enormously broad scope of the work - reads as follows: 'Un Autre Monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations, cosmogonies, fantasmagories, rêveries, folâtreries, facéties, lubies, métamorphoses, zoomorphoses, lithomorphoses, métempsycoses, apothéoses et autre choses.' [Ray 196; SR / BF 76 / 77; Carteret III, 285; Rebeyrat 287].
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Les Malheurs des Immortels révélés par Paul Eluard et Max Ernst.

ERNST, Max. Eluard, Paul. 4to. (250 x 190 mm). [22 leaves; pp. 43, (i)]. Half-title with monochrome frontispiece by Ernst verso, printed title and Eluard's text illustrated with twenty monochrome plates after collages by Ernst, final leaf verso with advertisement and achevé d'imprimer. Original publisher's printed wrappers with titles to front cover in black. Presentation copy of the first edition of the seminal collaboration marking the boundary between dada and Surrealism. From the small edition of unknown size on simili-japon with a presentation in black ink to the half-title: 'à Madame / Paulette Nougé / Les malheurs des immortels [printed] / pour qu'elle marche sur / les lignes de sa main / Max Ernst'. Paulette Nougé was the wife of Paul Nougé, the Belgian poet and theoretician who co-founded Surrealism in Belgium and collaborated on several books with Magritte. This first edition of 1922 - which was issued in very small numbers - of 'Les Malheurs des Immortels' matches Paul Eluard's prose poems with Max Ernst's 'synthetic' collages. Each poem is faced with one collage. The final leaf verso features an advertisement for Ernst and Eluard's previous text / collage collaboration 'Repetitions' which was published earlier in the same year. 'Ce livre d'étroite collaboration peintre-poète est un des jalons majeurs du livre au vingtième siècle . Pour Werner Spies ('La Révolution Surréaliste', 2002) le livre exprime une 'rupture visible du monde objectif, matérialisée par les images', rupture entre les plans sémantiques qui est aussi réciprocité, où la 'consience bicéphale' donne une coordination précise au texte et aux paires collage-texte . Les thèmes des collages des 'Malheurs des Immortels', incluent des métamorphoses hoome-animal, des parties vivantes animant des machines, les éléments (air, eau . ) mêlés, ou la tension électrique, mécanique ou érotique . L'importance de ces collages est soulignée par le fait que c'est essentiellement grâce à eux que le groupe surréaliste naissant prit conscience des possibilités plastiques du surréalisme.' (De Parallèlement à Chanson Complète). A second edition in smaller format was published by Editions de la Revue Fontaine, also in Paris, in 1945; the first edition in English was published by the Black Sun Press in New York in 1943. A German edition was published in Cologne by Galerie der Spiegel in 1960. [see 'De Parallèlement à Chanson Complète', pp. 167 - 174].
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Je Ne Mange Pas De Ce Pain-Là.

ERNST, Max. Péret, Benjamin. 12mo. (156 x 112 mm). [52 leaves + 6 inserted leaves with Ernst's original etching; pp. 99, (ii)]. Half-title with 'Du Même Auteur' verso, original monochrome etching signed in pencil by Max Ernst as frontispiece on chine (sheet size: 140 x 105 mm) together with the additional suite of the same etching in blue, charcoal, green, purple and sanguine, each also on chine and signed in pencil by Ernst, printed title with copyright verso and Péret's 28 poems, two leaves with 'table des Matières', final leaf with justification recto and achevé d'imprimer verso. Full anthracite polished calf by Georges Leroux with his signature gilt and dated '1962', front board with onlaid cruciform motif composed of vertical and horizontal sections of snakeskin and two-tone polished calf, rear board with the motif inverted, smooth spine with gilt title, chocolate polished calf and brushed suede doublures and endpapers,original scarlet printed wrappers and backstrip preserved, a.e.g., chocolate suede-lined anthracite calf-backed wood board chemise with gilt title and matching slipcase. Benjamin Péret's rare verse collection 'Je Ne Mange Pas De Ce Pain-Là', here on scarlet paper, with Max Ernst's etching as frontispiece together with the very are additional suite in colour, all signed by Ernst in pencil. From the edition limited to 250 copies, with this copy one of 25 'exemplaires d'auteur' on scarlet 'le Roy Louis teinte bourgogne' paper with an original etched frontispiece by Max Ernst on chine, exceptionally signed by the artist in pencil together with the additional suite of the same etching in blue, charcoal, green, purple and sanguine, also exceptionally signed. The additional suite in the present copy is of the utmost rarity: Spies, pace the justification of the book, lists the suite as having been issued solely with the first copy of the book (numbered 1 on Japon Nacré) while other sources suggest it was issued only with the 15 copies of the second paper (numbered 2 - 16 on Japon impérial), however, the Edmée Maus / Daniel Filipacchi copy on Japon Impérial contained the etching in only two states; the only other example of the present suite we trace was in Jacqueline Breton's copy, also, as here, on scarlet le Roy Louis teinte bourgogne. Breton's suite was not signed by Ernst. Also included in the present copy, tipped-in, is the original subscription leaf for the book also printed on scarlet paper. This rare collaboration between Benjamin Péret and Max Ernst, with Ernst providing a Surrealist etching as the frontispiece for twenty-eight of Péret's poems, features some of Péret's most virulent polemic. In 1959, on his death, the title of the work was used as Péret's epitaph in the cemetery in Batignolles. ' . Max Ernst a réalisé un frontispice devenu célèbre, sorte de créature marine ressemblant à un hippocampe avec une patte de poulet et un oeil qui fixe paraît avoir été inspiré par le poème 'Nungesser und Coli Sind Verreckt' . La quintuple suite en couleurs de l'eau-forte, annoncée pour l'exemplaire no 1 sur Japon nacré, ne fut semble-t-il jointe que dans de rares exemplaires . Ces 28 poèmes sont en effet particulièrement virulents, anti-patriotiques, anti-cléricaux et anti-militaristes. Benjamin Péret y livre toute sa verve, toute son énergie avec un talent dévastateur.' (see 'Bibliothèque d'un Amateur Européen'). [Spies 18, A & B; Gershman pg. 32; see lot 105 in 'Bibliothèque d'un Amateur Européen', Christie's Paris, 2006 for Jacqueline Breton's copy].
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Perles et Parures: Les Joyaux Fantaisie. Minéralogie des Dames. [&:] Les Parures Fantaisie. Histoire de la Mode.

GAVARNI (Sulpice-Guillaume Chevallier). Méry, Joseph and Le Cte. Foelix. 2 vols. Large 8vo. (270 x 184 mm). pp. (ii), (i), (i), 316; (ii), (i), (i), 300. Half-titles with printer's credit verso, engraved pictorial titles with additional colour by hand, printed titles to each vol., and text illustrated 3ith 31 engraved plates by Gavarni, each with additional colour by hand and with the margins cut 'à la dentelle' and backed with pink paper, final leaf of each vol. with 'Table des Matières'. Original publisher's midnight blue percaline with elaborate polychromatic decoration, front boards with elaborate gilt decorative oval titles to surround central vignettes, matching gilt vignettes to rear covers, smooth spines with elaborate decorative tooling and titles in gilt, all with additional colour heightening, cream glazed endpapers (vol. 1) and yellow (vol. 2), a.e.g. The most desirable issue of 'Perles et Parures' with the hand-coloured plates on vélin 'découpés en dentelles' and in the original polychromatic percaline bindings. Published under the collective title 'Perles et Parures', these first editions of 'Les Joyaux Fantaisie' (with 'Minéralogie des Dames') and 'Les Parures Fantaisie' (with 'Histoire de la Mode'), are here in the most desirable form, with Gavarni's plates printed on vélin, delicately hand- coloured and with the leaves stencil-cut to a lace pattern to form delicate frames and backed with pink paper. The two volumes contain jewel- and fashion-inspired texts with matching illustration, as stated by Ray: 'They are studies of beautiful women, fashionably attired . which were drawn in London'. ' . more appealing [than the normal edition] is this special edition in which the steel engravings are printed and delicately colored on paper with borders cut to various lace patterns. So presented, Gavarni's designs become fashion plates of the first order.' (Ray). 'La réunion des deux ouvrages avec les gravures à marges de dentelles est assez rare à recontrer.' (Carteret). [Ray 209A / 210; Carteret III, 460 / 461].
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Les Métamorphoses du Jour par Grandville. Accompagnées d’un Texte . &c.

GRANDVILLE. Large 8vo. (268 x 178 mm). pp. (iv), xxviii, 283. Half-title with printer's credit verso, printed title with monochrome vignette by Grandville, 13 leaves with biographical notice, leaf with 'Oeuvres de Grandville' and 70 engraved plates by Grandville each with additional colouring by hand, final two leaves with 'Table'. Original publisher's midnight blue percaline with elaborate polychromatic decoration, front board with title 'MÉTAMORPHOSES' and credit 'Par J. J. Grandville', large gilt stamp reproducing plate XXXVI 'Ma femme est sortie, ma petite chatte . ' with additional colour, rear board with plate XXIV 'Oh! le monstre d'homme . ', spine with elaborate gilt decoration and titles, elaborate tooling in blind to boards and spine, yellow glazed endpapers, a.e.g. The posthumous first edition in book form with accompanying text of Grandville's 'Les Métamorphoses du Jour' in the original publisher's binding. Sixty-seven of these plates - three are added from other series by Grandville - originally appeared in album form in 1829 and this version, published 17 years after Grandville's death, is both the first edition in octavo and the first with to be accompanied with text. The plates were engraved on wood by Desperet (for the first, oblong folio edition, the plates were lithographs with additional colouring by hand) and then 'illustrated' with a satirical text inspired by Grandville's plate by one of a number of authors. The pantheon of 'illustrators' were: Albéric Second, Louis Lurine, Clément Caraguel, Taxile Delord, H. de Beaulieu, Louis Huart, Charles Monselet and Julien Lemer; Charles Blanc's biographical notice is accompanied by a bibliography of Grandville's illustrated books. ''Les Métamorphoses du Jour' ont été l'idée mère de toutes les créations humano-bestiales, dont on a tant abusé depuis, et resteront incontestablement comme le chef-d'oeuvre de Grandville . Nous a offrons au public une oeuvre qui entre pour la première fois dans le domaine de la librairie, une oeuvre inconnue de la génération nouvelle . '. (From the original prospectus for hte work). [Carteret III, 284 / 285; Rebeyrat 288; SR / BF 104].
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Où Boivent les Loups.

ERNST, Max. Tzara, Tristan. 12mo. (194 x 148 mm). [94 leaves ; pp. 173, (i)]. Half-title with Tzara's presentation (see below) and 'Du Même Auteur' verso, three leaves with the frontispiece etching by Ernst in three states verso (see also below), printed title with copyright verso, two inserted leaves with manuscript by Tzara and Tzara's verse: 'Pièges en Herbe', 'La Fonte des Ans', 'Où Boivent les Loups' and 'Le Puisatier des Regards', three leaves with 'Table' and final leaf with justification. Full black crushed morocco by Pierre-Lucien Martin with his signature gilt and dated '1955', front and rear boards and spine with elaborate gilt rules in gilt and blind to form an elaborate parallelogrammatic motif, boards with additional heightening onlays of scarlet and beige calf, title gilt to spine, turn-ins ruled in gilt, japon nacré doublures and endpapers, original printed wrappers with titles in black to front cover and spine and publisher's vignette to rear cover preserved, black calf-backed red paper board chemise and matching slipcase. André Breton's copy of the rare édition de tête on Japon Nacré with a long presentation from Tzara and Max Ernst's frontispiece etching in three states. From the edition limited to 1,010 numbered copies, with this one of 10 from the édition de tête on Japon Nacré, signed by Tzara in blue ink and with Max Ernst's original etching as frontispiece; Ernst's etching, here in three states, was issued only with the édition de tête and the three nominatif copies for the author, artist and publisher. Tzara's long, affectionate and evocative presentation is in black and blue inks to the half-title: 'à André Breton [in black ink, the remainder in blue] / tout au long d'une vie et d'une mort corrigées / sans égards pour les écuries des sommeils / dans la solitude dans l'instable souffle des insectes / dans la raréfaction des contrastes / en signe de complicité linéaire / et d'amitié / Tristan Tzara / [with a drawing of a flower] / Oct. '34'. The etching, printed by Roger Lacourière, is present in the final published version (Spies E) on Chine appliqué, without letters on Chine appliqué (Spies D) and with the plate cancelled on Chine (not listed by Spies). The etching is itself of considerable rarity in any state with Spies recording only 16 copies in total, no mention of pulls of the barred plate and with the 'D' state known in only a single pull. Also included, bound in after the title, is Tzara'sn original manuscript for 'et du jour au lendemain', recto only in blue ink, the eighth poem in four stanzas of 'La Fonte des Ans'; all of Tzara's text is printed in lowercase throughout. 'Ouvrage avec une rarissime gravure de Max Ernst tirée sur Chine appliqué. Cette gravure s;inscrit dans le cycle de 'Loplop', personnage mi-homme mi-oiseau que l'artiste s'est choisi comme double figural vers 1930. Tout en courbes ornementales, ce drôle d;oiseau semble ici avoir pondu ses oeufs dans un encadrement tiré au cordeau.' (Biblithèque d'un Grand Amateur Européen). The édition de tête of 'Où Boivent les Loups' with Max Ernst's frontispiece is truly scarce and we can locate only the present copy with the presentation to Breton, Tzara's copy (number 9) sold in 2006 and in a private collection in Germany, Jacques Matarasso's copy sold in 1993, and the editor, René Laporte's copy, sold in Paris in 2016. [Spies / Leppien 14; see 'Biblithèque d'un Grand Amateur Européen', lot 126; see Bibliothèque Matarasso, Loudmer, 1993, lot 660].
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Mr. Knife, Miss Fork.

