Salome - A Tragedy in One Act - Rare Book Insider
Salome - A Tragedy in One Act

Wilde, Oscar

Salome – A Tragedy in One Act

John Lane, The Bodley Head, London: 1907
  • $1,055
[12], xiii-xviii, [8], 65pp, [5]. Original gilt decorated cloth, title and author in gilt to spine, t.e.g. Slightly rubbed to extremities, lower cover very slightly soiled. Some browning to endpapers, occasional light marking to margins, but generally fairly bright and clean. Bookplate of previous owner (M. A. Gouldsmith) to front pastedown. With sixteen designs by Beardsley on Japanese vellum. Housed in a cloth slipcase. Mason 355 Size: 8vo
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Collection of Documents Signed By Pepys as Clerk of the Acts of the Navy, Together with Other Similar Documents

A collection of one hundred and twenty-seven documents signed by Pepys and other prominent members of the Navy Board, with twenty-seven being signed by Pepys. Dated between 29 January 1668/9 and 18 December 1669, and arranged chronologically. Tipped onto boards, guarded, and handsomely bound into three volumes by Sangorski and Sutcliffe. Full blue crushed morocco, raised bands, spines in six panels, title lettered directly to second panel, volume number to third, name to fourth, remaining panels with a double fillet gilt border surrounding a single fillet frame with roundel corner pieces, covers with single fillet gilt border and double fillet frame surrounding a single fillet frame with roundel corner pieces, representation of Pepys' book plate in gilt to centre of covers, dotted line roll to edges, single fillet border and two line frame, joined by fleuron corner pieces, to inner edges, a.e.g., marbled endpapers and pastedowns. Couple of minor bumps to fore edge of first volume, very minor rubbing to extremities, indentation to upper cover of volume three, otherwise bright and clean. Each volume with manuscript title page, the documents generally in good order, occasional cropping and wear to margins, with occasional holes, small chips and minor discolouration, one or two browned. There are forty-two documents in the first volume, forty in the second, and forty-five in the third, with the final twenty-seven in this volume being the ones signed by Pepys. A series of administrative documents giving a picture of the working of the Navy Board in 1669 under Samuel Pepys. Samuel Pepys (1633-1703) was made Clerk of the Acts of the Navy on 13 July, 1660. The Board controlled most of the material needs and manpower of the navy. His initial principal colleagues were Sir George Carteret, the Treasurer; Sir John Mennes, the comptroller (and signer of forty-eight of the documents here); Sir William Batten, the surveyor; and Sir William Penn. "Carteret and Mennes had been ‘gentlemen’ captains, while Batten and Penn represented the alternative brand of ‘tarpaulins’, whose claim to naval command was based on experience rather than heredity and court connection. Pepys, who was neither a gentleman nor a tarpaulin, entered office with due deference to both sorts. He soon formed a prejudice (borrowed from Sandwich) against the ‘gentlemen’, and paradoxically perpetuated the notion of a division in the officer structure which in fact became blurred, not a little by his own efforts. Having been made welcome by his older colleagues, within a short time he came to despise most of them for what he considered their inefficiency and corruption. Batten, Penn, and Mennes would be the particular targets of venomous epithets which Pepys's most sympathetic biographers have found difficult to square with his pervading geniality. It is perfectly true that Mennes and the ‘Sir Williams’ were not well suited to the chores of bookkeeping and accountancy in which Pepys delighted, and he was soon able to outsmart them in points of detail. He made it his business very quickly to learn the multifaceted work which had fallen his way. He engaged a tutor to improve the arithmetic he needed to follow the international finance on which the naval supplies depended. He made himself expert in the weights and measures of the goods themselves, talking to dockyard storekeepers, carpenters, and boatswains, getting to know all the wonderful wheezes and scams which could turn the king's shilling into a pretty penny" (Knighton in the ODNB). Sir John Cox (d. 1672), naval officer and administrator. In 1660 Cox had been appointed master attendant at Chatham Dockyard, responsible for all ships held in the harbour, later being appointed to the same post in Deptford. By 1669 he had returned to Chatham, replacing Peter Pett. He was killed at the battle of Solebay in 1672. (See MacDougall in the ODNB). Many of the other signatories of the documents in this collection naturally figure promi
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Illustrations of Masonry

