Recent Highlights
(Updated 7/16/2020 at 6.30 AM EST)

Rendezvous with Rama [with] Rama II [and with] Garden of Rama [and also with] Rama Revealed

Rendezvous with Rama [with] Rama II [and with] Garden of Rama [and also with] Rama Revealed

Clarke, Arthur C.; Lee, Gentry (co-author, sequel volumes) First printing, octavo size, 256 pp., signed by Arthur C. Clarke, in a custom box (see below for details on the three sequel volumes). Sir Arthur Charles Clarke (1917-2008) was an incredibly talented man; by the time of his death he had earned a number of Hugo and Nebula awards for his science fiction, he received the Kalinga Prize in 1961 for popularising science, served twice as the chairman of the British Interplanetary Society, was appointed a Commander of the Order of the British Empire in 1989 and was knighted in 1998. Perhaps best known to most Americans as the author of "2001 A Space Odyssey", the "Rama" series is "regarded as one of the cornerstones in Clarke's bibliography", having been awarded both the Hugo and Nebula awards upon publication. The story is set in the 2130s, when a group of humans intercept an alien ship: ".it was only when it was realised that it had a diameter of some twelve miles and that its course might completely upset the delicate balance of the solar system that scientists became at first intrigued and then worried." (from dust jacket flap). Immensely popular, the "New York Times" reviewer wrote that the book had "that chilling touch of the alien, the not-quite-knowable, that distinguishes sci-fi at its most technically imaginative". The next three novels in the series (included here) were co-written by Gentry Lee; eventually Lee would go on to write himself the final two volumes in the series (not included here). ___DESCRIPTION: "Rendezvous with Rama": bound in full green paper (textured to look like cloth), gilt lettering on the spine, gold endpapers, signed in blue ink by Arthur C. Clarke on the title page with the date of "2 Aug 86", first printing per Currey (no statement of printing on copyright page); octavo size (8" by 5 1/8"), pagination: [1-5] 6-256. The dust jacket is not price-clipped, showing the original price of 2 British Pounds Sterling on the lower right of the front flap, jacket design by Bruce Pennington with a pictorial depiction of the interior of the spaceship on the front with yellow and white lettering, white lettering on the spine, back panel a solid black, front flap a summary of the book, back flap blank other than the ISBN number at the bottom; the book is encased in a custom solander box covered with black cloth, the inner trays lined with white paper, two red leather spine labels with gilt lettering and rules. "Rama II" published by Victor Gollancz in 1989, this the first printing: bound in full black textured paper, gilt lettering on the spine, octavo size (9.5" by 6.25"), pagination: [1-7] 8-379; dust jacket with the original price of 12.95 British Pounds, circular graphic presumably of a spaceship in yellow on the front, white and silver lettering, same on the spine, back panel blank (other than ISBN), front flap with a short summary and back flap with a short author bio. "Garden of Rama" published by Bantam Books in 1991, this the first U.S. printing (with the full number line): bound in blue paper over boards with a purple linen shelfback, silver lettering on the spine, octavo size (9.25" by 6.25"), pagination: [i-vi], [1-3] 4-441; pictorial dust jacket shows the original price of $20.00 on the front flap, with a wrap-around illustration by Paul Swendsen showing multiple ships in space, raised lettering in metallic blue on the front panel, blue and white lettering on the spine, review blurbs on the back panel, summary of the book on the front and back flaps, short author bios on the back flap. "Rama Revealed" published by Victor Gollancz in 1993, this the first printing, bound in full black textured paper, gilt lettering on the spine, octavo size (9 3/8" by 6 3/8"), pagination: [1-7] 8-479; pictorial dust jacket shows the original price of 15.99 British Pounds on the front flap illustration on the front panel by Bob Corley with white and silver lettering, white lettering on the spine, summary on the front flap and author bios on the back flap, review blurbs on the back panel. ___CONDITION: "Rendezvous with Rama" fine overall, with clean boards, perfectly straight corners without rubbing, a strong, square text block with solid hinges, the interior is clean and bright, and entirely free of prior owner markings; some light foxing to the top edge of the text block, text block very slightly cocked, and a small chip from the rear pastedown at the top fore-edge corner (presumably as it came from the binder, as there is absolutely no evidence of wear); the unclipped dust jacket fine overall, clean, not sunned, perhaps a minute amount of wear at the head of the spine and a hint of toning at the edges; the solander box fine, clean, strong and study, without wear. "Rama II", "Garden of Rama" and "Rama Revealed" all fine in fine, unclipped dust jackets; "Garden of Rama" showing some lift to the thin plastic coating the publishers applied to the paper (due to the raised lettering, an unfortunate choice). ___CITATION: Currey p. 115. ___POSTAGE: International customers, please note that additional postage may apply as the standard does not always cover costs; please inquire for details. ___Swan's Fine Books is pleased to be a member of the ABAA, ILAB, and IOBA and we stand behind every book we sell. Please contact us with any questions you may have, we are here to help.
Nederlants See-Rechten; Avaryen; En Bodemeryen

Nederlants See-Rechten; Avaryen; En Bodemeryen, Begrepen in de.

Verwer, Adriaen; Quintyn Weytsen Amsterdam: by Jan Boom, 1711. Dutch Marine Laws with Interesting Content About the Americas Verwer, Adriaen [1654-1720]. Weytsen, Quintyn [1518-1565]. Nederlants See-Rechten; Avaryen; En Bodemeryen: Begrepen in de Gemeene Costuimen Vander See; De Placcaten van Keiser Karel den Vijfden, 1551; en Koning Filips den II. 1563; 't Tractaet van Mr. Quintijn Weitsen van de Nederlantsche Avaryen: Ende Daerenboven in Eene Verhandelinge Nopende het Recht der Hollantsche Bodemeryen. Amsterdam: by Jan Boom, 1711. [xii], 242, [2] pp. Quarto (8-1/2" x 6-1/2"). Contemporary quarter vellum over marbled boards, early hand-lettered title to spine, untrimmed edges. Moderate rubbing to boards and extremities, spine darkened, front joint partially cracked, some wear to corners, crack in text block between front endleaf and title page, which is printed in red and black. Light browning, light foxing in places, neat extensive contemporary annotations to margins of several leaves. $1,500. * Second edition. Originally published in 1707, this collection of texts provide a vivid historical background for the maritime laws of one of Europe's great sea powers. The work starts with the medieval Laws of Wisby and continues with articles on the Dutch marine laws from the early 16th century up to the time of printing. Some were composed in response, as the title notes, to the cruel customs of the sea expressed in declarations by Emperor Charles V in 1551 and King Philip II of Spain in 1563 and 1565 that were intended to restrict commerce between their colonies and the United Netherlands. Verwer's chapter deals with the laws of navigation and includes a section on Brazil, Cuba, Hispaniola, Jamaica, and references to the voyages of Americo Vespucci (p. 33). Weytsen's chapter was originally published in 1617 as Tractaat van Avaryen. It addresses the law of average, which requires all parties involved in a shipping enterprise to share the cost of sacrificing some goods in order to save others. Also included are works on bottomry and respondentia (insurance on vessels and cargos, and loans on both), shipwrecks and pirates, among other topics. Dekkers, Bibliotheca Belgica Juridica 178.
Stockholmska Scener Tecknade och lithografierade. [Caricature Scenes of Stockholm in Lithograph]