ERNST, Max. Crevel, René & Kay Boyle (Trans.). 8vo. (184 x 126 mm). [45 leaves: 26 leaves of Hollande + 19 leaves of illustration on photographic paper each with guardleaf; pp. 38, (i), (i)]. Leaf with monochrome photogram frontispiece signed by black ink by Max Ernst, half-title, printed title in red and black with knife and fork vignette and Kay Boyle's English trasnlation of Crevel's French text illustrated with 18 hors texte original monochrome full-page photograms by Max Ernst (in collaboration with Man Ray), each with tissue guard-leaf with printed title in red, leaf with justification, blank leaf and final leaf with list of Black Sun publications; printed text in English with lagination, photogram titles and initials in red throughout. Original blind and gilt-stamped cloth with hand-colouring after a design by Ernst, knife and fork design on spine, black endpapers, t.e.g., black calf-backed felt-lined moiré cloth board chemise with gilt titles to spine and matching slipcase. An excellent copy of the large paper édition de tête of Mr. Knife, Miss Fork with Max Ernst's frottage photograms. From the edition limited to 255 stamp-numbered copies, with this one of 50 large paper édition de tête copies on Hollande signed by Crevel on the half-title in blue ink and by Ernst on the frontispiece photogram in black and with the binding hand coloured by Ernst. The English translation of of the first chapter of René Crevel's 'Babylone', 'Monsieur Couteau, Mademoiselle Fourchette', first published by Editions Simon Kra in 1927. 'Although it is usually said that Ernst collaborated with Man Ray to make 'photograms' of his frottages, it is more accurate to call them 'cliché-verres' . Ernst's rubbings (from the embossed patterns on greetings cards, postcards, bookcovers, etc.) were done on very thin, translucent pieces of paper, which were then used as photographic negatives to make the prints. The white-on-black images do a fine job of representing the dark visions of death and desire that come to the girl in Crevel's story . '. (The Book of 101 Books). 'Buch mit 19 eingehefteten Photogrammen von Frottagen, in Zusammenarbeit mit Man Ray . Die Photogrammen sind Negativkopien von Frottagen . '. (Spies). [Spies 13, I - XIX; Roth, 'The Book of 101 Books' pp. 66 - 67].
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Une Semaine de Bonté, ou, Les Sept Elements Capitaux. Roman.

ERNST. 5 vols. 4to. (280 x 224 mm). Illustrated throughout with monochrome plates after Ernst's cut-up found etchings. Original publisher's printed colour wrappers (purple, green, red, blue and orange) with Yapp edges, original card slipcase with green illustrated label to front board and title label to spine. An excellent copy of Max Ernst's Une Semaine de Bonté, ou les Sept Elements Capitaux. From the edition limited to 816 copies, with this one of 800 on 'papier Navarre', each numbered in pencil as issued (many copies feature stamped numbers). The five 'cahiers' of Ernst's seminal graphic novel, albeit without text, are individually titled as follows: Premier Cahier: Dimanche / Elément: La Boue. Exemple: Le Lion de Belfort. (Purple wrappers). Deuxième Cahier: Lundi / Elément: L'Eau. Exemple: L'Eau. (Green wrappers). Troisième Cahier: Mardi / Elément: Le Feu. Exemple: La Cour du Dragon. (Red wrappers). Quatrième Cahier: Mercredi / Elément: Le Sang. Exemple: Oedipe. (Blue wrappers). Cinquième Cahier: Jeudi, Vendredi, Samedi / Eléments: Le Noir / La Vue / Inconnu. Exemples: Le Rire du Coq, L'Ile de Paques / L'Interieur de la Vue / La Cle des Chants. (Yellow wrappers). Une Semaine de Bonté is the last of Max Ernst's trilogy of Surrealist books, after 'La Femme 100 Têtes' (1929) and 'Rêve d'une Petite Fille Qui Voulut Entrer au Carmel' (1930), with illustrations after his collages. The collages, in the manner of nineteenth-century engravings, were made by Ernst from old etched and engraved plates.
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Untitled. (The Bird People). From the VVV Portfolio.

ERNST, Max. Folio. (454 x 355 mm). Crayon on paper by Max Ernst, signed in pencil at lower right. Max Ernst's contribution to one of key publications of Surrealist activity in New York. From the edition limited to approximately 20 copies; although 50 were announced it is very likely that fewer were issued. Although this work by Ernst is part of an edition, each extant iteration is unique. Ernst often made use of an underlying matrix over which he placed sheets of paper, then by way of his frottage technique he would create an image to be coloured by hand. The background image, the 'Bird People', created here with a pastel or crayon, has led to some confusion as to the technique used by Ernst and is found described variously. The current work is part of a portfolio of 10 works commissioned to finance the 'VVV' journal, the Surrealist magazine produced in New York by Europeans in exile during the Second World War. The journal lasted only 4 numbers (one a double) but was highly influential and markedly avant garde. The editorial board consisted on André Breton, Marcel Duchamp, and Max Ernst, with David Hare as general editor. The separate porfolio is of considerable scarcity and the projected edition was never completed.The artists other than Ernst, involved, and their contributions, were: André Breton - 'Poème-Objet' (collage), Alexander Calder - 'Score for Ballet 0-100' (etching), Leonora Carrington - 'Untitled' (etching), Marc Chagall - 'Eiffel Tower' (etching), David Hare - 'Untitled' (mounted gelatine silver print photograph), Andre Masson - 'Les Fruits de l'Abîme' (etching), Roberto Matta - 'Untitled' (watercolour and pencil on paper), Robert Motherwell - 'Untitled' (watercolour and ink on paper), and Kurt Seligmann - 'Phantom of the Past' (etching with aquatint). [see Surrealist Prints pg. 96].
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Rêve d’une Petite Fille Qui Voulut Entrer au Carmel.

ERNST, Max. 4to. (238 x 192 mm). [88 unnumbered leaves]. Half-title with justification verso, printed title, 2 leaves with illustration ('L'Académie des Sciences') and intoductory text, section titles for each part and illustrated with seventy-eight monochrome plates printed recto only by Ernst, each with printed caption, ('I - La Ténébreuse' with 22 plates, 'II - La Chevelure' with 25 plates, 'III - Le Couteau' with 21 plates, 'IV - Le Céleste Fiancé' with 10 plates), final leaf with achevé d'imprimer recto; sheet size: 234 x 184 mm. Full veined emerald crushed morocco by Georges Leroux with his signature gilt and dated '1987', smooth spine with copper titles, turquoise brushed suede doublures and endpapers, original turquoise printed wrappers and backstrip preserved, a.e.g., matching suede-lined calf-backed green cloth chemise with gilt title to spine and matching green cloth slipcase. An exceptional édition de tête example of Max Ernst's collage novel on Japon bound by Leroux. From the edition limited to 1,063 numbered copies, with this one of 20 édition de tête copies on Japon Impérial numbered in Roman numerals in black ink on the justification ('20 ex. sur Japon Impérial, dont 17 numérotés de I à XVII et 3 ex. H. C., numérotés de XVIII à XX'). Also included, mounted to a tab at the rear of the volume, is the folded sheet of magenta card (234 x 165 mm) for the 1964 exhibition 'MAX ERNST / Collages, frottages, ready-mades (1919 - 1929)' at the Galleria Schwarz in Milan, where a number of Ernst's original collages for the present work were exhibited. The card reproduces the front cover of 'Rêve d'une Petite Fille Qui Voulut Entrer au Carmel', includes a reproduction of one of the collages within and a reproduction of the very early work 'Le mugissement des féroces soldats' to the rear. Rêve d'une Fille Qui Voulut Entrer au Carmel is the second of Max Ernst's trilogy of Surrealist books with illustrations after his collages, the first was La Femme 100 Têtes (1929) and the third and concluding work, Une Semaine de Bonté (1934). Ernst had, prior to the publication of La Femme 100 Têtes in 1929, produced two books with similar illustration to accompany texts by Paul Eluard: Les Malheurs des Immortels and Répétitions. Both published in 1922 in small editions and with much smaller numbers of plates, neither book featured a tirage in large paper or édition de tête, a treatment that was only accorded to Ernst's suite of reproduction frottages of 1926, Histoire Naturelle before the publication of La Femme 100 Têtes. The éditions de tête of Histoire Naturelle (25 copies) and La Femme 100 Têtes (12 copies) were, like the 20 édition de tête examples of Rêve d'une Petite Fille qui Voulut Entrer au Carmel, printed on Japon Impérial paper and it must be stated that each of these de tête printings are of the utmost scarcity in the market. We can locate only one example of each of these books in the édition de tête at auction: the Daniel Filipacchi copy of Histoire Naturelle, the René Gaffé / Edmée Maus / Renaud Gillet / Fred Feinsilber copy of La Femme 100 Têtes and the copy of Rêve d'une Petite Fille qui Voulut Entrer au Carmel from the collection of René Gaffé. That two of these three works were owned by René Gaffé, and only one by the great collector of Surrealism Daniel Filipacchi, is indicative both of the significance of Gaffé's stature as a collector and of the scarcity of copies of books such as these.
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Un Autre Monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, peregrinations . &c.

GRANDVILLE. (Delord, Taxile). Large 8vo. (266 x 200 mm). pp. (ii), (i), (i), 295, (i). Half-title in red with pseudo-privilège verso (also in red), leaf with frontispiece verso, printed title in red and printed text illustrated with 36 hors-texte wood-engraved plates all with additional colouring by hand and 146 wood-engravings in the text, final two leaves with 'Table', 'Explication' and 'Errata' verso. Original publisher's midnight blue percaline with elaborate polychromatic decoration, front board with large central pictorial vignette reproducing the frontispiece with additional colour in red, white, green and blue (signed Liebherre), beneath an additional title vignette heightened in blue, gilt pictorial vignette to rear board, titles and elaborate gilt decoration heightened with colour to spine, additional decoration in blind, yellow glazed endpapers, a.e.g. Grandville's finest book and magnum opus, an extraordinary imaginative tour de force in the original publisher's polychromatic binding. 'Un nouveau monde est né; que Grandville soit loué.' (Max Ernst). Grandville's most remarkable book, an expansive flight of inspirational fantasy, and a remarkable precursor. It is clear that the influence of this work extends onward in the nineteenth and well into the twentieth centuries and beyond. A remarkable work of sui generis imaginative verve, Grandville produced the illustration which was then 'illustrated' with a commissioned text. The tale of three demi-gods, 'Dr. Puff', 'Dr. Krackq', and 'Dr. Hahblle', their created worlds and travels. The work, a descendant of the works of Swift and Goya, inspired, in passing, Lewis Carroll ('La Battaille des Cartes'), Max Ernst, the Surrealists in general as well as later caricaturists such as Steadman and Scarfe. 'In this remarkable book, of the boldest possible originality, Grandville dared to reveal his dream to the public.' (Ray). The full title - which gives a good indication of the enormously broad scope of the work - reads as follows: 'Un Autre Monde: Transformations, visions, incarnations, ascensions, locomotions, explorations, pérégrinations, excursions, stations, cosmogonies, fantasmagories, rêveries, folâtreries, facéties, lubies, métamorphoses, zoomorphoses, lithomorphoses, métempsycoses, apothéoses et autre choses.' This copy, with the ownership signature to the front free endpaper of 'Comtesse de xxx' in purple ink, features an additional note in pencil 'Dessin original ajouté'; a pencil note to verso states: 'retiré d'un autre / monde de Grandville'. The 'dessin original' is tipped-i,n to the recto of the frontispiece, and depicts the caricature portraits of seven figures, among them seemingly Daumier, and Grandville. This appears to be an unused illustration for the 'Les Grands et les Petits' section of the book. [Ray 196; SR / BF 76 / 77; Carteret III, 285; Rebeyrat 287].
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La Femme 100 Têtes.