[5], vi-xxiv, [1], 2-444pp. Full contemporary straight grain morocco, a masonic binding, almost certainly by John Lovejoy, though without his ticket, smooth back, divided into six panels by gilt rules and Greek key bands, each panel with a separate masonic device, upper cover replicates the plate found in the book, a Greek key frame, with compass point letters, surrounding a variety of masonic symbols and devices, lower cover with a Greek key border surrounding a thin rolled rope line with masonic symbols as corner pieces, gilt roll to inner edges, a.e.g., shell pattern marbled endpapers. Slightly rubbed to extremities, corners gently bumped. Internally some light browning, title browned, light stain to top corner starting around signature O and running to the end, previous owners name to ffep. The twelfth edition, with an engraved portrait frontispiece of the author, engraved portraits of the Earl of Moira and the Duke of Sussex, and a double page engraving of the Freemason's Tavern, as well as a full page engraving of various masonic symbols replicated on the upper cover. With the bookseller's label of Asperne to lower pastedown. John Lovejoy (1749-1818), bookbinder and freemason, whose uncompromising approach to his workers and trade unions led him to receiving the nickname of 'the Tyrant', see Howe, 'The London Bookbinders 1780-1806'. For Lovejoy's masonic bindings, see Maggs 1075 Part II, items 260 and 261; Hobson, 'English Bindings in the Library of J.R. Abbey', page 246; and Foot, 'Henry Davis Gift, Volume II', item 207 (page 250), for a binding that exactly matches this one Size: 12mo
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The Natural History of Barbados – In Ten Books

[17], ii-vii, [2], 2-250, *251-*254, 251-314pp, [20]. Slightly later half calf and marbled paper over boards, smooth back, divided into seven panels by gilt rules, title label to second panel. Outer joints slightly split and repaired with coloured Japanese tissue, inner joints also strengthened with Japanese tissue, slightly rubbed to extremities. Internally some light browning and occasional foxing throughout, map and several plates with off-setting, couple of small nicks to page edges, small tear to map. Complete with double-page map and thirty, (actually thirty-one, with two copies of plate 23), full-page uncoloured engravings, twenty-two of which are botanical, by G. D. Ehret (For Ehret, see Alexander, page 321) and G. Bickham (for Bickham, see Alexander, pages 115-116). Alexander, in his piece on Ehret, notes that only thirteen of the plates were designed by him, and only ten were actually engraved by him, with five being engraved by James Mynde, (see Alexandere, pages 640-641), four by Bickham, and one by William Austin (see Alexander, pages 62-64). The map is by Thomas Jeffreys, (see Worms and Baynton-Williams, pages 347-351). Hunt notes that this book "is one to place beside Catesby's 'Natural History', which also gave some account of West Indian names, with similar local names. Hughes had an advantage over Catesby in that a majority of the Barbados plates were drawn by Ehret . It is the model work by the colonial parson who knows his poets and would know all he can of the flora and fauna among which he has come to dwell". Nissen BBI:950; Sitwell / Blunt, page 104 Size: Folio
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The Castle of Otranto, a Gothic Story