Stockholmska Scener Tecknade och lithografierade. [Caricature Scenes of Stockholm in Lithograph]

MÖRNER, Carl Gustav Hjalmar A Remarkable Suite of Sixteen Lithograph Plates - Including Four with Hand-coloring A Wonderful Caricaturists View of Stockholm MÖRNER, Carl Gustav Hjalmar. Stockholmska Scener Tecknade och lithografierade. [Caricature Scenes of Stockholm in Lithograph] Stockholm: Gjöthström & Magnusson, [1830]. First Edition in Book Form. Folio (14 x 10 1/8 inches; 355 x 257 mm.). Original pictorially engraved gray paper wrapper for part one, bound in as title-page, the remaining front and back wrappers bound in at end. Sixteen superb, large lithographed plates including four that are hand colored, all by Gjöthström and Magnusson after Mörner. Bound by G. Hedberg of Stockholm ca. 1960 (stamp-signed on lower verso of front free endpaper). Full russet morocco, covers ruled in gilt, front cover with circular gilt wreath design. Spine with five raised bands decoratively ruled and lettered in gilt in compartments, gilt ruled board edges, decorative gilt turn-ins, marbled endpapers. top edge gilt. A wonderful copy. Published in four parts, each with three uncolored and one colored plate. Excessively rare with only two copies listed in institutions worldwide: Kunstbiblio Staatliche Museen Zu Berlin (Germany); National Library of Sweden. (both with just four hand colored plates). Not in any of the standard bibliographies although Colas 2141 & 2142 does make mention of the two editions of one of Mörner's other works Scènes populaires de Naples. (1828 edition & 1829 edition). The plates (translated from the Swedish) 1. Roddare Båt - Rowers Boat 2. Musikaliskt Sállskap - Musical Society 3. Kládstånd - Clothes Shop 4. [Untitled] - [Two Police Officers escorting a criminal?] 5. Á ju full? Sa du - Did you say you are full? 6. Hyrvagn - Slå bak! - A rental carriage with two stowaways 7. Restauration - Jungfru! Ska bli - Restoration - Oh, my God! To be young. 8. Thé Visit - The Visit 9. Division hallt - Division kept 10. Upphålls váder - Staying wet 11. Kállare - The Cellar 12. Får jag den áran att proponera - May I propose that year 13. Brunns Bal - Wells Ball 14. [Untitled] - [A country picnic in the rain] 15. Vira - The card game 16. Si opp! - Get up! Carl Gustav Hjalmar Mörner, born May 7, 1794 in Stockholm, died September 15, 1837 in Paris, was a Swedish artist. He devoted himself first to the military court and participated in the battles of Grossbeeren, Dennewitz, Leipzig and Bornhöved. As with many other officers at the same time he devoted himself to amateur painting, which is testified by many of his sketches from youth, conviviality and the campaign in Germany. Later he turned seriously to art and traveled in 1816 over Germany and France to Italy, where he stayed until 1828. Mörner tried to paint larger compositions with historical or folklore motifs in oil, but had little success with them. One of the more famous paintings in this genre include Odin's arrival to Sweden's Rosendal Palace. His greatest contribution was made as a draftsman and lithographer. In 1820 he published a series of Roman carnival images in outline etching Il Carnevale di Roma, but these was later transformed into lithographs, which suited his drawing much better, as shown in Italian costume pictures (1825), Scenes populaires de Naples (printed in Naples in 1826, French edition 1828), Travel Memories France, Germany and Italy (1829) and Stockholmska Scenes (1830). During a stay in London from 1830-36, Mörner published a lithographic album, Miscellaneous Sketches of Contrasts (1831). A scheduled work on physiognomy was not completes due to the artist's death in Paris in 1837. Hjalmar Mörner's work is represented in the Gothenburg Museum of Art, Östergötland County Museum, Orebro County Museum, and the University Library in Uppsala.
Snickerty Nick

Snickerty Nick

RACKHAM, Arthur, illustrator; FORD, Julia Ellsworth BYNNER, Witter RIDGWAY, Arthur (Music) Snickerty Nick with the Music Near Fine in original Printed Dust Jacket [RACKHAM, Arthur, illustrator]. Snickerty Nick & the Giant. By Julia Ellsworth Ford. Rhymes by Witter Bynner. Music by Charles Arthur Ridgway. Los Angeles San Franciso: Sutton House, [1935]. [Third edition, the first with the music included]. Quarto (9 1/2 x 7 3/16 inches; 242 x 183 mm.). [viii], [1]-81, [1, blank], [83]-132 pp. Three full-page monotone plates (facing pp. 16, 20 & 42), eight full-page black & white drawings and two line drawings. Original 'bright yellow' cloth with pictorial stamping in black on the front cover in black. A near fine copy in the original yellow pictorial dust jacket, some light chipping to extremities, some tiny tape repairs, otherwise an excellent example of a dust jacket that we have never seen before. The differences between this and the 1933 edition are as follows: The title-page of the 1933 edition has the imprint Suttonhouse: Los Angeles 1933 whilst the 1935 edition has Suttonhouse Los Angeles San Francisco and no date (the date 1935 is on the verso of the title-page]. The text and illustrations are identical but the 'Suggestion for Production' p. 77- 80 (in the 1933 edition), has now been changed and extended to p. 81. Following p. 81 is an additional title-page for the music which follows from p. 85 through p. 132. "The idea of the Selfish Giant in this play has been taken from the story of Oscar Wilde's Selfish Giant. Spring would not come to his garden because he would not let the children play in it. It was always winter there. One morning he woke up hearing the music of a linnet singing in his garden. He jumped out of bed and saw a most wonderful sight, "flowers were looking up through the green grass and laughing," and in every tree was a little child; but one little boy was too tiny to climb the tree and the Giant's heart melted and he helped the little child into the tree. The little child kissed him and forever after the children played in the Giant's garden, because his heart had softened through love of the little child. The children never saw the child again. But one day he came to the Giant, who saw on the palms of the child's hands "the prince of two nails and the prince of two nails were on the little feet". The little child had come to take the Giant to play in his garden, "which is Paradise." My indebtedness to this story is the character of the Selfish Giant. The little play of Snickerty Nick is not a dramatization of The Selfish Giant. The character of Snickerty Nick is an original character and the play centers around him. The little boy is only a loving and beloved child, and Spring and Winter are personified by faeries and gnomes. To Arthur Rackham I tender my most sincere thanks whose magic touch, as in Peter Pan, Grimm's Faery Tales and Undine, making real all faeries and gnomes, endears all child life to grown-ups as well as to children." (Forward by Julia Ellsworth Ford). This edition with the music not recorded in Riall In over fifty-five years of specializing in the work of Arthur Rackham I have never seen the 1933 edition, and I have only seen one other example of the 1935 before. According to Riall (see p. 180) the 1933 edition is listed as a "reprint of 1919 edition, with same coloured illustrations. Bound in bright yellow cloth. 3 full page illustrations in full colour. 8 drawings in black and white. This edition has the music added at the end of the book." OCLC locates just seven copies of the 1933 edition and twelve copies of the 1935 edition in libraries and institutions worldwide - none of the copies cited have any bibliographical details other than the book has 80 pp. (1933) or 132 pp. (1935). Both of these editions are unknown to The Arthur Rackham Society. The two books were produced in 1933 & 1935 to accompany the first Hollywood production of Snickerty Nick on April 8th, 1933. Julia Ellsworth Ford's famous little 'folk' play was directed by Pauline Parker.
Nova demonstratio immobilitatis terrae petita ex virtut magnetica