ERNST, Max. 4to. (254 x 202 mm). [164 unnumbered leaves]. Leaf with justification verso, half-title, printed title with copyright verso, 3 leaves with Breton's 'Avis' recto and verso and 'Chapitre Premier' to 'Chapitre Dernier' with one leaf of text ('Sachez que . &c.') illustrated with 147 monochrome plates printed recto only after collages by Ernst each with printed caption, final leaf with achevé d'imprimer recto. Full emerald crushed morocco by Georges Leroux with his signature gilt and dated '1969', smooth spine with gilt titles, olive brushed suede doublures and endpapers, original publisher's turquoise printed wrappers with titles and vignette in black preserved, a.e.g., later green cloth board slipcase. Max Ernst's own copy of the édition de tête of La Femme 100 Têtes on Japon Impérial paper. From the edition limited to 1,000 numbered copies, with this édition de tête copy - lettered 'B' in black ink - one of three hors commerce copies on Japon Impérial (12 numbered copies were also issued on the same paper. The justification of the present copy features Max Ernst's bookplate and a note in blue ink on squared paper is also included, loosely inserted, from the binder Georges Leroux: 'cet exemplaire de 'la Femme sans tête' [sic] m'a été / confié par Ma Ernst le 12 Mai 1968 - / Je le lui ai rendu en Mars 1969. / le prix de la reliure était de 1.250 N. F. / (Georges LEROUX)'. The justification features the printed name 'Marie-Berthe', the name of Max Ernst's second wife, Marie-Berthe Aurenche, as in ' . 3 ex[empaires]. H[ors]. C[ommerce]. dont l'un imprimé au nom de . ', but in the present copy, 'Marie-Berthe' has been excised and seemingly with prejudice, the printed name scraped and overlaid with blue, sepia and heavy black inks to form the word 'MERDE'. It is very tempting to assume that this replacement was effected by Ernst himself, or by one of his later wives, Peggy Guggenheim or Dorothea Tanning. Also included, loosely inserted, are eight leaves of proofs including the half-title, title, the first plate 'Crime ou miracle: un homme complet' and the 'Avis au Lecteur' by André Breton. The proofs are for a later edition of 'La Femme 100 Têtes' that was to be published by 'Arcanes' in 1954 (the leaves are stamped '9 MARS 1954' on an initial blank) although it was never issued. The complete text of Breton's 'Avis' features extensive corrections in black ink in Breton's hand, the text matches that of the first edition and is inscribed on the first page of text 'Bon à tirer / après corrections [underlined] 21 mars 1954 / AB.'. 'La Femme 100 Têtes' is the first of Max Ernst's trilogy of Surrealist books with illustrations after his collages. The collages, in the manner of nineteenth-century engravings, were made by Ernst from old etching and engraving plates and each feature a descriptive caption by Ernst. The 'Avis au Lecteur' serving as preface was written by André Breton. Referred to subsequently as a 'collage novel', the work is divided into 9 chapters but features only one leaf of text; inserted between the end of the 'Chapitre Huitième' and the 'Chapitre Dernière', the text reads as follows: 'Sachez que, / de mémoire d'homme, la femme 100 têtes n'a jamais eu de rapport / avec le fantôme de la repopulation. Elle n'en aura pas: plutôt se / faire macérer dans de la rosée et se nourrir de violettes glacées.' 'La Femme 100 têtes sera, par excellence, le livre d'images de ce temps où il va de plus en plus apparaître que chaque salon est descendu 'au fond d'un lac' et cela, il convient d'y insister, avec ses lustres de poissons, ses dorures d'astres, ses danses d'herbes, son fond de boue et ses toilettes de reflets. Telle est à la veille de 1930, notre idée de progrès que nous sommes heureux et impatients, pour une fois, de voir des yeux d'enfants, grands de tout le devenir, s'ouvrir comme des papillons au bord de ce lac tandis que pour leur émerveillement et le nôtre tombe le loup de dentelle noire qui recouvrait les cent premiers visages de la fée.' (André Breton writing in the 'Avis au Lecteur'). Copies of La Femme 100 Têtes on Japon Impérial paper from the édition de tête, as here, are of exceptional rarity. As with Max Ernst's other early books, such as the 1930 Rêve d'une Petite Fille qui Voulut Entrer au Carmel (the second part of the same trilogy of collage novels concluding with Une Semaine de Bonté in 1934) and the 1926 Histoire Naturelle which were also issued in the édition de tête in small numbers on Japon Impérial, copies appear very rarely on the market. We can locate only one other example from the édition de tête, the René Gaffé / Jean Hugues / Edmée Maus / Renaud Gillet / Fred Feinsilber copy sold at Sotheby's Paris in 2006. The important collection of Daniel Filipacchi, a noted devotee of the work of Max Ernst, sold by Christie's Paris in two parts in 2004 and 2005 did not include a copy of La Femme 100 Têtes from the édition de tête. It is worth noting, in addition, that André Breton, the author of the 'Avis au Lecteur' of Ernst's work and a noted bibliophile, only possessed a copy of La Femme 100 Têtes on the second paper, Hollande Pannkoek. 'Presque tout, dans l'oeuvre de Max Ernst, se rattache au collage . On pourrait [en] conclure qu'il [La Femme 100 Têtes] d'un chant d'amour Surréaliste. L'ouvrage connut un succès immédiat. Le tirage fut épuisé en quelques semaines . Ouvrage précurseur, puisqu'il inaugure un élargissement fondamental par rapport aux collages antérieurs, La Femme 100 Têtes révèle une écriture et une conception picturale nouvelles.' (From the Feinsilber catalogue). [see lot 195 in the catalogue 'Collection Fred Feinsilber, Sotheby's Paris, October, 2006].
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Les Malheurs des Immortels révélés par Paul Eluard et Max Ernst.

ERNST, Max. Eluard, Paul. 8vo. (224 x 164 mm). [24 unnumbered leaves]. Half-title with monochrome frontispiece by Ernst verso, printed title and Eluard's text illustrated with twenty plates after collages by Ernst, final leaf of text with publisher's note concerning the first edition verso, leaf with achevé d'imprimer and justification recto, printer's credit verso. Original publisher's printed wrappers with titles to front cover and spine in green and black. An excellent unsophisticated copy from the édition de tête, limited to 10 copies on Madagascar, of the second edition of the seminal collaboration marking the boundary between dada and Surrealism. From the edition limited to 1,860 numbered or lettered copies, with this one of 10 lettered hors commerce copies from the édition de tête on Madagascar. Reprinted by Henri Parisot from the edition of 1922, which was issued in very small numbers ('un petit nombre d'exemplaires' as per the publisher's note), this second edition reproduces the first exactly adding only a publisher's explanatory note and a justification. 'Les Malheurs des Immortels' matches Paul Eluard's prose poems with Max Ernst's 'synthetic' collages. Each poem is faced with one collage; the collages are reproduced at two thirds of the size of those in the orignal edition. An English edition was published by the Black Sun Press in New York in 1943 and a German edition in Cologne by Galerie der Spiegel in 1960. 'Ce livre d'étroite collaboration peintre-poète est un des jalons majeurs du livre au vingtième siècle . L'importance de ces collages est soulignée par le fait que c'est essentiellement grâce à eux que le groupe surréaliste naissant prit conscience des possibilités plastiques du surréalisme.' (De Parallèlement à Chanson Complète).
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Les Papillons. Métamorphoses Terrestres des Peuples de l’Air.

VARIN, Amédée. Nus, Eugène & Antony Meray. 2 vols. Large 8vo. (270 x 190 mm). pp. (ii), (i), (i), (i), 232, (i), (i); (ii), (i), (i), (i), 258, (i), (i). Half-titles with printer's credit verso, engraved pictorial titles with additional colour by hand and printed titles to each vol. and text illustrated with 35 wood-engravings by Varin (including pictorial titles) each with additional colour by hand, final section 'Entomologie des Dames' with numerous monochrome text vignettes. Original publisher's dark blue percaline with elaborate polychromatic decoration, front boards with gilt title and elaborate decorative border to surround central vignette ('Le Bolero' see vol. 2, page 87) with additional colour, butterfly vignette to rear covers, smooth spines with gilt titles and elaborate gilt tooling, yellow glazed endpapers, a.e.g. [PROVENANCE: Printed bookplate of Paul Eluard designed by Max Ernst (with the text: 'Après moi / le Sommeil') to front pastedown of vol. 1]. Paul Eluard's copy of of 'Les Papillons' in the publisher's polychromatic binding. Although not a work by Grandville, 'Les Papillons' with its anthropomorphic depictions is very much in a similar style. The series of texts by Nus and Meray are illustrated with fancifully inspired and characterised butterflies by Amédée Varin. Like Grandville's oeuvre, 'Les Papillons' can also be seen as a precursor of Surrealism as the present copy, from the collection of founding Surrealist Paul Eluard with his Ernst-designed bookplate attests. The present copy retains its beautiful polychromatic binding with elaborate gilt stamps heightened with colour. [Carteret III, 452].
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Les Fleurs Animées, par J. -J. Grandville.

GRANDVILLE. 2 vols. 8vo. (268 x 182 mm). pp. (ii), 260, (i); (ii), (i), (i), 102; (i), (iv), (iv), 105 - 234, (i). Half-titles with printer's credit verso, elaborate engraved pictorial titles with additional colouring by hand and printed titles to each vol., printed text and 50 engraved plates all with additional colour by hand; the two parts of the supplement 'Botanique et Horticulture des Dames' with introduction by Karr and text by 'le Comte Foelix' with the two additional uncoloured engraved plates are also present. Original publisher's midnight blue percaline with elaborate polychromatic decoration and decoration in blind, front boards with elaborate gilt decorative borders to surround large central vignettes with design 'Le Lin' (page 237) after Grandville, rear board with stylised vignette with anthropomorphic flower with snail and caterpillar, smooth spine with elaborate gilt tooling, yellow glazed endpapers, a.e.g. Grandville's 'Les Fleurs Animées', a very good copy in the second publisher's cartonnage. The second issue with separate pagination for each volume. 'After 'Un Autre Monde' the fifty-two coloured engravings of 'Les FLeurs Animées' are the chief example of Grandville's efforts to penetrate to the meaning objects like an 'intellectual miner' . Though the images in the book are of Grandville's time, his manner of proceeding is that of an artist of the modern movement, exploring the same subject through a sequence of slight but significant variations . A little world is created, governed by its own laws . full of significance for Grandville and hence . the reader . '. (Gordon Ray). 'Les cartonnages et surtout les reliures de l'editeur . sont à rechercher.' (Carteret). [SR / BF 93 / 94 / 95; Ray 198; Rebeyrat 287; Carteret 286].
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Voyage pour l’Eternité. Service Général des Omnibus Accélerés. Départ à Toute Heure et de Tous les Points du Globe.

GRANDVILLE. Oblong small folio. (272 x 364 mm). [10 leaves]. Lithograph title / wrapper with monochrome vignette by Grandville on pink wove paper (348 x 268 mm) and nine monochrome lithographs on cream wove paper with printed caption / title beneath and numbered at upper right, each with additional colouring by hand and heightened with gum arabic, all the lithographs, save the first, are signed J. Grandville. Loose as issued with the original lithograph cover. The complete series of Grandville's very scarce unfinished suite of satirical and moralistic hand-coloured lithographs. Planned originally to have 23 plates, the publisher, Bulla, stopped publication after the ninth plate because of the political events of July 1830. As noted by CLive Getty: 'Comme dans 'Les Métamorphoses du Jour', Grandville a probablement glissé quelques caricatures politiques parmi les planches moralisantes du 'Voyage pour l'Eternité, où apparaissent vraisemblablement des personnages du gouvernement de Charles X.' Grandville took the idea for this set from Holbein's 'Dance of Death' series bringing the scenes up to date. Here, according to Grandville, death works in a pharmacy mixing drugs, in the army, as a prostitute, chef, chimney sweep and so on. Honoré de Balzac wrote (see 'La Silhouette', Vol. 2, Livraison 4, pg. 28): 'De la profondeur philosophique et de la caricature, voilà ce qu'on ne fait qu'en France et qu'a Paris. M. Grandville avait donné de la bêtise aux hommes, de l'esprit aux animaux, il vient de donner de la gaieté à la mort.' The plates are titled as follows: No. 1 - 'C'est ici le dernier relais'. No. 2 - 'Vais-je bien? . vous avancez horriblement!' No. 3 - 'Monsieur le Baron, on vous demande? . Dites que je n'y suis pas.' No. 4 - 'Soyez tranquille, j'ai un Garçon qui ne se trompe jamais.' No. 5 - 'Voilà, Messieurs, un plat de mon métier.' No. 6 - 'Voulez vous monter chez moi, mon petit Monsieur, vous n'en serez pas faché aller.' No. 7 - ' . pour une Consultation, docteur j'en suis, j'vous suis . '. No. 8 - 'Oui Madame, ce sera bien la proménade la plus délicieuse! . une voiture dans le dernier goût! . un Cheval qui fend l'air, et le meilleur Groom de France! . '. No. 9 - 'Première Etape.' [Rahir 447; Rebeyrat 292; SR / BF 14; see Getty 152].
Opera et Fragmenta Veterum Poetarum Latinorum Profanum & Ecclesiasticorum Duobus Voluminibus comprehensa.

Opera et Fragmenta Veterum Poetarum Latinorum Profanum & Ecclesiasticorum Duobus Voluminibus comprehensa.

MAITTAIRE, Michael (1668-1747) [ed.]. 2 vols. Tall 4to. [x], 803, [803-804]; [ii], [805]-1752, [12], 7, [1] pp. Title printed in red & black, subscriber's list, numerous copper engravings, engraved head and tail-pieces, index; Vol. II free front-endpapers loose (affixed to detached cover). Contemporary gilt-stamped calf, 6 raised bands; neatly rebacked. SCARCE. Nice copy: internally near fine. HANDSOME RENOWNED PRINTING OF THE LATIN POETS. FIRST EDITION of Mattaire's collected Roman poets, featuring Plautus, Terence, Lucretius, Catullus, Virgil, Ovid, Marcus Manilius, Seneca the Younger, Lucan, Silius Italicus, Statius, Gaius Valerius Flaccus, Martial, Ausonius, Claudian, and several others. "A very valuable collection, beautifully printed" (Lowndes & Bohn, p. 1894). Maittaire, "born in London, was of French extraction. After an education at Westminster-school, and Christ-church, Oxford, he was chosen second master of Westminster-school, 1696; but relinquishing the post 1699, he from that time devoted himself to literature and private tuition, and was patronised by the first earl of Oxford and his son. He is chiefly known as a classical editor; and his editions of various Greek and Latin authors have long been esteemed for their accuracy" (Prince, p. 565). Engravings: Vol. I: An elaborate coat of arms flanked by Minerva [Athena] and another Roman goddess (possibly Fama [Pheme], due to her holding a trumpet and branch) preceding a life of Eugene of Savoy by Mattaire, to whom the work is dedicated; a bust of Plautus and stylized scene engraved by John Sturt after a painting by Bernard Lens I; a bust of Terence and stylized scene engraved by John Sturt after a painting by Bernard Lens I; a portrait of Lucretius seated reading a book engraved by Elisha Kirkall after a painting by Francois Boitard; a bust of Catullus and stylized scene engraved by Kirkall after a painting by Boitard; a statue of Virgil and stylized scene engraved by Michael Vandergucht; portrait of Virgil with Phoebus [Apollo] holding a mask engraved by Kirkall after a painting by Boitard; a portrait of Ovid showing the Fall of Phaethon and mourning dryads engraved by Kirkall after a painting by Boitard; and a portrait of Marcus Manilius depicting him with a compass and armillary sphere engraved by Kirkall after a painting by Boitard. Vol. II: A detailed depiction of Seneca the Younger's tragedy Medea showing Medea in her chariot pulled by dragons leaving her murdered sons, Tisander and Alcimenes, in her wake, with a burning city in the background (possibly the Burning of Lyons, which Seneca wrote about in his Epistle XCI) engraved by Kirkall after a painting by Boitard; a portrait of Lucan being executed for treason before Emperor Nero, symbolically holding the head of Pompey from his own Pharsalia engraved by Kirkall after a painting by Boitard; a scene depicting a pyre bearing Silius Italicus' name, flanked by Roman soldiers and philosophers; a portrait of Statius before a flaming city (possibly Thebes, from his Thebaid) engraved by Kirkall after a painting by Boitard; a scene depicting Jason and the Argonauts on his ship from Gaius Valerius Flaccus' Argonautica, with Flaccus' name in the corner, engraved by Kirkall after a painting by Boitard; a scene depicting several satyrs pointing to a sign bearing Martial's nameâ€"a reference to his satirical Epigrammata; a scene depicting Ausonius in the court of either Emperor Valentinian I or his son, Gratian, whom Ausonius tutored, engraved by Kirkall after a painting by Boitard; and a scene depicting Neptune [Poseidon] rescuing Amymone from rape, with Claudian's name on a banner borne by a bat-winged demon, engraved by Kirkall after a painting by Boitard. REFERENCES: ESTC T99357; Lowndes, William Thomas & Henry George Bohn, The Bibliographer's Manual of English Literature, Vol. IV, London: George Bell & Sons, 1890; Prince, Philip Alexander, Parallel History: Being an Outline of the History and Biography of the World, Contemporaneously Arranged, Vol. II, London: Whittaker, 1843. EXTRA POSTAGE WILL APPLY.
Remarks on the Influence of Climate

Remarks on the Influence of Climate, Situation, Nature of Country, Population, Nature of Food, and Way of Life, On the Disposition and Temper, Manners and Behaviour, Intellects, Laws and Customs, Form of Government, and Religion, of Mankind.