[Walpole, Horace]; Muralto, Onuphrio; Marshal, William (Trans.) [7], ii-xxxii, [1], 2-245pp, [1]. Full contemporary calf by Edwards of Halifax, raised double bands, spine in six panels, title label to second panel, remaining panels with central urn, with fleuron corner pieces, with gilt rule either side of bands, covers with central panel of tree calf, with greek key border, within a double frame of Etruscanesque blind tool and gilt roll, with a thick and thin double fillet border, gilt line to edges, and a rope roll border to inner edges, watered silk doublures and pastedowns, a.e.g. with a fore-edge painting of Countess Weir Bridge on the River Exe. Gilt to spine rubbed and a little indistinct, joints repaired with Japanese tissue, rubbed to extremities, corners very slightly bumped. Internally some occasional light foxing, but fairly bright and clean. Red ruled throughout, with two engraved frontispiece's (Hazen's A and B plates, with B being a new plate and not just A with added detail), bound either side of the half-title. The engraver was Barlow according to Hazen, probably John Barlow (c.1759-1817 or later), see Alexander, 'A Biographical Dictionary of British and Irish Engravers, 1714-1820', pages 76-77. The title is the usual second state cancel, dated 1791. Housed in a modern cloth drop back box with leather title label to spine. The 'author' 'Onuphrio Muralto' is a near anagram of Horatio Walpole (with an M replacing the W). First printed in 1764, this seminal work by Walpole is widely regarded as the first Gothic novel. Edwards of Halifax were amongst the most successful and innovative bookbinders, booksellers, and publishers for about seventy-five years (1749-1826) (see Bentley, 'The Edwardses of Halifax', passim), and were largely responsible for reviving the fore-edge painting in England. The firm was started by William Edwards, and continued by his sons James and Richard. James Edwards was a friend of Horace Walpole, and published this volume, printed by Giambattista Bodoni in Parma, in an edition of three hundred copies on paper and five (though actually six) on vellum (Bentley, page 57). Bentley notes that there are at least three copies of this work known to have been produced with a fore-edge painting (Ibid, page 36). The Huntington Library has a copy with Lulworth Castle as a fore-edge (see Weber, 'Annotated Dictionary of Fore-Edge Painting Artists and Binders', page 113-4), and Weber goes on to note that 'Castle of Otranto' is one of the books "frequently . specially bound and often have fore-edge paintings from Edwards" (Ibid, page 123), and a similar copy is included in Thomas Edwards' 1815 catalogue, "1351 Walpole's 'Castle of Otranto', elegant in Etruscan calf, gold borders to the plates, and an elegant drawing on the leaves" (Ibid, page 129). Hazen, pages 56-63; Summers, page 264; Rothschild 2492 (noting six copies on vellum) Size: 8vo
  • $8,570
  • $8,570
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The Seasons

Thomson, James; Murdoch, Patrick (Life of the Author) ; Corney, Bolton (Ed) [7], viii-xlviii, [5], 6-320pp. Later full morocco by Thomas or John Fazakerley of Liverpool, with their name stamped to foot of front turn in, raised bands, spine in six panels, title lettered directly to second panel, and author to third, remaining panels with double fillet border in gilt, red morocco frame, single fillet inner border, with central heart tool and four dots, upper cover with double fillet border in gilt, red morocco frame with single fillet inner border, hearts and dots surrounding another red morocco inner frame, with central oval red morocco frame encompassing the title and author, surrounded by fauna and flora in gilt, lower cover with similar frames and heart and dot border, single line to edges, inner edges again with red morocco border and watered silk doublures and endpapers, top and bottom edges gilt with gauffering, fore edge gilt and gauffered, with a triptych of small fore edge paintings (visible) of country scenes. Small repair to head of upper joint, very slightly rubbed to extremities. Internally the text is lightly browned, but clean. Illustrated throughout by several artists including John Bell, C. W. Cope, J. P. Knight, Frank Stone, C. Stonhouse and Thomas Webster. Book plate of Randall Moskovitz loosely laid in (Weber notes that Randall Moskovitz owned other Fazakerley bindings). Thomas Fazakerley and his son John, bookbinders in Liverpool were well known for their 'reliure de luxe' bindings. Weber notes that "a lot of fore-edge paintings came out of Fazakerley's bindery . Many of the Fazakerley bindings with fore-edge paintings are done on the flat or closed surface [as here], especially those bindings that feature a triptych . It might be added that the style of paintings does not clearly appear to differ. Carl J. Weber surmised there may have been several artists working for Fazakerley and this may be true, though unproven" (Weber, 'Annotated Dictionary of Fore-Edge Painting Artists and Binders', page 141) Size: 8vo
  • $9,889
  • $9,889
The Tomb of Tut-Ankh-Amen Discovered By the Late Earl of Carnarvon and Howard Carter