Nova demonstratio immobilitatis terrae petita ex virtut magnetica

GRANDAMI, Jacques A Fine Presentation Copy of Jacques Grandami's Nova demonstratio immobilitatis terrae petita ex virtut magnetica Athanasius Kircher's Correspondent on his Works on Magnetism GRANDAMI, Jacques. Nova demonstratio immobilitatis terrae petita ex virtut magnetica. La Flèche: George Griveau, 1645. First edition. A fine presentation copy presented by the author to an unidentified recipient I.B.' (frontispiece inscribed at foot 'I. B. Auctor D[ono] D[edit]' in contemporary hand); subsequently given to the library of the Jesuit domus professae in Antwerp by Daniel Papebroch in 1682 (printed title inscribed at head 'Domûs Professae Soc: Jesu Antuerpiae', front free endpaper with inscription 'Musei SS. in Domo professâ Soc. Iesu Antuerp. Dedit Bibliothecae ejûsdem Domûs R. P. Papebrochius 1682') Quarto (8 3/4 x 6 5/8 inches; 222 x 168 mm.). [viii], [1]-24, 33-40, 43-170 pp. Additional engraved allegorical frontispiece by F. Rousseuille, seven engraved plates (comprising nine figures), one folding, and 24 engravings (on 22 pages) in the text (two repeated from one plate); occasional light marginal dampstaining and a few spots. Contemporary vellum, with contemporary hand-written list, on paper, of 11 books (this being the first) pasted to upper cover. A wonderful example in it's original contemporary vellum binding. Presentation copy of the first edition of this rare and richly illustrated Jesuit anti-Copernican tract by Jacques Grandami (1588-1672), rector of the Jesuit college of La Flèche, which was attended by both Descartes and Mersenne. "Although Kircher's work on magnetism antedated that of Jacques Grandami, the two Jesuits had corresponded about the matter before the publication of either work. Grandami, a French Jesuit who taught philosophy and theology at Bourges, Rennes, Tours, La Flèche, Rouen and Paris, published what he considered to be the definitive work on magnetic astronomy, his Nova demonstratio immobilitatis terrae petita ex virtut magnetica. Prior to its publication he had indicated in a letter his debt to Cabeo for his theoretical thinking: "Although gravity causes the Earth to stand in the centre of the world, it is not able to impede its circular motion around the centre, especially against the daily agitation of all the sea waters in the changing tides and in violent storms. Thus it is that another quality is added and assigned to immobility . This quality is sufficient for effecting this immobility and for restoring the Earth's situation with the poles of the sky if by chance it should be disturbed. I call this quality the magnetic quality since in magnetic bodies the rest and constant immobility on the meridian line (or near it) are seen everywhere." In this work Grandami employs the 'magnetic philosophy' initiated by William Gilbert to refute the heliocentrist position. He also claims to have solved the problem of determining longitude at sea. In the first decades of the seventeenth century 'magnetic philosophy' was used both by heliocentrists and their opponents to support their positions, and Grandami had discussed his views with Descartes and Mersenne, as well as with Huygens, before the publication of this work. "In the seventeenth century debates over the Copernican hypothesis numerous astronomers used magnetism and magnetic theories of attraction to substantiate their theoretical arguments and experimental proofs. William Gilbert initiated the introduction of magnetism into astronomical debate and the analogy between magnets and celestial bodies was subsequently employed in various ways by the heliocentrists, including Kepler and Galileo. By calling up Gilbert's magnetic philosophy in support of Copernican astronomy, Kepler and Galileo influenced the course of astronomical debate by strengthening the analogy and by cementing together the two sciences of magnetism and celestial physics. Yet magnetic arguments and magnetic analogies did not remain the province of heliocentrists alone. Opponents of Copernican theory likewise turned to magnetism, this time to refute the astronomy which common sense and Scriptural authority opposed. The hope of disproving the Copernican hypothesis by means of magnetic studies provided a strong stimulus to such studies in the scientific community" (Baldwin, p. 155). Grandami considered the present work to be a major contribution, continuing to discuss it with Huygens as late as 1669. Very Scarce. According to OCLC there are only five complete copies located in institutions and libraries worldwide: New York Public Library; New York Society Library; Yale University Library (CT, USA); Sachsische Landesbibliothek (Germany); University of Oxford (UK). ABPC/RBH list only two copies sold since 1942 (neither of them presentation copies): Sotheby's, Honeyman Sale November 1979, £700 (cont. calf worn, one plate torn and repaired), this subsequently offered by Howell in 1981 for $3250; Christie's, Beltrame Sale November 2016, £7500 (engraved title torn with loss, modern binding, soiled). The remarkable frontispiece "reflects the Jesuits' preoccupation with magnetic cosmology. At the top two angels symbolize God's providence in imbuing the Earth with a magnetic quality to prevent it moving. The quotation from Ecclesiastes I, 4 emphasizes the unique conformity of Jesuit magnetics with scripture. The central image is of a cherub conducting Grandami's basic experiment to prove magnetic immobility . Navigational interests are again represented. The cherub on the right carries Grandami's allegedly non-declining compass needle, with which he claimed to have solved the problem of longitude at sea" (Pumfrey, p. 52). Provenance: presented by the author to an unidentified recipient 'I. B.' (frontispiece inscribed at foot 'I. B. Auctor D[ono] D[edit]' in contemporary hand); subsequently given to the library of the Jesuit domus professae in Antwerp by Daniel Papebroch in 1682 (printed title inscribed at head 'Domûs Professae Soc: Jesu Antuerpiae', front free endp
Three Poems