FALCONER, William (1744-1824). 4to. xvi, 552 pp. Errata. Original gilt-stamped mottled calf; corner showing. Bookplate of William Downes. Very good copy in a very well preserved binding. First edition. William Falconer was an English physician and writer, as well as a Fellow of the Royal Society. This remarkable book is arranged in six parts: On the effect of climate; Of the influence of situation and extent of a country; On the influence of the nature of the country itself; On the influence of population; On the influence of the nature of food and diet; On the influence of way of life. This is a view of the major influences of nature and population on ways of life. Chapter VII of book I offers views on the effects of temperatures and the climate on morals, sensibility, emotions of passion, pride, gallantry and intrigue, jealousy, cowardice, suspicion, fraud and knavery, perfidy and inconstancy, idleness, luxury, excess in diet, and gaming (a "destructive vice"). "Falconer's attainments as a scholar and a physician were of the highest order. He was intimate with Dr. Parr, who procured from the Cambridge University Press the publication of his 'Miscellaneous Tracts,' 1793, and who wrote of him in his 'Remarks on the Statement of Dr. Combe,' pp. 71-83 as 'a man whose knowledge is various and profound, and whose discriminations upon all topics of literature are ready, vigorous, and comprehensive.' In his will Parr referred to him in most flattering terms. Edmund Burke addressed a letter to Falconer, dated 14 Nov. 1790, thanking him 'for the temperate, judicious, and reasonable paper [on the French revolution] which appeared in the Bath prints some time since.'" â€" DNB VI. PROVENANCE: William Downes was the first Baron Downes (1751â€"1826), a noted Irish judge during his day.
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HISTORY OF THE EXPEDITION UNDER THE COMMAND OF LEWIS AND CLARK, TO THE SOURCES OF THE MISSOURI RIVER, THENCE ACROSS THE ROCKY MOUNTAINS AND DOWN THE COLUMBIA RIVER TO THE PACIFIC OCEAN, PERFORMED DURING THE YEARS 1804-5-6, BY ORDER OF THE GOVERNMENT OF THE UNITED STATES. (THREE VOLUMES); A New Edition. Faithfully reprinted from the only authorized edition of 1814, with copious critical commentary, prepared upon examination of unpublished official archives and many other sources of information including a diligent study of the Original Manuscript and Journals and Field Notebooks of the Explorers

Coues, Elliott Lacks last (4th) volume with the three maps. Green cloth with spine tites in gilt. Covers bright, Usual slight bumps to bottom of spines from shelving and also slight bumping to corners as usual. Previous owner's name to front pastedown of two volumes and front endpaper of Volume I. 1-inch hole to front free endpaper of Volume I where label was removed, and minor abrasion to front pastedown of other two volumes where label was removed. Limited to 1,000 copies with this numbered 277. Three volumes. NOTE: lacks the atlas [volume IV]. Volume I: Engraved frontis portrait of Lewis, 2 facsimile letters. Volume II: engraved frontis portrait of Clark. Volume III includes appendices and Remarks and Reflections. Total of 1298 pages. Interiors clean and bright. "This manuscript is a close hand-written transcript of the Lewis and Clark journals. The transcript ("an exact copy, word for word, letter for letter, and point for point") was begun around December 1892 by "expert copyist" Mary Anderson at the request of Elliott Coues (Cutright, History 89), and was completed in 1893. "Elliott Coues had been hired by [publisher] Francis Harper to annotate the 1814 Biddle/Allen narrative of the Lewis and Clark Expedition. During his research, Coues became aware of the publication potential of Lewis and Clark's original journals, and as a result decided to have this copy made. Although Coues never succeeded in bringing the complete journals to publication, he did begin work on the project by writing footnotes on the backs of some of the pages." This particular edition, called by Americana expert and bibliographer Wright Howes "The most scholarly edition." includes the complete journal text's kept by Lewis and Clark, 1804-1806, as they explored the Louisiana Purchase and crossed North America to the Pacific Ocean by land. Very nice condition of a scarce and eminently authoritative edition of these key records of American exploration (and expansionism).
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NOTES OF A MILITARY RECONNOISSANCE, FROM FORT LEAVENWORTH, IN MISSOURI, TO SAN DIEGO, IN CALIFORNIA, INCLUDING PART OF ARKANSAS, DEL NORTE, AND GILA RIVERS; 30th Congress. 1st Season. Executive, No. 7

Emory, W.H. (William Hemsley) Handsomely reound into two full black leather bindings with spine titles in gilt -- book in one, wall map in the other. 416 pages. 40 plates (includes 26 plates of scenery, 14 plates of botany by Endicott). Three sketch maps. Large folding map, in stunning condition, approximately 68 by 30 inches [Now mounted on linen, and housed in separate clamshell box.] Minor foxing to preliminary pages and one internal page. 2-inch tear to title page, along seam. Lithography by E. Weber of Baltimore. Map rarely found in this superb condition. One of 1000 of the special Senate issue, with Emory's rank given as Lt. Colonel. Wagner-Camp 148; Howes E-145; Reese 103; Graff 1249; Etter 114; Zamorano 80-33. "Lieutenant William H. Emory was assigned to General Stephen Watts Kearny's 'Army of The West' in 1846, under orders to take possession of New Mexico and California. Emory's NOTES.became an important guide for emigrants in the rush of 1849.He also mapped the route of the Mormon Battalion over the Southern Trail and along the San Pedro River to Tucson and to the Gila Trail at the Pima villages. (Some ethnographic notes by A. Gallatin). "Emory went on to [further] explore the overland route to California and took part in the American conquest of southern California. The text is illustrated with some of the first American views of the far Southwest. The wall-sized folding map -- here in beautiful condition -- "Military reconnaissance of the Arkansas, Rio del Norte and Rio Gila", 'is called 'epochmaking' by Wheat, and provided cartographical details of much of the country. With this work, Emory also made an important scientific contribution, especially in the botanical section written by John Torrey." NOTES provided goldseekers with valuable information by discussing various Indian groups, thus allaying fears about tribes the pioneers might meet along the way.it appears that the majority of emigrants had both Emory's book and map with them, and they all found their way by connecting with the various landmarks Emory so gracefully described." "December 16, 1847. Read, and ordered to be printed; and that 1000 copies, in addition to the usual number be printed for the use of the Senate.". ; Includes reports by Abert and Cooke. ("A preliminary Senate issue has a title page with Emory's rank correctly given as "Lieut. Col." and some copies have the large map in a pocket. Though this issue "has been described as the 'first issue of the first edition', Wagner-Camp claims this "is questionable" since there were different issues of the NOTES issued with or without maps, truncated report by Cooke, report by Johnson, several even with hand-colored plates, etc. According to Wagner-Camp, Plate VI, labeled "Baileya multiflora" ("as in all House . copes", is incorrect.
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Local Detroit Television News Art and Design Archive]

African Americana]. WATTS, Jerry (Artist) Archive of approximately 175 pieces of original artwork and design, many mounted on cardstock/artist's boards or on plastic transparencies. A smaller but substantial number of works on paper loose or partially detached from backing. Includes work in pen and ink, marker, and pastel, along with sketches and materials from projects in process, and a small number of stickers. Sizes range from 2 x 2 to 15 x 20 inches approx. Mild to moderate wear to edges. All materials in very good plus or better condition, with exceptions regarding backing/mounting boards as noted above. Archive of original commercial artwork and design by Detroit artist and graphic designer Jerry Watts primarily for use in local Detroit television news and related local programming, with material spanning the 1970s into the 1980s.Watts was the station artist for Detroit's TV2 television channel beginning in 1970, and also worked as a courtroom artist and composite sketch artist, producing portraits of police suspects and missing persons. A brief biography of Watts by Andrea Ford, then of the Detroit Free Press, is included in enlarged mock-up form, with a black-and-white photo of Watts mounted to verso. Ford's bio also notes Watts' training at the Society of Arts and Crafts, later renamed the Center for Creative studies. "[I]n his spare time Watts plays the African conga drum and writes."Watts' TV2 work makes up the majority of this collection, and is uniformly bright, eye-catching, generally representational and illustrative or cartoon-like. Other included work showcases his other styles, with three print advertisements, several images in stark paper-cut silhouette, pastel on colored paper, black and white line drawings, and simplified shapes verging towards abstraction. With two individual sub-folders of mark-ups, sketches, and other working materials for projects, respectively labeled: "Crime" (with various images of a tied hostage, gunplay, prisoners) and "Face to Face." But majority of included material utilized for "squeeze" or topic boxes and other inserts in local broadcasts. Watts' art ranges from full-color broadcast placards executed on art board to black-and-white mockups on onion-skin paper to color art transferred to clear transparency paper. Watts designed artwork to illustrate news stories, provide bumper material in and out of commercial breaks, as well as trying his hand at the station's logo. The largest piece in the archive is a color placard on art board advertising an "Afrikan Cultural Safari" on Oct. 26, 1974 at the Merrill-Palmer Institute (now the Merrill Palmer Skillman Institute at Wayne State University).The news and societal issues for which Watts created illustrations was wide-ranging, as evidenced in the present archive. Watts made illustrations about taxes, kidnappings, recycling, drunk driving, welfare, labor relations, drugs, Middle Eastern issues (including the PLO), prostitution, inflation, and more. Also present are placards for "Somalia Cares" (an exhibit at the Detroit Science Center), a crisis hotline called the "Rap-Line," tourism, "The Washington Report [with] Norm Wagy," and the station "Newsbreak," plus a color-illustrated transparency advertising BlackHistory Month. A vivid and colorful collection of production materials from an accomplished African American designer.
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Two Photo Albums of the Early 1900s] [Ice Harvesting] [American Ice Company]

Two matching oblong 24mo. photo albums, both bound in green cloth with gilt stamping, one a lighter olive shade. Moderate edgewear and heavy bumping to corners of both albums. Manufacturer's labels identify each as a Ward's Album for Unmounted Photograph, made from Ward's "PURO" Paper; albums numbered 601 and 701. With 50 and 42 leaves respectively, each with one photograph mounted recto and verso. Album 601 has an additional two photos laid in; album 701 has several remnants of leaves that appear to be torn out. Occasional faint foxing and page chipping. Very good plus overall. Two albums of photographs from the early 1900s and 1910s. The first documents the work of ice harvesting: men are shown cutting blocks with ice saw, chisel, plow, and pike pole, while a patient horse poses for pictures on the frozen lake, awaiting orders. The album follows the full process of sled loading and transport, with many portraits of workers and supervisors at their tasks. Other photos show summertime scenes of boating and the open water, with several rural and domestic shots of penned cattle, small boys, and enormous dogs; and one urban street scene of a cart advertising Nelaton's Cures for Rheumatism.The second album shows several of the same figures in family settings: scenes of childhood, domestic life, multigenerational portraits, seaside vacations, and farming; one picture shows a young child 'driving' a tolerant older brother in harness.Most photos have no captions or other indentification, but one winter scene is dated Sunday Nov. 13 1904, and numerous others show fashions of that approximate period. A series of images of a grand parade through Washington, D.C. can be established as taking place after 1912, from the just-visible marquee of Chase's Polite Vaudeville, which opened that year (the event may be the 1916 Preparedness Day Parade or Armistice Day, but the identification is uncertain.) Signs advertise grandstand seats for sale and windows for rent; armed men in uniform can be seen marching and on horseback, but no automobiles are visible. One photo shows a banner for the American Ice Company, likely employer of the album subjects.
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Volumes 1-8

Oak Tree Press First Chapter Series of Booker Prize Winning Titles 26 x 20 cm. Deluxe edition comprising eight volumes. The first five titles with an additional plate signed and numbered by the artist: Coetzee, J.M. "Life and Times of Michael K," illustrated in black and white lithograph by South African artist Colbert Mashile. Roman numeral copy 20 of 35 (of 350) signed and dated by Coetzee. Atwood, Margaret. "Blind Assassin," illustrated with an ink drawing by Yoko Ono. Roman numeral copy 20 of 35 (of 160) signed and dated by Atwood. Middleton, Stanley, "Holiday," water color illustrated and signed by the author. Roman numeral copy 20 of 35 (160) signed and dated by Middleton. Hollinghurst, Alan. "Line of Beauty," illustrated with color lithograph by Gilbert and George. Roman numeral copy 20 of 36 (of 160) signed and dated by Middleton. Gordimer, Nadine. "The Conservationist," illustrated with a black and white etching signed by Cyril Coetzee. Roman numeral copy 20 of 35 (of 350) signed and dated by Gordimer. Byatt, A.S. "Possession A Romance," with signed color lithography by David Royle. Roman numeral copy 20 of 35 (of 160) signed and dated by A.S. Byatt. Unsworth, Barry. "Sacred Hunger," with signed color wood by Ezequiel Mabote. Roman numeral copy 20 of 35 (of 160) signed and dated by Barry Unsworth. Rushdie, Salman. "Midnight's Children," with a color lithograph by Thomas Howard. Roman numeral copy 20 of 150 signed and dated by Salman Rushdie. All the above authors are Booker Prize winners. Each book is comprised of the first chapter of the title, accompanied by an illustration commissioned especially for the series. All proceeds from the original sales were targeted at organizations which offer support to the child victims of the African HIV/AIDS crisis. Orig. colored boards, lettered paper spine labels. Fine in fine slipcases
Osservazione fitologiche sopra alcune piante esotiche introdotte in Roma.