Three Poems

PAZ, Octavio; MOTHERWELL, Robert Mexican Poet and Diplomat Octavio Paz - The Nobel Prize Winner for Literature in 1990 Illustrated by the American Abstract Expressionist Painter Robert Motherwell Signed by the Poet and the Artist PAZ, Octavio. MOTHERWELL, Robert, artist. Three Poems (Tres Poemas). New York: Limited Editions Club, 1987. Signed limited edition, number 74 of 750 (out of a total edition of 820 copies), signed on the colophon by Robert Motherwell and Octavio Paz, Large folio (21 1/2 x 17 7/8 inches; 545 x 455 mm.). [6, blank], [viii], 56 leaves, [6 blank] pp. Hand-sewn and bound in cloth with 27 original mounted lithographs (with original tissue-guards) by Motherwell, including an additional original lithograph inset on the front cover of the book. Handset in Bauer Bodoni at the Stamperia Valdonega in Verona, presswork on the three poems was accomplished at Stamperia Valdonega, Wild Carrot Letterpress and Heritage Printers, respectively. Each of the 27 lithographs by Robert Motherwell used to illustrate this edition was pulled at Trestle Editions of New York on handmade Japanese paper of various contrasting colors and hand-mounted (colle) upon the same Magnani Italian mould-made paper used for the text. With bilingual text, the Spanish text printed in red, with English translation of the poems printed in black on facing pages. Publisher's natural Irish linen over heavy boards, front cover with inlaid original lithograph in red and black, spine lettered in black. A very fine copy in the original matching clamshell case, slight damage/freying to corners of upper cover of case. Octavio Paz Lozano (March 31, 1914 - April 19, 1998) was a Mexican poet and diplomat. For his body of work, he was awarded the 1981 Miguel de Cervantes Prize, the 1982 Neustadt International Prize for Literature. A collection of Paz's poems (written between 1957 and 1987) was published in 1990 for which he was awarded the Nobel Prize for Literature. Robert Motherwell (January 24, 1915- July 16, 1991) was an American abstract expressionist painter, printmaker, and editor. He was one of the youngest of the New York School, which also included Philip Guston, Willem de Kooning, Jackson Pollock, and Mark Rothko. Trained in philosophy, Motherwell became an artist, regarded as among the most articulate of the abstract expressionist painters. He was known for his series of abstract paintings and prints which touched on political, philosophical and literary themes, such as the Elegies to the Spanish Republic. In 1940, Motherwell moved to New York to study at Columbia University, where he was encouraged by Meyer Schapiro to devote himself to painting rather than scholarship. Schapiro introduced the young artist to a group of exiled Parisian Surrealists (Max Ernst, Duchamp, Masson) and arranged for Motherwell to study with Kurt Seligmann. The time that Motherwell spent with the Surrealists proved to be influential to his artistic process. After a 1941 voyage with Roberto Matta to Mexico-on a boat where he met Maria Emilia Ferreira y Moyeros, an actress and his future wife-Motherwell decided to make painting his primary vocation. The sketches Motherwell made in Mexico later evolved into his first important paintings, such as The Little Spanish Prison (1941) and Pancho Villa, Dead and Alive (1943). Matta introduced Motherwell to the concept of "automatic" drawing or automatism, which the Surrealists used to tap into their unconscious. The concept had a lasting effect on Motherwell, further augmented by his meeting with the artist Wolfgang Paalen. Motherwell's encounter with Paalen prompted him to prolong his stay in Mexico for several months, in order to collaborate with him. Motherwell's noted Mexican Sketchbook visually reflects the resulting change: while the first drawings are influenced by Matta and Yves Tanguy, later drawings associated with Motherwell's time with Paalen show more plane graphic cadences and details distinguished from the earlier period. Paalen also introduced Motherwell to André Breton, via a letter. Motherwell's seminal trip to Mexico has been described as a little-known but important factor in the history and aesthetics of abstract expressionism. In 1991, shortly before his death, Motherwell remembered a "conspiracy of silence" regarding Paalen's innovative role in the genesis of abstract expressionism. Upon return from Mexico Motherwell spent time developing his creative principle based on automatism: "What I realized was that Americans potentially could paint like angels but that there was no creative principle around, so that everybody who liked modern art was copying it. Gorky was copying Picasso. Pollock was copying Picasso. De Kooning was copying Picasso. I mean I say this unqualifiedly. I was painting French intimate pictures or whatever. And all we needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, and that's what Europe had that we hadn't had; we had always followed in their wake. And I thought of all the possibilities of free association-because I also had a psychoanalytic background and I understood the implications-might be the best chance to really make something entirely new which everybody agreed was the thing to do."
Strahlungs-Emission und -Absorption nach der Quantentheorie [Emission and Absorption of Radiation in Quantum Theory]

Strahlungs-Emission und -Absorption nach der Quantentheorie [Emission and Absorption of Radiation in Quantum Theory]

EINSTEIN, ALBERT FIRST PRINTING IN ORIGINAL WRAPPERS OF ONE OF EINSTEIN'S MAJOR WORKS: HIS FIRST PAPER ON THE DERIVATION OF PLANK'S LAW AND PROVIDING THE THEORETICAL BASIS FOR THE LASER. "Einstein commended the 'unparalleled boldness' of Planck's derivation of 1900, meaning not only the problem itself but also the fact that it was based on assumptions that were not entirely free of contradictions. Einstein now succeeded in the first of two papers in eliminating that flaw. More interesting than the derivation itself was the general character of his methods. Einstein proceeded from Niels Bohr's basic--and by then well tested--assumption that the electrons within an atom occupy a number of discrete energy states, and are able, through emission or absorption of radiation, to pass from one of those states to another. Added to this was an assumption of thermodynamic equilibrium between radiation field and atom, as well as a consideration of the 'classical' limiting case at high temperatures--and there was Planck's formula. This brief argument. also covers emission stimulated by the radiation field; thus the formulas already, by implication, contain the theory of the laser, though it was to take nearly half a century to be realized" (Folsing, Albert Einstein, 389). Weil *85. The "implication" containing the theory of the laser was more fully developed in his companion paper "On the Quantum Theory of Radiation" published a few weeks later. In the first paper, Einstein wrestled with the concept that the atomic emission of radiation could be a directed process; in the second paper he convincingly demonstrates that this is indeed the case. IN: Verhandl. D. Deutch. Phys. Ges., Vol 18, pp. 318-323. Braunschweig: Druck und Verlag von Friedr. Vieweg and Son, 1916. Octavo, original wrappers; housed in custom half leather chemise. One thread (literally) resewn on wrappers, a little creasing and soiling. A beautiful copy. RARE IN ORIGINAL WRAPPERS.
FRAGMENTEN UIT HET DAGBOEK VAN ANNE FRANK [Het Achterhuis; The Secret Annex; Anne Frank: Diary of a Young Girl]

FRAGMENTEN UIT HET DAGBOEK VAN ANNE FRANK [Het Achterhuis; The Secret Annex; Anne Frank: Diary of a Young Girl]