Osservazione fitologiche sopra alcune piante esotiche introdotte in Roma.

Gili, Filippo Luigi & Gapar Xúarez. 4to. 64 pages of text. With printer’s device (Romulus & Remus suckling a wolf) on title. 10 engraved plates by L. Maioli after C. & A. Maioli in contemporary hand-colouring. Ornamental woodcut head-piece on first text page. Contemporary quarter sheep, gilt; spine wormed; decorative boards. First issue of an annual review of exotic plants introduced into the Vatican gardens from Latin America, also from Africa, Asia, and the Orient. The present survey, for the year 1788, contains descriptions of ten plants including the Chinese Nettle, Tulip Tree, and Ground Nut, together with details of their successful cultivation in Rome. Among the plants described as flourishing, some originating, in pre- Columbian America are the Sweet Potato and Ground Nut (Mexico, Peru, Paraguay, and Brazil). Among the many medical applications discussed are the treatment of scurvy with papaya seeds, toothache using crushed laburnum leaves, and the use of ground nuts as an antidote for snake bites. Each description is accompanied by a hand-coloured illustration. A second and third part (each also treating 10 plants) was published for the years 1790 and 1792, none further were issued. Xúarez (1731-1804), the first Argentine botanist, was a Jesuit priest born in Tucuman, whom Palau cites as author of John Hill’s 'Decade di alberi curiosi' (1786) of which he was only the translator. Both works on the subject of newly-discovered plants would seem to be part of the same project introducing foreign species to Italy; they are published in a similar format and the same artist (P. Maioli) has drawn the plates. Gili (1756-1821), the director of the Vatican Observatory, attracted the attention of the celebrated Spanish botanists Ruiz & Pavon for his collaboration on this work, & who named a plant after him. A small spot in inner blank margin of first quire, otherwise a fresh copy in its first binding. Nissen BB, p67; Palau 101886; Pritzel 3332.
THE SATANIC VERSES - Scarce Fine Copy of The First American Edition/First Printing: Signed by Salman Rushdie - SIGNED ON THE TITLE PAGE

THE SATANIC VERSES – Scarce Fine Copy of The First American Edition/First Printing: Signed by Salman Rushdie – SIGNED ON THE TITLE PAGE

Rushdie, Salman 1st Printing. Signed. 547 pages. Published in 1989. The author's fourth novel. One of the greatest novels of the 20th century. The first appearance of the title in the United States. Precedes and should not be confused with all other subsequent editions, particularly copies that are signed on a tipped-in page. Published in a small and limited first print run, and on an occasional basis, as a hardcover original only. For the longest time, signed copies of the book were elusive (so bookplates sufficed) because Rushdie had to cancel his tour after the fatwa was issued. The book itself was eventually withdrawn by the publisher for an indefinite and prolonged period of time. The First Edition is now scarce. Presents Salman Rushdie's "The Satanic Verses". A sublime work of irony that remains his most controversial achievement thus far. Following mass hysteria that led to book-burning demonstrations by Muslims in Great Britain, India, and the rest of the Islamic world (for alleged blasphemy), Rushdie was sentenced to death by an edict ("fatwa") issued by the late, unlamented Ayatollah Ruhollah Khomeini. He was forced to go into deep hiding under British secret-service protection. Although he has now lived a largely peaceful life in NYC for some time, Rushdie himself remains vigilant, and has said that he will have to watch his back for the rest of his life. Furor aside, his novel is a poetic meditation on Good versus Evil, written in the virtuoso, pyrotechnical narrative style that is now identified with him. Despite its linguistic complexity, the story itself is actually quite simple: Two Indians, Gibreel Farishta and Saladin Chamcha, plummet from the sky after their jetliner explodes. Then they go through a series of metamorphoses, dreams, and revelations, offering up to the reader a feast of Rushdie's exuberant flights of imagination and invention. One of our very few "poetic tales" that transcend the normative tradition (to borrow Harold Bloom's memorable phrase), "The Satanic Verses" has endured and will become canonical. An absolute "must-have" title for Salman Rushdie collectors. This copy is very prominently and beautifully signed in black ink-pen on the title page by Salman Rushdie. It is signed directly on the page itself, not on a tipped-in page, as many copies available online are. It comes with a pristine copy of the Souvenir Program (which features a lovely, full-page excerpt from Rushdie's recent book) of the event during which his signature was obtained. This title is a great book. This is one of few such signed copies of the First Hardcover Edition/First Printing (American) still available online and is in especially fine condition: Clean, crisp, and bright, a pristine beauty. It is, quite simply, one of the single most beautiful signed copies we have ever seen. Please note: Copies available online have serious flaws or are subsequent printings yet command as much as $12000. This is surely an accessible and lovely alternative. A rare signed copy thus. Winner of the Booker Prize in 1981, for "Midnight's Children", which was also selected as "The Booker of Bookers" in 1993, the best of all previous winners. One of the greatest writers of our time. A fine collectible copy. (SEE ALSO OTHER SALMAN RUSHDIE TITLES IN OUR CATALOG) ISBN 0670825379.
An Authentic Account of An Embassy from the King of Great Britain to the Emperor of China;

An Authentic Account of An Embassy from the King of Great Britain to the Emperor of China;

STAUNTON George Sir 1737-1801 VG+, 1st ed, 1797, 3 volumes (2 of text, 1 of plates), 44 pls, 26 illustrations within text, 2 portrait frontispieces, 1 engraved illustration (full page). In uniform modern, to style, half calf over red marbled boards, gilt tooling. Spines, raised bands, gilt tooling, gilt titles & tooling to red morocco labels, Vol no's to black morocco label. Internally, Vol 1, 1797, portrait frontis, [2], [3], (iv-xxxiv), [1], 2-518 pp, 1 pl, 6 illustrations, 255*319 mm. Vol 2, 1797, portrait frontis, [3], (iv-xx), [1], 2-626 pp, 2 pls, 20 illust, 255*319 mm. Vol 3, nd, 44 plates ( including 1 triple & 6 double leaf), 422*567 mm. New endpapers, ink name to ffep of V1 (JD Stephens, Hong Kong 1881) & semi erased red ink name & small stamp to advert leaf, text block watermarked J Whatman 1794, plate volume J Whatman 1794, large map dated 1893, small hole to margin of 1 map (14), very occasional spot, some faint edge browning, & light offsetting to titles. Printed by W. Bulmer and Co. (ESTC T103540. Lowendahl 697. Lust 545/547). In 1792 Staunton was appointed principal secretary to Lord Macartney's embassy to China. The embassy sought to improve commercial relations with China, through Canton (Guangzhou), and to establish regular diplomatic relations between the two countries. Though Macartney and Staunton had an audience with the emperor their proposals were rebuffed. Macartney kept a detailed journal of his embassy, while in 1797 Staunton published his own, well-known account of this unsuccessful mission, which was later translated into French and German. In China he closely observed and noted all that he saw, and during expeditions he was able to collect botanical specimens. His son, George Thomas, then just twelve years old, accompanied him to China as page to Lord Macartney, and was the only member of the mission who bothered to learn Chinese! See ODNB.
A Georgia Man Writes from Frederic City

A Georgia Man Writes from Frederic City, Maryland, Hoping to Liberate Some ‘greenies’ from the “Hamites or the ‘freedmen’” Celebrating Passage of the “dirty 15th Amendment”

THOMAS FAYETTE Autograph Letter Signed, to "Dearest cousin Mattie & Co.," Frederic County, Maryland, June 3, 1870, 4 pp. 7 3/4 x 9 3/4 in. The Fifteenth Amendment provides that voting rights could not be based on race, color, or previous condition of servitude (slavery). It was ratified by enough states to become part of the Constitution on February 3, 1870. Maryland rejected it on February 26, 1870 - but finally did ratify it on May 7,1973. With:THOMAS FAYETTE. Autograph Letter Signed ("Fayette"), to "Dear coz Mattie," Salem, VA, December 4, 1866. 4 pp. 4½ x 7¾ in. With stamped envelopeWith:FANNIE WALLACE. Autograph Letter Signed, to "My dear sister & brother," Sweet water, August 12, 1873. "In the midst of all I gave James a teaspoonful of Hartshorn in mistake for 'Soothing Syrup' - came near killing him and me too. Dr happened to be siting by my bedside." 2 pp. 7½ x 9¾ in."Where, think ye that I am? And why here? Ans: I'm in the woods, all alone, two miles from Frederic City, with the rain battering on my English duck (cloth) roof, waiting for the 'great day' (not of de Land) to come when all of 'Manhood' & 'Progress' and the 'Spirit of the Age' (!!) shall gather themselves together in a representative capacity & duly celebrate the privileges & equal rights, they are made to enjoy & also to grow grandiloquently 'majestic' over the dirty 15th Amendment to the Constitution of the U.S.! 'Then why am I here?' Just to 'take in', 'gobble up', 'secure' & 'get' a few dollars in greenbacks out of the motley throng of 'trooly loil' that is here to congregate on Whit-Monday. I will have three days holidays here in this sylvan retreat & with the waters of the peace & war famed Monocacy Creek sounding in my ears & the lovely valley of the same beautiful stream spread out for miles before my vision.I came here, ten miles, & 'stationed' myself in the 'way' to 'catch the Hamites or the 'freedmen' & some of their 'greenies'. I may go from Frederic City to Harper's Ferry at one of these two places, & want to put my car or 'gallery' on the cars & take it westward of the great Appalachian or Alleghany range of mountains.I may 'close out' this summer, return south & die there when my time comes. I have just a little touch of the Texas fever.Georgia is the place where my thoughts do the most often go.South-western Texas, would, I think, be still better for me.this life is unsatisfying, that his world is not our home, not our continuing city, not our 'abiding place'."
Civil War Veteran and Photographer Writes His Wife about the Devastating Chicago Fire

Civil War Veteran and Photographer Writes His Wife about the Devastating Chicago Fire

GREAT CHICAGO FIRE. THOMAS BLAIR WILSON Autograph Letter Signed, to his wife Mary R. Wilson, October 20, 1871, Washington, Illinois. 4 pp., 5 x 8 in. "I suppose you have ere long this heard of the destruction of the city of Chicago. 20,000 houses burned and 200 to 300,000,000 dollars loss It was the biggest fire on record Gid Hornish lost about 75 dollars by Insurance Companies breaking up since the great Chicago fire. The Company I am insured in, has gone up the spout." Complete Transcript Washington Ill. Friday Oct. 20 1871Mary My dear little wife Your letter bearing the sad intelligence of your Fathers decease was recd. to-day it came through in two days. It is very much to be regretted that you had not started down to Mo. in Sept. instead of Oct. If you had went when you wanted to viz. the beginning of Sept. all would have been well at least you would have had the intense satisfaction of seeing your father alive & well. It appears so strange to me you did not start down sooner when you was aware of your fathers being ill but I presume of course you was almost tired to death yourself when you arrived at Warrensburg.[1] It is certainly very sad that you failed to get there in time to see him after going so far. It will completely mar the pleasure of your visit. I feel so sorry that poor little darling [bright?] did not get to see her Grand Pa after talking so much about it and going so far. It makes me very sorrowful when I think of the tragical beginning of your long looked for visit. Poor man if he could only have lived to have seen you all before being taken away it would have been a great satisfaction but I hope he has gone to join his loved ones in heaven where there is no sickness nor sorrow. Poor [bright?] I would like awful well to see her little sweet darling child. She had set her heart on seeing her Grandpa and it would be a terrible shock & disappointment to her. Mary I wrote you a letter one week ago last night & mailed it last Friday. it must be in Warrensburg I also have sent you three or four papers. Mary if you can get things as cheap down there as you can at home get what things you want and make them up. Myrtle will need a new cloak also Furs shoes &c. and yourself a new dress & Cloak I will send you the money by B. C. order when you want it. I will try to send 20 to $30 more whenever you need it. You spent almost the half of what I gave you in Fl. so you would only have about $20 left. Business has been awful dull since you went away. One week ago to-day I made about 15 dollars and last week I made $25. Last Monday I made $7.50 and it has been awful dull ever since but I hope it will get better soon. How do you like Mo. Would you like to live there do you think? Write soon Yours &c. BlairI have a nasty headache to-day & night.[In upper margin:] Isreal Zinser[2] has sold out his interest in the Drug Store and is going to move up to Plainfield where his father-in-law resides. [Robt?] Heiple bought him out. I am attending Sunday School since you went away. I have been there two Sundays and they wanted me to take charge of a Bible class already. I thought I would rather be excused Mr. Kent is an Instructor I like him well There is from 15 to 20 persons in class. I suppose you have ere long this heard of the destruction of the city of Chicago. 20,000 houses burned and 200 to 300,000,000 dollars loss It was the biggest fire on record Gid Hornish[3] lost about 75 dollars by Insurance Companies breaking up since the great Chicago fire.The Company I am insured in, has gone up the spout.Historical BackgroundThe Great Chicago Fire began about 9:00 p.m. on Sunday, October 8, and burned until early Tuesday, October 10. It killed as many as 300 people and destroyed more than three square miles of Chicago. The destruction left more than 100,000 people homeless.The fire destroyed 17,500 buildings and $222 million in property, about one-third of the city's value. Although about half of the destroyed property was. (See website for full description)
New York Soldier Does Not Want to Fight for "Negro" Freedom but Does Support the USCT