FRANK, ANNE THE EXCEEDINGLY RARE FIRST APPEARANCE OF ANY PART OF THE DIARY OF ANNE FRANK; PRECEDING THE BOOK EDITION. A BEAUTIFUL COPY IN SCARCE ORIGINAL WRAPPERS. "The diary written by Anne Frank is probably the single most widely read book to come out of the Holocaust. Millions of readers have read the story of the teenage girl's two years in hiding. It has been translated into more than thirty-five languages and published in as many countries. Her diary was also the foundation for a successful drama performed worldwide (The Diary of Anne Frank, 1956) and a film of the same title (1959). Especially in the last twenty years, many schoolchildren and adults alike have had their first exposure to the effects of Adolf Hitler's war through Anne's writing. Anne's diary so captured the attention of the world that her name has become symbolic of the six million Jewish victims of the Shoah. "To many, Anne Frank has become a symbol of the strength and optimism of the human spirit in the midst of tragedy. In July 1944 Anne wrote what was to become the most famous line of her diary and the one most often used to symbolize her spirit. 'In spite of everything, I still believe that people are really good at heart'. Anne's writing put a human face to the unfathomable statistics of the millions of individuals who suffered and died" (Sarita Cargas, Encyclopedia of Holocaust Literature). On the publication in De Nieuwe Stem: The Diary, although now recognized as such an important historical document, almost never found its way into print. Anne's father, Otto Frank, gained possession of the manuscript after the war. By April 1946, the diary already had been rejected by several publishers and Otto Frank was having doubts about continuing to pursue publication. It was at this time that "he gave one typed copy to a friend, who lent it to Jan Romein, a professor of modern history. Much to Otto Frank's surprise the professor devoted an article to it in a Dutch newspaper, Het Parool. Romein's article appeared on April 3, 1946, hailing the diary as an outstanding example of wartime documentation by a remarkably talented Jewish girl (whose name was not disclosed). His friends now urged Otto Frank to have Anne's diary published as she herself had wished" (quoted in Jeffrey Shandler, From Diary to Book). Jan Romein was so impressed by the diary that, as one of the editors of the new left-leaning journal De Nieuwe Stem, he was able to arrange for the publication of excerpts from the diary in the journal's sixth issue, appearing in June 1946. These five excerpts (to "Kitty") begin on July 11, 1942, and conclude on April 11, 1944 and "mark the first publication of Anne's writing" (ibid), preceding the book edition, ultimately published in 1947 with a preface by Jan Romein's wife, Anne Romein-Verschoor. In "De Nieuwe Stem," Vol I, Nr. 6 (June, 1946), pp. 431-442. Amsterdam: Van Loghum Slaterus, June 1946. Octavo, original wrappers; custom box. Text in Dutch. A touch of fading to spine and edges, small indentation at top of text block evident in early pages (not near Anne Frank). A remarkably well-preserved copy. RARE.
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Orientalium expeditionum historia.] Gesta Dei per Francos, sive Orientalium expeditionum, et regni Francorum Hierosolimitani historia [.].

Bongars, Jacques]. Folio (240 x 352 mm). (56), 1203 (instead of 1207, properly 1205), (1) pp. (p. 623f. blank, wants pp. 231f. & 237f.). - (Includes, as part 2:) Sanudo, Marino. Liber secretorum fidelium crucis super Terrae Sanctae recuperatione et conservatione [.] Orientalis historiae tomus secundus. Ibid., 1611. (12), 361, (3) pp. (283f. printed as a double-page-sized folding table). Both parts with engraved printer's device to title-page. With 3 double-page-sized folding engraved maps and 2 engraved plans as well as a woodcut printer's device at the end. Slightly later full calf, spine elaborately gilt. Only edition of this early, important source book for the history of the crusades and the Kingdom of Jerusalem and its vassal states. The second parts contains the first printing of the much sought-after 14th century maps and plans by the Genoese cartographer Pietro Vesconte, previously available in manuscript copies only. "Four of the maps from Marino Sanudo's early fourteenth-century manuscript atlas were reprinted by Johann Bongars in 1611. Sanudo's planisphere [.] is one of the few examples of medieval maps based on portolano sources in printed form. It is a circular map centered on Jerusalem with the Mediterranean relatively well defined. The ocean surrounds the whole of the known world, the outer parts of which are represented by conjecture. The authorship of Marino Sanudo is not definitely established and the original manuscript has also been attributed to Pietro Vesconte" (Shirley). - One of two title variants differing only in slight changes in the typesetting (here: "Expeditionum" begins between the "O" and the "R" of "Orientalium"). Binding somewhat rubbed, hinges starting. Rather severely browned throughout due to paper stock, some waterstaining to margins, more pronounced near the end, sometimes reaching into the printed text. Stains to first title-page; the second title and its counter-leaf *6 are printed on different paper stock. Some light worming, mainly confined to margins but also touching the text near the end; occasional edge defects. A copy in modern half vellum (severely browned, with some worming, but otherwise complete) commanded 13,000 Euros at Reiss's spring 2009 auction. VD 17, 1:069728C. Atabey 127. Ioannou 49 (variant). Potthast I, 105. Tooley I, 162. Cf. Tobler 12. For the maps: Shirley 276 (with plate 217); Nordenskiöld 51 (with fig. 28); Laor 783 & 1145f. as well as Lex. Kart. 576 & 860f.
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Atlas de la Navigation, et du Commerce qui se fait dans toutes les parties du monde.

Renard, Louis. Imperial folio (365 x 550 mm). (6), 96 pp. Letterpress title-page printed in red and black with engraved vignette; Renard's dedication leaf to King George I has engraved headpiece and initial. With additional engraved title-page in original hand colour, engraved portrait frontispiece of George I, and 28 (1 folding) double-page-sized, numbered maos in original hand colour, as well as 4 folding plates on fortification (mounted as 2). Contemporaray mottled full calf on 8 raised bands with giltstamped spine label to prettily gilt spine (showing small armillary spheres in the panels); leading edges gilt. Edges sprinkled red and green. Rare first Renard edition: a splendid example of the publisher's best work. The exceedingly pretty maritime maps are adapted from de Wit's plates, which in their turn had been derived from those of Van Keulen, and must have been fairly obsolete by the time Renard republished them, even with the alterations he carried out. Renard also replaced de Wit's name in the cartouches by his own. - Contents: two-hemisphere world map, supersized maps of Europe (printed from two plates, showing a bear hunt), map of the poles, maritime maps of Novaya Zemlya (with a polar bear hunt), Finland and Lapland, Norway (drying stockfish), the Baltic Sea (with beehives), Denmark and Frisia, the North Seath with Great Britain, the English Channel between Kent and Flanders, the Channel with the Thames estuary (showing a commercial mill), Biscaya (with a naval battle), the Iberian Peninsula, the Mediterranean in two partial maps, the Black Sea and Crimea, the coasts of Africa in 3 maps (with Neptune), the Indian Ocean in two partial maps, the Pacific (with a portrait of Magellan above Neptune's chariot), Central America (hunting crocodiles), Tierra del Fuego, Brazil, the Atlantic with Newfoundland and parts of the coasts of North and South America, the Caribbean, Labrador, and Hudson Bay. At the end are the four uncoloured instructional plates on fortification, assembled as two folding plates (each measuring ca. 70 x 100 cm). - All maps in excellent impressions with the publisher's original hand colour and emphasized coastlines. The cartouches were not coloured, leaving the fine engraved illustrations unimpaired by coating paint. - A wide-margined atlas with the maps numbered in the lower right corner by a contemporary hand throughout. Text and maps clean and nearly spotless; a few repaired paper defects in the text. A small stamp has been erased from the verso of the engraved title; a small rebacked hole in the letterpress title-page. Some tears to the folds professionally repaired, including a larger broken area in the the folding map of Europe, near the Iberian Peninsula, caused by the green paint. The massive binding is somewhat rubbed along hinges and extremeties; minimal chafing to covers, but in all very appealingly preserved. Koeman IV, Ren 1.
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The collection of Luc-Daniel Dupire, founder of the Belgian Palestine National Committee, on the Omani civil war.

Dupire, Luc-Daniel]. Comprising a total of ca. 250 items, including printed books, journals, various typescript and manuscript documents, photographs, a poster, and a music record, catalogued in 43 lots as prearranged in folders by the collector himself. In Arabic, English, French, German, Danish and Italian. An extraordinary archive of books and documents on the Dhofar rebellion (also known as the Omani Civil War) waged from 1962 to 1976, from the collection of the journalist and activist Luc-Daniel Dupire, founder of the Brussels Palestine Committee in 1969 and chairman of the Palestine National Committee in Belgium from 1970 to 1976. - Mostly issued by the People’s Front for the Liberation of Oman and the Arabian Gulf (PFLOAG, later PFLO), the material spans more than a decade, from 1969 to the early 1980s, the bulk dating from the mid-1970s. The political and historical studies found in this collection, issued by the PFLOAG itself or their international support committees, not only provide the necessary background to an appreciation of the Omani war but reflect on the Arabian Gulf region as a whole. - An intriguing critical study of the situation of political prisoners in Oman, Bahrein, Iran, and Saudi Arabia, based on individual cases, is present here in the English first edition as well as in German and Danish translations. Another publication that treats the political and socio-economic situation beyond the borders of Oman is a study of the oil states or "petrocrats", "Les Émirats mirages" by Gabriel Dardaut and Simonne and Jean Lacouture: it mentions Sharjah and Sheikh Sultan, the "most hospitable one of the kings of the Gulf", Qatar and the authors' arrival at Doha, as well as Bahrein, the "green bouquet floating on a green sea". - Many items contained in this archive are unique in their comprehensiveness and would be well-nigh unobtainable individually. We here mention only the substantial ensembles collected by the delegation of the Belgian Palestine National Committee at the First and Second Conference of the Solidarity Committee for the Revolution in Oman and the Arabian Gulf in 1973 and 1974, mostly comprising activity reports and the committees' political statements, as well as the no fewer than 58 issues of the PFLOAG news bulletin, "Saut al Thawrah", in its English and Arabic versions. Additionally, there is a 52-item corpus of documents by the Organization of Yemeni Revolutionary Resisters (OYRR) in English and Arabic, including reports by the military command. - The manuscript documents, including the draft of an interview with Fred Halliday, a specialist on the Middle East and international relations, given to the Belgian Palestine Committee, are unique survivals. Equally impressive is a press kit for Heiny Srour’s 1974 film "La Révolution a sonné", the only film ever shot in the Dhofar liberated zone, as well as several lists of medications and equipment required by the Omani Red Crescent. - The present collection bears impressive testimony to the impact the war in Oman had on an international level, triggering the establishment of support committees in Belgium, France, Germany, Great Britain, Denmark, Sweden, Italy, the United States and the Soviet Union, many of their critical publications, reports, and pamphlets having survived in this ensemble. It is topped off by a 1972 music record of revolutionary songs, published by the French "Comité de Soutien à la Révolution en Oman", as well as 39 large-scale photographs, providing first-hand testimony on the fate of the Omani people, as well as Sultan Qaboos' visits to foreign political leaders. The material here offered constitutes a singular opportunity to acquire a vast and thematically wide-randing trove that documents one of the darkest period of Oman’s contemporary history.
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Said bin Sultan (1791-1856). Ruler of Oman and Zanzibar. His Place in the History of Arabia and East Africa.

Said-Ruete, Rudolph. Large 8vo. XVIII, 200 pp. With half-title, frontispiece portrait, 5 black-and-white plates, folding map and "Genealogical table of members of the Al Bu Said dynasty". Publisher's original blue cloth, title gilt on spine & upper cover, Said bin Sultan name gilt in Arabic on upper cover. Rare first edition: presentation copy from Said-Ruete to Sir Saleh bin Ghalib Al-Qu'aiti, Sultan of Shihr and Makalla (ruled 1936-56), inscribed in green ink: "To / His Highness The Sultan / of Shiher and Makalla / Saleh bin Galib Alcaity / a token of sincere esteem / by the Author. / London, May 7th 1937". Below this is pasted a printed bookplate in Arabic. - The Qu'aiti Sultanate of Shihr and Mukalla, in the Hadhramaut region of the southern Arabian Peninsula (now Yemen), was the third largest kingdom in Arabia after the Kingdom of Saudi Arabia and the Sultanate of Oman. While the monarchy was toppled by communists in 1967 and Sultan Ghalib II was forced to abdicate, the Qu'aiti royal family still thrives in exile. - Said-Ruete was the son of Princess Salma (1844-1924), daughter of Sayyid Sai’id ibn Sultan (1791-1856), ruler of Oman and Zanzibar. The Princess married Friedrich Ruete, a clerk at the German embassy, and lived for 52 years as a widow in Germany. Their son Rudolph produced this remarkable survey of his grandfather’s life and times, considered as important as Vincenzo Maurizi‘s "History of Seyd Said, Sultan of Muscat" (London 1819). Sayyid Said ibn Sultan became the ruler of Oman in 1806, when he was about 15 years of age. After defeating the opposition with British help he determined to reassert Oman's traditional claims in East Africa. He eventually succeeded, and in about 1840 shifted his capital to Zanzibar, where he introduced the cloves that became the foundation of the island's economy. He also controlled the Arab traders that brought back slaves and ivory from the African interior. In this monograph the author highlights the early history of Oman, the rise of Said ibn Sultan to power in Oman and Zanzibar, and his relations with foreign powers (France, England, and the United States). In his foreword to this work, Major General Sir Percy Cox identifies the establishment of an Arab dominion in Zanzibar as Sultan Said's most lasting achievement. - Minimal wear to extremeties; insignificant spotting to first few leaves as common. A beautiful copy. Macro 1986. OCLC 5705061.
The Heart of the Antarctic. Being the Story of the British Antarctic Expedition 1907-1909. With an Introduction by Hugh Robert Mill. An Account of the First Journey to the South Magnetic Pole by Professor T.W. Edgeworth David