New York Soldier Does Not Want to Fight for “Negro” Freedom but Does Support the USCT

CIVIL WAR, UNION SOLDIER. ROBERT H. GREENFIELD Autograph Letter Signed, to his wife, Mary V. Greenfield, January 20, 1863, Camp Suffolk, Virginia. 3 pp., 4 3/4 x 7 3/4 in. "It is hard to Sacrifise our Lives and to Leave house and our homes and Loved ones behind to Come away down in this forsaken Country to fight for what we supposed the Union. But Mary if this is what they Call fighting for the Union for to free the nigers I dont want to fight any such way. But now they say that if the negroes wants their freedom they must fight for it as our fore fathers did. They are arming and raising negro Regiments now in the South for to fight for their own freedom. That is Just what they Should of done six months ago." Complete TranscriptCamp Suffolk Va Jan. 20, 1863Dear WifeI now take my pen in hand to inform you that I am well and hope these few Lines will find you the same I am very sorry to hear that you had to cry for that makes me feel Bad But Mary I Can not Cry But I feel Just as Bad as one that does Cry But Every one must have their troubles it seems Mary if there was any such thing as Coming home on A furlow I would Come wilingly for to pleas you if nothing more But Mary when the time would come for me to Come Back you would feel Just as Bad as Ever don't you thinks so Mary do you think you would of felt as Bad if we would of waited and not married until I got Back do you think that would of made any difference it would of made no difference with me for you are the only person that I Ever did Love and the only one that I Ever Can Love But it is hard to Sacrifise our Lives and to Leave house and our homes and Loved ones behind to Come away down in this forsaken Country to fight for what we supposed the Union But Mary if this is what they Call fighting for the Union for to free the nigers I dont want to fight any such way But now they say that if the negroes wants their freedom they must fight for it as our fore fathers did they are arming and raising negro Regiments now in the South for to fight for their own freedom that is Just what they Should of done six months ago Well I guesse I will Change the Subject it is Raining here now very hard indeed it is very mudy here we followed one more of our Company to his grave to day his name was Ziba E. Barney[1] he died with the measles he is the third one that has Died out of our Company it is very sickley here now But Mary I trust in god that I may Be spared and Return home once more for Mary I Can not Bear the thought of never seeing you again and I hope and pray that we may See one anoter and enjoy our selves as we did once and then we will make up for all the Lost time Mary keep up good Courage and do the Best you Can that I find is the Best way and I will try and write oftener here after well it is most Bed time I am very sorry to hear of Death of Con Kiley or any other person so take good Care of your self and I will try and do the same so give my Respects to your folks and my Love to Mary V Greenfield from her Ever true and Effectionate Husband Robert H. Greenfieldthe world over[Address:] Mrs Mary V Greenfield, / Oakland Livingston Co. / NY.Historical IntroductionMany advisors to President Abraham Lincoln worried that white Union soldiers would not fight for the liberation of African Americans if he made emancipation an aim of the Union war effort. In this letter, written just three weeks after Lincoln signed his Emancipation Proclamation. Private Robert H. Greenfield complains of "fighting.for to free the nigers." While officers could resign their commissions, and a few did, enlisted men like Greenfield had only two options: desertion and the risk of death if caught, or continuing in the army and adjusting to the new realities.Greenfield chose the latter option and served with his regiment until discharged in June 1865. A later part of this letter suggests the beginning of a change that occurred in many Union soldiers. Greenfield writes, "now they say that if the negroes wan. (See website for full description)
Civil War Veteran in Maryland Predicts the War Will End Soon

Civil War Veteran in Maryland Predicts the War Will End Soon

DAVID F. MCGOWAN Autograph Letter Signed, to Ellen [P. Fowler?], March 15, 1865, Ellicott's Mills, Maryland. 3 pp., 5x 8 in. Also includes DAVID F. McGOWAN, Autograph Letter Signed, to Ellen [P. Fowler?], May 9, 1865, Ellicott's Mills, Maryland. 4 pp., 5 x 8 in. "Sherridan has been doing some good work. 1400 prisoners passed here a few days ago that he captured And Report says he has captured 1000 more. A couple of officers stopped here last night, that had just been exchanged. They were captured last August and gave me a good account of their trials & tribulations down in Dixie. One of them gave $100. for a common pair of shoes from all appearances the Confederacy will soon collapse. Sherman has been heard from, is at Fayetteville, N. C. think Richmond will fall, before fall."Civil War veteran David F. McGowan writes about prospects for Union victory and life in Maryland as the Civil War draws to a close. Complete Transcript Ellicotts Mills, Maryland March 15th 1865Dear Sister Ellen:[1] As you wanted a quick answer to your last, you shall have it. I was quite sorry to learn that you were having the chills again, hope you have them broken before this time. Your letter found me enjoying first rate health. All our folkes are about well. I am about as fleashy now as I was when I lived on the Prairie, and have a great deal of Color. I think Maryland agrees with me firstrate. We have been having some delightful weather lately, regular June weather. It is quite warm to day, but has been raining nearly all day. I have been quite busy. We had some new boarders come to day. They came from Washington. Mr. Mrs & Miss de Krafft. The young Lady has a Guitar, so I guess she is a musician. Maybe she sings. I will find out in a day or two. We have lots of musicians in our house at present, some of them first class I feel quite low spirited to day. My friend Miss Jennie has gone up to Pennsylvania, and isn't coming back for five months. too bad, isnt it? I don't see how I am going to stand it. Can't you come and fill the vacancy? I will try to make it very pleasant for you. Sherridan has been doing some good work. 1400 prisoners passed here a few days ago that he captured And Report says he has captured 1000 more.[2] A couple of officers stopped here last night, that had just been exchanged. They were captured last August and gave me a good account of their trials & tribulations down in Dixie. One of them gave $100. for a common pair of shoes from all appearances the Confederacy will soon collapse. Sherman has been heard from, is at Fayetteville, N. C. think Richmond will fall, before fall. I had a letter from Will[3] yesterday. He was with the Reg't, and that was at Mobile point. He was well, have not heard from Sarah for over a week. she was well as were the Children. I will stop for to night. Good night, sweet dreams. The weather is still warm with a little rain. I would like to see it clear off and keep clear a little while. I guess one will have the equinoxial storm[4] and then we may look for some warm weather. We had a very pleasant time in the Parlor last evening & night; some good music and interesting conversation And then Bertie[5] & myself had a few games of Chess. She came off one game the winner. I like the game very much. When you come to see us I will teach you the game. Well you must all take good care of yourselves. And keep me well posted. Give my kindest regards to all enquiring friends. I am too busy to write more at this time. My love and a kiss to each member of your family & Miss Mattie. I enclose a Photo, a little better than the one you have. write as soon as you can. Mother & Bert send much love. Excuse haste. Your friend & Bro DaveHistorical BackgroundThe 47th Illinois Infantry, in which David F. McGowan served, was organized at Peoria, Illinois, and mustered into federal service in August 1861. It transferred to St. Louis, Missouri, in September and remained there until December. The reg. (See website for full description)
Sermones de adventu. (avec) Dominicus Bollani

Sermones de adventu. (avec) Dominicus Bollani, Questio de conceptione Virginis Mariae

CARACCIOLUS, Robertus ______ Format : In-folio. [278 x 200 mm] Collation : (78) ff. Reliure : Basane marbrée, dos à nerfs orné. (Reliure du XVIIIe.). ____ Parmi les premiers livres à avoir été imprimés à Lyon. Nicolaus Philippi, originaire de Bensheim près de Darmstadt et Marcus Reinhart, de Strasbourg, installèrent le second atelier typographique de Lyon en 1477. (Le premier livre a avoir été imprimé dans cette ville, par Guillaume Leroy, date de 1473.) Ils travaillèrent ensemble jusqu'en 1488, puis Nicolaus Philippi semble avoir travaillé seul. Marcus Reinhart, a rejoint son parent Johann Reinhard, dit Grüninger, à Strasbourg. On le retrouve imprimeur à Kirchheim, en Alsace en 1490. Roberto Caracciolo (1425-1495) était un franciscain, évêque d'Aquino en 1474, puis de son lieu de naissance, Lecce en 1484. Il fut l'un des plus grands prédicateurs de son temps. Le texte, sur deux colonnes, est rubriqué et les initiales peintes en rouge. Exemplaire grand de marges qui est complet du premier feuillet, blanc. On peut lire sur celui-ci une inscription d'une main de l'époque : "Liber canonicorum Regularum Monasterii Sancti Meynulfi in Bodeken paderbornen diocesi". Cet incunable provient donc du Monastère St. Meinolf à Böddeken, dans le diocèse de Paderborn, Westphalie. Il s'agit de la troisième édition des ces sermons. La première de Venise vers 1474 et la seconde de Strasbourg 1475, sont beaucoup moins rares. Un seul exemplaire de notre édition est recensé dans les bibliothèques américaines (Huntington ). On a relié à la suite le début (qui est la table) d'un autre incunable 'Sermones quadragesimales de poenitentia', publié par les mêmes éditeurs, en 1479 "Incipit registrum in sermones." (9) ff. Petites restaurations aux coiffes. Bon exemplaire. *-------* Among the first books to have been printed in Lyon. This second Lyonnese press was founded by two German partners Nicolaus Philippi a native of Bensheim, near Darmstadt in Hesse and Marcus Reinhart of Strasbourg, a kinsman of Johann (Reinhard) Grüninger. Their first dated book is from 1477, the last 1482. The first book to be printed in Lyon, by Guillaume Leroy, is dated 1473. Roberto Caracciolo (c.1425-1495) was a Franciscan, appointed bishop of Aquino in 1474, then of his birthplace Lecce in 1484. He was one of the greatest preachers of his time. This is the third edition of these sermons. The first of Venice around 1474 and the second of Strasbourg 1475 are much less rare. The text, in two columns, is rubricated and the initials are painted red. Wide margined copy. It is complete of the first blank folio, with this inscription in a contemporary hand : "Liber canonicorum Regularum Monasterii Sancti Meynulfi in Bodeken paderbornen diocesi". This incunable comes from St. Meinolf Monastery in Böddeken, diocese of Paderborn, Westphalia. Only one copy of this edition is recorded in American libraries (Huntington Library). Bound at the end, is the beginning (which is the table) of another incunable 'Sermones quadragesimales de poenitentia', published by the same editors, in 1479 "Incipit registrum in sermones ." (9) ff. ISTC ic00140000. GW 6048. Goff C-140. BMC VIII, 244. Claudin, Histoire de l'imprimerie en France III, 113.
Les mémoires de Mess. Martin du Bellay

Les mémoires de Mess. Martin du Bellay, Seigneur de Langey. Contenant le discours de plusieurs choses advenues au Royaume de France, depuis l’an 1513 jusqu’au trépas du Roi François premier, ausquels l’auteur a inséré trois livres, & quelques fragments des Ogdoades de Mess. Guillaume du Bellay, seigneur de Langey son frère. Oeuvre mis nouvellement en lumière et présenté au Roi par Mess. René du Bellay, Chevalier de l’Ordre de sa Majesté, baron de la Lande, héritier d’icelui Mess. Martin du Bellay

DU BELLAY, Martin ______ Format : In-folio. [335 x 213 mm] Collation : (6), 136, 10, 137 à 350, (6) ff. Reliure : Vélin doré à la fanfare, tranches dorées. (Reliure de l'époque.). ____ Edition originale, remise en vente à la date de 1572. Exemplaire sur grand papier, réglé, dans une somptueuse reliure en vélin doré à la fanfare. Ce genre de reliure est très rare pour un livre d'un format aussi grand : 39 x 25 centimètres. Ces mémoires sont importants pour le règne de François Ier. Guillaume du Bellay avait entrepris d'écrire une histoire de France, dont la plus grande partie fut perdue. Son frère Martin, qui lui survécut jusqu'en 1559, recueillit ce qui restait du manuscrit original et se mit à le compléter. Il forma ainsi des mémoires qui se suivent de 1518 à 1547. "Montaigne a fait environ vingt-cinq emprunts à cet ouvrage. Plusieurs citent des phrases entières." Villey, Les lectures de Montaigne. Mais on n'a pas retrouvé l'exemplaire de Montaigne, qui, par ailleurs, jugeait ce livre trop favorable à François Ier. "Ce volume magnifiquement imprimé et fort rare, n'est pas seulement un monument historique important; il présente encore cet intérêt qu'on y voit observée, dès l'année 1572, la distinction entre l'u et le v, l'i et le j, distinction que Corneille ne devait faire prévaloir en France qu'en 1664." Picot, Catalogue des livres composant la bibliothèque de feu M. le baron James de Rothschild 2, 2118. Marque à l'olivier de l'Huilier sur le titre. De nombreux bandeaux et grandes initiales ornées. Il s'agit d'une remise en vente de la première édition de 1569, non signalée par les bibliographes. Seules la page de titre et les pages liminaires ont été changées. On trouve à la fin un achevé d'imprimer du 19 Janvier 1569 et les erreurs de pagination sont les mêmes que dans l'ed. de 1569 [136 au lieu de 139 - 149 pour 140 - 200 pour 190 - 248 pour 250 - 276 pour 278.] Ces erreurs sont corrigées dans les deux exemplaires de l'édition de 1572 que nous avons comparé, et qui portent un achevé d'imprimer du 28 Novembre 1571. Adams D-1000. Brunet I, 747. *-------* Large paper copy in a splendid contemporary gilted vellum, one "à la fanfare" binding, rare with this very large size.
Les faitz de Jesus Christ et du pape

Les faitz de Jesus Christ et du pape, par lesquelz chacun pourra facilement cognoistre la grande différence d’entre eux, nouvellement corrigé

LUTHER, Martin ______ Format : Petit in-4. Collation : 44 ff., [A-L4] Reliure : Vélin souple à rabats. (Reliure du XIXe.). ____ Rarissime pamphlet protestant, illustré d'une gravure sur le titre et de 33 gravures sur bois à pleine page. Le texte est basé sur le "Passional Christi und Antichristi" de Martin Luther, paru à Wittenberg en mai 1521. Il a été réécrit par des réformateurs de Neuchâtel vers 1534 ou 1535. Une gravure montre une scène de la vie de Jésus-Christ, la suivante montre celle du Pape. Cela donne : "Jésus d'espines est couronné piteusement. Et le pape de pierrerie & or somptueusement." Ces gravures sont copiées sur celles de Lucas Cranach qui illustrent le "Passional Christi". On connaît trois éditions de cet ouvrage. La première, in-folio, de Neuchâtel est connue à un seul exemplaire. L'autre, guère moins rare, a été imprimée à Genève par Jean Michel, vers 1542. Notre édition a été imprimée avec les mêmes bois gravés que ceux de l'édition de Genève, sauf le bois de la page de titre qui est différent. Elle est par ailleurs imprimée en caractères ronds. Les deux derniers feuillets contiennent "Aux lecteurs epistre proffitable", imprimé en italiques. Aucun exemplaire dans le CCFR. Un seul dans OCLC, à Manchester. L'exemplaire est court de marge, les manchettes sont souvent rognées, un trou a été restauré sur 5 feuillets avec perte de caractères, galeries de vers atteignant des caractères en fin de volume, enfin les 3 derniers feuillets sont très pâles (peut-être du fait d'un lavage excessif). L'exemplaire est donc en condition modeste, mais nous n'en avons trouvé qu'un seul exemplaire de cette édition dans les bibliothèques, à Manchester. Elle est inconnue des bibliographies habituelles. *-------* This violent Calvinist pamphlet directed against the Pope, is illustrated by 34 woodcuts by Lucas Cranach the Elder. The present French text based on the German "Passional Christi und Antichristi" (which first appeared in 1521, followed in 1534 by a French translation) was more probably composed in whole or in large part by a member of the religious society of Neuchatel during 1534 or 1535: the verses are however translated from Luther. Three editions of this work are known. The first one, at Neuchâtel is known to a single copy. The other, hardly less rare, was printed in Geneva by Jean Michel, circa 1542. Our edition was printed with the same engraved woodcuts as those of the Geneva edition, except the one on title page which is different. It is also printed in Roman letters. Last 2 leaves contain "Aux lecteurs epistre proffitable" printed in italic. This copy has many defects, still I found only one copy in OCLC (Manchester univ.) of this edition.
THE LUCK OF ROARING CAMP and Other Sketches

THE LUCK OF ROARING CAMP and Other Sketches

Harte, Francis Bret [Poker Flats & Roaring Camp] Boston: Fields, Osgood, & Co., 1870. Original green cloth. First Edition. This is Harte's third and best-known book, one which he spent the rest of his life unsuccessfully trying to equal. These tales had originally appeared in the Overland Monthly, of which he was the first editor; the title story had appeared in 1868 in its second issue ("under publisher's protest. The religious press called it 'immoral,' California papers thought it 'singular,' but Eastern critics went headlong into eulogies" [K&H]). The volume also includes such Harte throbs as "The Outcasts of Poker Flat," "Miggles" and "Mliss"; an additional tale, "Brown of Calaveras," would be added to the (later in 1870) second and subsequent editions. This copy is in green pebble-grain cloth; copies were also bound in terra-cotta or purple, with this grain or another (no priority). It is in near-fine condition (a touch of wear at the head of the spine, minor front cover crease, front endpaper barely cracking). This is an American classic, increasingly difficult to find in collectible condition. Blanck 7246; Zamarano 80 #40; Grolier American 76; a Johnson High Spot ("The first stories written by a westerner about the westerners in the western vernacular, the earlier western writers being so afraid of being called 'unliterary' that they ignored the crude but powerful material at hand"). Provenance: armorial bookplate of John Taylor Bottomley (1869-1925), prominent Boston surgeon and lecturer at Harvard Medical School.
THE CELEBRATED JUMPING FROG OF CALAVERAS COUNTY

THE CELEBRATED JUMPING FROG OF CALAVERAS COUNTY

Twain, Mark [Twain's first book] And other Sketches. Edited by John Paul. New-York: C.H. Webb, 1867. Original brown cloth, beveled, with gilt frog in lower left corner of front cover (and in blind on rear cover). First Edition, second printing, of Mark Twain's first book -- a collection of anecdotes and sketches that features the title story, a highly-anthologized milestone in American humor. The "editor," "John Paul," was actually the publisher Charles Henry Webb. Around this title still clings the romance of the great author and world-figure that was to be; the actual jump of the frog was to be measured in inches -- the leap of its historian was to be measured not merely on physical earth, but in spirit, fame and whatever we credit as the essence of human achievement [Johnson]. The first printing (1000 copies) is identifiable primarily by the presence of a preliminary ad leaf, here absent; there are also several instances where type is unbroken in the first issue but is broken in the second (this second printing of 552 more copies came just twenty days after the first). Copies were issued in seven different colors, without known precedence -- blue, brown, green, lavender, plum, red, and terra-cotta; also, on some copies the gilt frog is in the center, rather than the lower left corner, of the front cover ("The frog has a peculiar habit of jumping in various positions but it invariably faces the fore-edge" - Johnson). This copy, in brown cloth, is bright and near-fine, with only light wear at the binding extremities; atypically, the original chocolate-brown endpapers remain firm and uncracked. Copies in this condition but with the ad leaf now demand a five-figure price. Blanck 3310; McBride p. 2; Johnson pp 3-9; Zamarano 80 #17;.
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Nine Original Signed Photographs of Robert Moir Sculptures.

MOIR, Robert [artist] Presented here are nine professional monochrome photographs of sculptures by Robert Moir. 8 1/4 x 10 inches. Each photograph has notations by Moir in pen on the versos. Generally the notes consist of the title of a work, the medium, and his signature and address (at this time it was 400 E. 93rd St. and later on First Ave.). The titles of the works are; Jack G. Norris (plaster bust), Kemp Owyne (limestone), The Moirae (alabaster) and the Seated woman (limestone), Cumulius (plaster), Standing Figure (limestone), Mother and Child (limestone), Pensive Man (granite), Portrait of Dr. M. F. Shapiro. One photograph shows five sculptures but no titles are given; it simply stated Sculpture Center Gallery, November 1951. Except in two instances the photographer is not credited. The exceptions being Pensive Man shot by J. W. Russell and Jack G. Norris by Graphica. Four of the photographs were taken aat the 1951 Sculpture Gallery show. The Mother and Child has glue residue on the rear and with notations that it is in the Permanent Collection at the Whitney and was exhibited at the Metropolitan Museum of Modern Art show, 1951-1952, and at the Sculpture Center, 1951. The Mother and Child and the photograph with five subjects both have a small piece of a corner missing, a few light bends. Overall, wonderful tonailty. Housed in a rather luxe portfolio. "Robert B. Moir was born on January 7, 1917 in Chicago, Illinois. He was a student at the Art Institute of Chicago and also exhibited his work there in 1940-41 and 1948. Moir moved to New York to continue his education at Columbia University. He would go on to attend New York University, and the Art Student League of New York. In New York Moir exhibited at the Whitney Museum from 1951-56. Moir exhibited at the Metropolitan Museum of Art, from 1951-56, in an exhibition entitled ÒAnnual Exhibition of American Sculptors. He exhibited alongside other notable sculptures such as, Alexander Archipenko, Alexander Calder, Chaim Gross, Milton Hebald, Paul Manship, and Harry Rosin. Moir had a one-man show held by the Sculptors Center, New York, in 1951. As well as a one-man show held by the SculptureÕs Guild, Lever House, New York, in 1956. Moir died in St. Petersburg, Florida in 1981." )Papillon Gallery)/
Carolee Schneemann: Imaging Her Erotics -- Essays

Carolee Schneemann: Imaging Her Erotics — Essays, Interviews, Projects, Limited Edition (with 2 Prints)

SCHNEEMANN, Carolee, STILES, Kristine, MORGAN, Robert C., MURPHY, Jay, RILEY, Robert, HEARTNEY, Eleanor, MCEVILLEY, Thomas, STRAUSS, David Levi Price is net to all; promotional discounts do not apply. First limited edition of 33 signed and numbered copies (this being copy number 12). Includes an original unique "vulvic impression" print on rag paper (8-5/8 x 7-9/16 inches), initialed and dated 8/05 in blue pencil on recto lower right corner by Schneemann, and a gelatin silver photograph from the artist's 1963 "Eye Body" performance (image size 8-7/8 x 7-5/8 inches; paper size 9-1/8 x 7-7/8 inches), titled, initialed, dated and numbered in pencil on verso by Schneemann. The book is signed and numbered 12/33 in red ink on the title page by Scheemann. Hardcover. Fine red cloth-covered boards with title stamped in black on spine, with photographically illustrated dust jacket. The print, photograph and book are contained in a fine iridescent purple silk-covered clamshell box with title printed in silver on debossed spine panel. Works in various media and text by Carolee Scheemann. Additional contributions by Kristine Stiles, Robert C. Morgan, Jay Murphy, Robert Riley, Eleanor Heartney, Thomas McEvilley and David Levi Strauss. Includes a list of videos/filmography and selected bibliography. Designed by John Isaacs. 357 pp., with numerous black and white and color illustrations. Book measures 9-1/4 x 8-1/4 inches; clamshell box measures 10 x 8-7/8 inches. New (original blood print, gelatin silver print, book and clamshell case all in flawless, pristine condition). From the publisher: "Carolee Schneemann is one of the pioneers of performance, installation, and video art. Although other visual artists, such as Salvador Dali and Yves Klein, had used live self-portraiture and performance as a vehicle for public provocation, Schneemann was among the first to use her body to animate the relationship between the world of lived experience and the imagination, as well as issues of the erotic, the sacred, and the taboo. In the 1960s, her work prefigured the feminist movement's sexual self-assertion for women, and by the mid-1970s, her work anticipated the field of women's studies and its critique of patriarchal institutions. In the 1980s, she was one of the first to experiment with virtual environments. Imaging Her Erotics integrates images from Schneemann's works in painting, collage, drawing, and video sculptures with written material drawn from the artist's journals, dream diaries, essays, and lectures. Encompassing four decades of her work, it demonstrates her profound influence on artists in all media. An opening essay by Kristine Stiles presents Schneemann's major themes and places her work in a historical context. Among other topics, the book covers Schneemann's response to the widespread use by artists of the ideas of theoreticians such as Georges Bataille, Jacques Derrida, and Jacques Lacan; her relationship to male artists such as Joseph Cornell, Robert Morris, and Claes Oldenburg; and reminiscences about her friends Ana Mendieta, Charlotte Moorman, and Hannah Wilke. The book also contains essays by Jay Murphy and David Levi-Strauss and interviews with the artist by Kate Haug, Linda Montano, and Aviva Rahmani." Signed by Author.
The Voyage of the Resolution and Discovery 1776-1780. Edited by J.C. Beaglehole. The Journals of Captain James Cook on His Voyages of Discovery.

The Voyage of the Resolution and Discovery 1776-1780. Edited by J.C. Beaglehole. The Journals of Captain James Cook on His Voyages of Discovery.

COOK, James. thick tall 8vo, 23cm, First Printings, in 2 volumes, Part 1. ccxxiv,718 & Part 2. Viii,[1]723-1647pp., with 93 plates and illustrations (inc. 7 folding plates & col. frontis portrait by John Webber), 3 sketch maps (inc. rear folding track chart), original navy blue book linen, gilt spine titles, and gilt bust portrait of Cook on the upper covers, a fine set in very good to fine complete jackets. (Ar) Together With the Atlas: The Charts and Coastal Views of Captain Cook's Voyages. The Voyage of the Endeavour, 1768-1771. (Being: Hakluyt Society Extra Series: Volume 43.) Andrew David, Chief Editor, Assistant Editors for the views Rudiger Joppien, Bernard Smith. London. Hakluyt Society. 1989. atlas folio. 43cm, blue cloth, as new. Cook's Third Voayge. on which Cook sailed in 1776, was directed to the Northern Hemisphere. Its objective was the discovery of a Northwest Passage by sea from the Pacific to the Atlantic Ocean' - the North-west Passage, sought since the 16th century, which would have transformed the pattern of world trade. The search was to take Cook into High latitudes where, as in the Antarctic, his skill in the ice navigation was tested. Sailing north from Tahiti in 1778, Cook made the first recorded discovery of the Hawaiian island. On March he sighted the Oregon coast. The remarkable voyage which he made northward along the Canadian and Alaskan coast and through Bering Strait to his farthest north in 70o nearly disproved the existence of a navigable passage toward the Atlantic and produced chart of impressive accuracy. . (jacket).
The North Georgia Gazette

The North Georgia Gazette, and Winter Chronicle.