The Heart of the Antarctic. Being the Story of the British Antarctic Expedition 1907-1909. With an Introduction by Hugh Robert Mill. An Account of the First Journey to the South Magnetic Pole by Professor T.W. Edgeworth David

EDGEWORTH DAVID, T.W. (1858-1934), [SHACKLETON, E.H.] [Antarctic Exploration] FIRST EDITION, in two volumes. Quarto, pp.xlviii; 372; pp.xvi; 419; [1]. Portrait of E. H. Shackleton as frontispiece to first volume, with portrait of the Northern Party at the South Magnetic Pole to second volume. Both are protected with captioned tissue guards. Generously illustrated throughout with photographic plates and diagrams, in addition to several plates in colour. Dark blue half morocco over cloth boards, tooled in gilt, twin red labels, top edges gilt, others untrimmed, original decorative boards bound in at rear. Folding maps in pouch to vol. II. Internally clean, externally unmarked. A fine copy in a handsome recent leather binding. A comprehensive work, filled with a mass of maps, photographs and sketches which chronicle the expedition. A book which truly embodies the golden age of polar exploration. Although the expedition team was unable to attain its goal of reaching the South Pole, Shackleton and his companions reached 88° 23' S, a point only 180 kilometres (112 miles) from the Pole. Accomplishments also included: the first ascent of Mount Erebus; the location of the Magnetic South Pole by Douglas Mawson, Edgeworth David and MacKay (January 16, 1909); and the discovery of the Beardmore Glacier passage (named after Shackleton's patron). The group was the first to cross the Trans-Antarctic mountain range, and to set foot on the South Polar Plateau. Subsisting on half-rations, Shackleton discovered the party's salvation - a letter declaring that Nimrod would sail on February 26, 1909. In response, the crew burnt the camp to attract the departing ship's attention. The plan succeeded, and on March 1, 1909, Shackleton departed for home and returned to the United Kingdom a hero. He was knighted for reaching the furthest south of any human at that time. Regarding the failure to reach the South Pole, Shackleton remarked to his wife: "Better a live donkey than a dead lion.". It would be three more years before Norwegian explorer Roald Amundsen became the first to reach the South Pole, followed shortly by Scott's ill-fated Terra Nova Expedition.
Faraway World ~ An Orkney Boyhood : Signed By Joseph Sloan : With A Complete Loose Set Of The 24 Wood Engravings Captioned

Faraway World – An Orkney Boyhood : Signed By Joseph Sloan : With A Complete Loose Set Of The 24 Wood Engravings Captioned, Signed And Numbered By The Illustrator

Towrie Cutt, W. & Sloan, Joseph (Illus.) The First UK printing published by Andre Deutsch, London in 1977. The BOOK is in near Fine condition with just a little spotting to the upper text-block. The WRAPPER is complete and is in near Fine condition with just some light toning to the flap edges. The wrapper is protected in a removable Brodart archival cover. Sloan has provided 24 B/W wood engravings throughout to accompany this evocative memoir . The book has been signed by the artist Joseph Sloan to the title page : 'Enjoy the visit, kind regards, Joseph Sloan'. Accompanying the book are a complete set of the 24 loose wood engravings from 'Faraway World' by Joseph Sloan. Each has been captioned, numbered and signed in pencil by Joseph Sloan. Each wood engraving has been printed on Zerkall acid free paper, mounted (plain white) and presented in removable archival covers. The limitation for each wood engraving varies from a range of 31-70. The mounted engravings measure 29 x 40cm. All the wood engravings are in Fine condition. The book and engravings are mounted in a custom solander box with pointed paper labels to the spine and front cover. The covers are slightly marked and rubbed in a few places. A list of the engravings with their limitation is affixed to the inside of the front cover for reference. Within the box, the box is protected within an inset. Joseph Sloan has had many touring exhibitions regarding his artwork relating to the Orkneys and the Arran Islands, and has exhibited at the Royal Academy Summer Show and at shows presented by the Printmaker's Council. A very scarce complete collection of prints to accompany an increasingly scarce title. More images available on request. More images available on request. Ashton Rare Books welcomes direct contact.
The Vein In The Marble : With The Scarce Wrapper

The Vein In The Marble : With The Scarce Wrapper

Tennant, Stephen (Illus.) & Grey, Pamela The sole UK printing published by Philip Allan & Company, London in 1925. The BOOK is in Very Good++ condition. Original blue buckram-backed paper-covered boards, with title label pasted to the front board and to the spine. Decorative endpapers and end-piece, decorated contents page, 32 tipped-in black-and-white plates reproducing pen-and-ink drawings and watercolours by Stephen Tennant. The spine label is mildly toned. Some slight splitting between pages as is usual with this binding but to a much lesser degree than usually encountered. The inner hinge of rear board is just starting to split at the base. Internally fresh with no inscriptions and just light toning and spotting to the page edges. The WRAPPER is complete and is Very Good+ condition. Some light shelf wear, ruffled along top edge with a short 3cm tear to the front top edge and slight loss at the spine ends. Some toning fo the spine with paper reinforcement to the verso of the lower spine panel. The wrapper has a striking red vein design and has preserved the boards excellently. 'The Vein in the Marble' is a book of verse, tales and illustrations formed through a collaboration between Stephen Tennant and his mother Lady Pamela Grey. Pamela provided a series of short poems and morality tales for modern life. Stephen contributed the accompanying illustrations, peopled with a mix of Regency courtiers, nymphs and fairy tale characters. Tennant's biographer Philip Hoare aptly describes the book as 'pure period whimsy'. The whole has a tendency towards sentimentality but Stephen's drawings and watercolours have a decorative, ethereal quality reminiscent of Beardsley. Stephen dedicated the book to his mother : 'To the most perfect of collaborators in great as in little things - my Mother.'. On receiving their first copies of the book Pamela and Stephen were filled with joy. 'We almost wept with excitement as we each finished our book! The child of our endeavours at last launched upon literature's perilous seas!' (letter from Stephen Tennant to Elizabeth Lowndes, December 1925). Despite positive reviews of the book, sales proved disappointing. A very good copy of a notoriously fragile book. Copies are now scarce, especially with the fragile wrapper - The first copy that we have handled. More images available on request. Ashton Rare Books welcomes direct contact.
The Flaming Sword - Vol.XIX

The Flaming Sword – Vol.XIX, Nos.30-52 (January 2, 1906 – June 5, 1906)

UTOPIAN COMMUNES] [FLORIDA] "CYRUS / KORESH" (pseud. of Cyrus Reed Teed) Early run of this periodical edited and written by Dr. Cyrus R. Teed, a Utica, NY native and founder of the Koreshan Unity. "Koreshanity," as it was also known, was born in the wake of two related movements: the millenial fervor that swept early-to-mid-19th century central and western New York State, and the utopian communalism that began attracting increasing numbers of adherents during the same period and into the later 19th century." A graduate of Eclectic Medical College of the City of New York, Teed's interests went beyond medicine to encompass alchemy, botany, physics and metaphysics, and he would regularly conduct experiments in these areas inside his medical laboratory. It was in this laboratory in 1869 that "Teed conceived what would become known as Koreshanity after experiencing a late-night religious vision. During what he called his "illumination," he saw a beautiful woman who revealed to him a series of universal truths which formed the fundamental principles of Koreshan belief." Among Teed's most interesting beliefs was cellular cosmogony, or the hollow earth - the notion that the earth was not a convex sphere but instead a hollow, concave cell containing the entire universe with the sun at its center. After failed attempts at founding communal settlements in Moravia, Syracuse, and New York City, Teed moved to Chicago, IL, where his persuasive oratory enabled him to assemble a firm core of followers in the late 1880's and form the commune called Beth-Ophra. Teed incorporated his organization there as the College of Life in 1886, and established a printing house that began producing three major publications: The Guiding Star, The Flaming Sword, and The Plowshare and Pruning Hook. "These publciations began a long legacy of Koreshan publishing aimed at the public as well as their own members, intended to explain and promote their beliefs, relate and preserve their story, and discuss political, social, scientific, and religious ideas and issues." Believing himself to be a messiah who would lead his people in establishing a New Jerusalem, Teed assumed the name Koresh in 1891 (after Cyrus the Great, King of Persia). As with his previous locations, Teed's beliefs did not endear him or his followers to the general public, forcing him to relocate from Chicago to the quiet beach town of Estero, FL in 1894, the final home of the Koreshan Unity where Teed would establish his New Jerusalem. It was here that the Koreshan Unity established a growing, self-sustaining community, though at the height of the movement their membership numbered no more than 250. Though Teed died in December 1908, The Flaming Sword continued to be published from Estero through the 1960's, with the Koreshan publishing tradition continuing well into the 1980's. 22 quarto issues (31cm); original illustrated wrappers, disbound; 16pp per issue. Holes (with corresponding oxidation) from saddle staples, some offsetting to spine-folds from fabric tape binding, with some light wear and dust-soil to wrappers; No.52 with several tears and toning to rear wrapper; a handful of issues with some light, scattered underlining, else quite clean; Very Good or better.
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New Testament of our Lord and Saviour Jesus Christ Newly Translated out of the Originall Greeke: and with the former Translations diligently compared and reuised, by his Maiesties Special Commandement.

EMBROIDERED BINDING A Beautiful Embroidered Dos-A-Dos Binding in Fortuny Silk Pouch [EMBROIDERED DOS-À-DOS BINDING]. [BIBLE IN ENGLISH]. The New Testament of our Lord and Saviour Jesus Christ. Newly Translated out of the Originall Greeke: and with the former Translations diligently compared and reuised, by his Maiesties Special Commandement. London: Imprinted by Robert Barker printer to the Kings most excellent Maiestie: and by the assignes of John Bill.and by the Assignes of John Bill, 1633. [Bound together with:] [BIBLE IN ENGLISH]. The Whole Book of Psalmes, collected into English meeter by Th. Sternhold, J. Hopkins, W. Whittingham, and others; conferred with the Hebrew, with apt notes to sing them withall. Newly set foorth, and allowed to be sung in all Churches of all the people together, before and after Morning and Euening prayer, and also before and after Sermons. Moreouer, in priuate houses, for their godly solace and comfort: laying apart all vngodly songs and ballads, which may tend only to the nourishing of vice, and corrupting of youth. London: Imprinted for the Company of Stationers, 1635. Two twenty-fourmo volumes bound dos-à-dos (back-to-back) in one (4 1/4 x 2 inches; 108 x 52 mm). New Testament: 264 leaves; Psalms: 330, [6] pages. In this edition of the New Testament, sig. A2r has 15 verses. New Testament with engraved title-page, headpiece and initial. Psalms with engraved vignette on title-page and engraved head-piece, initial and musical staffs. Contemporary London embroidered binding. Covers and spines uniformly embroidered with colored and golden/silver thread. Both covers and spines with ornamental rosettes in pink and green thread. All edges gilt and gauffered. Previous owner's old ink signatures on front endpapers of both books. A few threads loose, and cloth mildly rubbed, but still an excellent example, and better than most. Housed in a custom black morocco clamshell. This comes with a blue Fortuny silk carrying pouch which is a bit frayed. A characteristic London embroidered binding of the second quarter of the seventeenth century, rare in a dos-à-dos format. Although textile bindings of canvas and velvet were popular during the Elizabethan period as coverings for devotional books, the style reached its height during the stuart period. "During the seventeenth century little ›double‹ books were rather favourite forms for Common Prayer and Psalms especially. These curious bindings open opposite ways and have two backs, two ornamental boards, and one unornamented board enclosed between the two books, which are always of the same size" (Davenport, English Embroidered Bindings, 38) ESTC S124408 (STC 2943); ESTC S1805 (STC 2661.5) HBS 68342. $12,500
Ratio Disciplinae Fratrum Nov-Anglorum. A Faithful Account of the Discipline Professed and Practiced

Ratio Disciplinae Fratrum Nov-Anglorum. A Faithful Account of the Discipline Professed and Practiced, in the Churches of New-England. With interspersed and instructive reflections on the discipline of the primitive churches

Mather, Cotton] [1 lv], iv, 10, 207, [3] pp, blank. 12mo. Includes the introduction by Increase Mather, postscript & errata, and the table of contents (and the last blank lacking in Church's copy). "An important exposition of the tenants of congregationalism that carefully reaffirms the principles of the Cambridge Platform. Mather actually finished the work in 1701 according to his Diary, stating that it would 'have a mighty Tendency to praeserve our Discipline. and procure a beauty to the Exercise of it in all Administrations'," Streeter II: p.503). Provenance: Signature of William Homes (most likely the Ireland-born Rev. William Homes (1663-1746), a contemporary Congregationist from Chilmark, who had the same publisher. Evans 2775. Sabin 46474. Streeter Sale II: 672. Church 903. Holmes, Cotton Mather: 318. A very good copy in a fine binding, new endpapers, foxing throughout, intermittent marginal wear, leaf Ee2 slightly defective with minute loss of text, latin inscription with owner's name on first blank, same owner's name on title with "by Cotton Mather" inked below title, occassional margin pencil lines. Rebacked to style, brown morocco, boards ruled in gilt with floral corners, four raised bands, spine decorated and titled in gilt

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