PARRY, William Edward]. (Edited by Edward Sabine). 4to. 28cm, The First Edition, xii,132p., illustrated & decorated headers, printed in double columns, in modern paper over boards with paper label, marbled edges, with John Bockstoce's bookplate, fine condition. (cgc) A.B. 12547. Sabin 55714. "Weekly newspaper Nov. 1, 1819- March 20, 1820, edited by Edward Sabine, with articles, etc, written by members of the first Parry Expedition, at their winter quarters, Winter Harbour Melville Island, circulated there in manuscript* and published after the expedition's return to London. It contains articles, songs, verse, humorous essays, letters, and reports on social activities in camp, to enliven the tedious and inactive months". Parry, in command of the Hecla was continuing the search for the North-West Passage, 1819-1820, wintered in a cover on Melville Island. He did everything possible to keep his crew occupied during these dark winter months. They organized constant activities, including plays, etc., and Sabine edited the present newspaper. *"There is some controversy as to whether or not The North Georgia Gazette. was printed on the ship, then reprinted on return to England. Barwick "Books Printed at Sea", 1900, categorically states that the paper was printed on the ship, while Skallerup (Books Afloat & Ashore), 1974, contends that the Gazette was published in manuscript on the Hecla and later printed on shore". - Roberts, V.H. Publishing and Printing on Board Ship. (article), Marnier's Mirror, Nov, 1988.
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18 LITHOGRAPHS ILLUSTRATING THE TEXT OF CANDIDE BY VOLTAIRE

WINES, James N. (WINES-ARCHITECT AND ARTIST) WINES, James N. 18 LITHOGRAPHS ILLUSTRATING TH TEXT OF CANDIDE BY VOLTAIRE. Rome: Roberto Bulla, 1959. Large folio, 18 lithographs measuring 22 1/2 x 17 1/2 inches laid into flexible printed wrappers, with separate letterpress tex on thin India paper, all laid into original black lettered buckram portfolio. Only edition. Rare item not recorded on OCLC but two copies are known, MOMA and Toledo Muse of Art. A limted edition production number 32 of 50 copies, each modernistic lithograph signed and numbered in pencil by the twenty-seven year-old artist lived in Rome from 1956 to 1962, and while there he won the Prix de Rome in 1956. Wines is an American artist, sculptor, highly aclaimed architect, and international lecturer associated with environmental design. A professor at Penn State, he is the founder of SITE (Sculpture in the Environment), a New Y based architectural and environmental arts organization in 1970. He won the Pulitzer Prize for Graphic Art in 1955, and Cooper-Hewitt's 2013 Lifetime Achievement Design Award. In 1983 he was appointed the chairman of the desig department at Parsons School of Design. Beside his accomplishments in graphic design, he is known for his distinctive architectural designs, especially through SITES. In Virginia he was the creative genius behind the design of the showroom buildings for Best Company, Richmond family based business operating from coast to coast in the 1970s and 1980s. Their buildings became unique, surrealistic and unorthodox works of a - such as "Falling brick facades," the "Peeling facades," and the "Notch building." Each building stands alone as a work of art and is not duplicated and they can be seen from Virginia to California. The back of flexible wrappers contains pencil inscription "To Mr. & Mrs. Rich Kimball, with many thanks, James Wines, August, 1964." The buckrum portfolio a little dusty, and the set lacks one India tissue paper cover, else fine.
EXPERIMENTAL RESEARCHES IN ELECTRICITY

EXPERIMENTAL RESEARCHES IN ELECTRICITY

MICHAEL FARADAY Published in London by Richard and John Edward Taylor Printers, Publishers to The University of London, in the years 1839 & 1844 these are the First two Volumes of Faraday's landmark work on his experiments with Electricity, there was a third volume published in 1855, only the First two volumes are present here. The works were originally published in the journal of the Philosophical Transactions of the Royal Society of London, The books are bound in the original green cloth titled in gilt to the spines, volume one published in 1839 runs to 574 pages plus folding plates at rear, volume two published in 1844 runs to 302 pages plus folding plates at rear, 9 inches tall approx. both books were formerly the property of Bembridge School library having being presented to the Library by a Herbert Berens in1932, as the three volumes were published separately over a sixteen year period, it's rare to find all three volumes complete The cloth bindings are showing some noticeable signs of wear with significant loss to cloth at spine ends, splits to cloth along spine edges, corner bumping, old library catalogue numbers to base of spine, some noticeable marking to cloth, especially to volume two, library label to rear board of volume two, internally some cracking to internal joints, presentation inscriptions to front endpapers along with a library label to volume two, a few foxing marks to volume one though pages generally clean, foxing to the folding plates, plate two (pictured) is torn along the fold line and just off the line towards the end of the tear, the final three plates are loose, and sadly volume one is lacking plate six Volume two has a little more foxing, though nothing too serious, there is some page separation at pages 144-145 (pictured) five folding plates at end with some foxing, rear endpaper has pencilled annotations (pictured) BOOKS ARE SHOWING VERY OBVIOUS SIGNS OF WEAR AND AGE VOLUME ONE DOES LACK ONE OF THE FOLDING PLATES ELSE A GOOD SERVICEABLE EXAMPLE OF THE FIRST TWO VOLUMES OF THIS LANDMARK WORK, books are heavy, cost of overseas shipping will be higher than the basic standard quote Size: 8vo - over 7¾" - 9¾" tall
Proof of the Ergodic Theorem. WITH: Proof of the Quasi-Ergodic Hypothesis. WITH: Physical Applications of the Ergodic Hypothesis. WITH: Recent Contributions to the Ergodic Theory

Proof of the Ergodic Theorem. WITH: Proof of the Quasi-Ergodic Hypothesis. WITH: Physical Applications of the Ergodic Hypothesis. WITH: Recent Contributions to the Ergodic Theory

VON NEUMANN, JOHN; BIRKHOFF, G.D. IMPORTANT PAPERS - IN BOTH OFFPRINT AND JOURNAL FORMATS - RELATED TO VON NEUMANN'S PROOF OF THE ERGODIC THEOREM, A FUNDAMENTAL CONTRIBUTION TO OUR UNDERSTANDING OF THE FOUNDATIONS OF STATISTICAL MECHANICS AND THE ORIGINS OF THE SECOND LAW OF THERMODYNAMICS. In 1877 the great physicist Ludwig Boltzmann published a paper that sought to explain why systems tend toward maximum-entropy equilibrium states as predicted by the Second Law of Thermodynamics. The conceptual essence of the 1877 paper was this: a system - say, a gas in a container - can exist in any of an inconceivably large number of "states," each differing from all others in the precise position or velocity of at least one molecule. In modern terminology, each such distinguishable disposition of the molecules of a physical system is called a "microstate". But enormous numbers of microstates are equivalent in macroscopic terms - although they differ in terms of the precise locations and velocities of specific molecules, they look the same from the perspective of bulk thermodynamic variables such as temperature and pressure. In other words, such microstates are part of the same "macrostate." The key to Boltzmann's 1877 analysis was his recognition that the maximum-entropy state of a system - i.e., its equilibrium state - is precisely the macrostate that is consistent with the largest number of microstates. (This can be shown by a rather elementary application of combinatorial analysis, which Boltzmann undertook in the 1877 paper.) Accordingly, it is overwhelmingly more probable than not that a system - as it transitions from one microstate to the next - will eventually wind up in one of the microstates corresponding to the equilibrium macrostate. There was, however, important gap in Boltzmann's magisterial 1877 analysis - a gap that Boltzmann failed to recognize or, at least, to acknowledge. This was the implicit assumption that each microstate is equally probable - in other words, that as a system evolves in accordance with the fundamental laws of molecular mechanics, it will, on average, spend an amount of time in each macrostate that is proportional to the number of microstates in the macrostate. To restate the matter using more technical terminology, the assumption is that the fraction of time the system spends in each macrostate is proportional to that macrostate's "volume" expressed as a fraction of the total accessible volume of the "phase space" for the system. (A "phase space" is an abstract multidimensional space representing all possible microstates of a physical system.) That assumption, in turn, is a consequence of what is now generally referred to as the "ergodic hypothesis." The hypothesis had been an explicitly-acknowledged or implicitly-assumed element of Boltzmann's reasoning about the statistical behavior of molecules from the first time he articulated it in a series of papers in the 1860s. But - despite several attempts - Boltzmann never offered any persuasive argument that real systems of molecules do display ergodic behavior, and at times he expressed doubt as to whether the hypothesis was even true. Ever since Boltzmann's 1877 tour de force, mathematicians and physicists have been attempting to justify the ergodic hypothesis - to show that it accurately describes the statistical behavior of molecules moving about in conformity with the fundamental laws of mechanics (whether classical or quantum). This is among the "set of issues that continue to plague the foundations of the theory [of statistical mechanics]" (Lawrence Sklar, "Physics and Chance: Philosophical Issues in the Foundations of Statistical Mechanics" (1993)). It was the problem that the mathematician John von Neumann tackled in the papers offered here. "Von Neumann [1903-1957] may have been the last representative of a once-flourishing and numerous group, the great mathematicians who were equally at home in pure and applied mathematics and who throughout their careers maintained a steady production in both directions. . [I]n a profession where quick minds are somewhat commonplace, his amazing rapidity was proverbial. There is hardly a single important part of the mathematics of the 1930's with which he had not at least a passing acquaintance, and the same is probably true of theoretical physics." (DSB). His important contributions to pure and applied mathematics include the theory of Hilbert spaces, his axiomatization of quantum mechanics, and his pioneering work in game theory, in quantum statistics and thermodynamics, in numerical analysis, in the theory of computer architecture, in the theory of automata, and in game theory. Essentially, what von Neumann demonstrated in the offered papers is that the ergodic hypothesis is equivalent to an assumption called "metric indecomposability," or "metric transitivity." In simple, intuitive terms, and omitting some technical qualifications, a physical system is metrically indecomposable (or transitive) if it evolves in such a way that regardless of its initial microstate, it will not remain confined within any sub-region of the system's phase space. Von Neumann showed that a metrically transitive system will have properties whose average over time is equal to the average value of those properties over the phase space of all possible microstates. And that, in turn, is sufficient to underwrite Boltzmann's conclusion that the equilibrium macrostate, representing the overwhelmingly largest percentage of a phase space, is ipso facto the most probable macrostate. Von Neumann communicated his results to George Birkhoff prior to publication, and Birkhoff managed to prove a sharper, stronger version of von Neumann's theorem (the "pointwise" ergodic theorem v. von Neumann's "mean" ergodic theorem), which, through the vagaries of the publication process, appeared before von Neumann's paper. In March 1931, two months after von Neumann's proof was published, von Neumann and Birkhoff published two separate papers in Proc
Beating the Invader

Beating the Invader

CHURCHILL, WINSTON CHURCHILL WARNS THE ENGLISH PEOPLE TO "STAND FIRM" IN THE FACE OF A GERMAN INVASION. In early 1941, when a German invasion of England seemed a very real possibility, Duff Cooper, then Minister of Information, helped draft a document to distribute to the people with information on what to do in the event the Germans landed on English soil. "While the document [Beating the Invader] was prepared as a how-to or what-to-do document by Duff Cooper's Ministry of Information, it opens with Churchill's powerful and inspirational introduction, in which he begins with the bravery-invoking assumption, 'If invasion comes, everyone-young or old, men and women-will be eager to play their part worthily.' Noting that the greater part of the country will be unaffected by any invading force, he assures his readers that the British forces will do their part, inflicting 'very heavy British counter-attacks' on the enemy as they land by means of bomber attacks on their lodgments. "He goes on: 'The fewer civilians or non-combatants in these areas, the better-apart from essential workers who must remain. So if you are advised by the authorities to leave the place where you live, it is your duty to go elsewhere when you are told to leave. When the attack begins, it will be too late to go; and unless you receive definite instructions to move, your duty then will be to stay where you are. You will then have to get into the safest place you can find, and stay there until the battle is over. For all of you then the order and the duty will be: "STAND FIRM." "Even where there is not substantial fighting, presumably away from the coasts, Churchill advises that everyone must be bound by the second great order and duty, namely, 'CARRY ON. It may easily be some weeks before the invader has been totally destroyed, that is to say, killed or captured to the last man who has landed on our shores. Meanwhile, all work must be continued to the utmost, and no time lost.' "Encouraging all to assume their part in the defence of their island home, he concludes his introduction by writing: 'The following notes have been prepared to tell everyone in rather more detail what to do, and they should be carefully studied. Each man and woman should think out a clear plan of personal action in accordance with the general scheme.' And the document is influentially signed in facsimile: "Winston S. Churchill."' Following Churchill's introduction is a "list of 'tips' cover[ing] a range of potential actions and reactions of the brave Britons, then essentially alone in their resistance to the Axis (with the obvious exception of Britain's Commonwealth partners). The two-sided leaflet is characterized by all-caps subject headings such as 'STAND FIRM' and 'CARRY ON' and a series of fourteen questions and answers drafted by the Ministry of Information and issued under the combined authority of the War Office and the Ministry of Home Security. "The huge print run might leave one with the impression that the leaflet would be commonly found today. It is not. Its relative scarcity is understandable; it was, after all, only a leaflet anticipating an event, which never came to pass. In the result, although it was very widely distributed, relatively few copies have survived." (Ronald I. Cohen, Churchill Bibliographer, "Preparing for an Invasion of Britain. In Writing", Finest Hour 181, Summer 2018). First printing. London: Ministry of Information, 1941. One sheet (8.5x11 inches), printed on both sides. An exceedingly well-preserved copy of a notoriously fragile item, with only very mild folds and minuscule wear to bottom right corner. Housed and protected in custom cloth presentation folder. As fine a copy as one could hope to find.