The Tomb of Tut-Ankh-Amen Discovered By the Late Earl of Carnarvon and Howard Carter

Carter, Howard and Mace, A.C Three volumes complete, 1923-1933 - Volume One, xxiii, [1], 231pp, [1]; Volume Two - xxxiv, 277pp, [1]; and Volume Three - xvi, 247pp, [1]. Original decorative cloth in DJ's, decorative endpapers to volumes two and three. Title, author, volume number, and publisher in gilt to spine, with title, author, and central gilt scarab to upper cover. DJ's slightly worn and very lightly soiled, minor chipping to edges with tiny amounts of loss, a few small tape repairs to reverse, but generally complete. Light stain to upper cover of volume one. Internally a previous owner's name to half-titles, some very minor browning, some light foxing and dust staining to top and fore edges, otherwise quite bright and clean. Laid in loosely are a couple of newspaper cuttings, and some handwritten notes on a lecture given by Carter at University College in 1931. Volume one with a frontispiece and seventy-nine photographic plates and one plan, volume two with a frontispiece and eighty-eight photographic plates and volume three with a frontispiece and eighty photographic plates. Now housed in a leather entry slipcase by Temple Bookbinders. An attractive set, uncommon in the dust jackets, especially so complete. Carter, Howard (1874-1939), artist and archaeologist. "In the summer of 1922 Carter persuaded Carnarvon to allow him to conduct one more campaign in the valley. Starting work earlier than usual Howard Carter opened up the stairway to the tomb of Tutankhamun on 4 November 1922. Carnarvon hurried to Luxor and the tomb was entered on 26 November. The discovery astounded the world: a royal tomb, mostly undisturbed, full of spectacular objects. Carter recruited a team of expert assistants to help him in the clearance of the tomb, and the conservation and recording of its remarkable contents. On 16 February 1923 the blocking to the burial chamber was removed, to reveal the unplundered body and funerary equipment of the dead king. Unhappily, the death of Lord Carnarvon on 5 April seriously affected the subsequent progress of Carter's work. In spite of considerable and repeated bureaucratic interference, not easily managed by the short-tempered excavator, work on the clearance of the tomb proceeded slowly, but was not completed until 1932. Carter handled the technical processes of clearance, conservation, and recording with exemplary skill and care. A popular account of the work was published in three volumes, The Tomb of Tut.ankh.Amen (1923-33), the first of which was substantially written by his principal assistant, Arthur C. Mace" (ODNB) Size: 8vo
  • $11,867
  • $11,867
Description De l'Egypt

Description De l’Egypt

Commission Des Sciences et Arts d’Egypte 21 vols bound in 20 (9 volumes quarto text, 1 volume elephant folio text [bound with Antiquities vol I], 11 elephant folio plate volumes), the complete set of 894 plates of which 40 are wholly or partly printed in colours and or hand-coloured, and 2 printed in bistre, many double-page, and or, folding, plate DD in Etat Moderne II with fore-margin sometime renewed, scattered light foxing, contemporary calf gilt with marbled paper panels to covers (moiré cloth panels to natural history vols.), text volumes rebacked to style, spine gilt lettered and ruled, 1809-1830. ANTIQUITIES - 5 vols: (I) Engraved frontispiece, map, 99 plates numbered 1-97 (plates 79 and 87 each in two states) + 1 unnumbered plate; Bound with folio text; (II). 92 plates numbered 1-92; (III). 69 plates numbered 1-69 ; (IV). 72 plates numbered 1-72 + 2 plates lettered e & f ; (V). 89 plates numbered 1-89. ETAT MODERNE - 2 vols. (I). Engraved map, 83 plates numbered 1-83; (II). 22plates numbered 84-105 + 31 plates numbered I-XXXI + 11 plates lettered A-K + 9 plates lettered AA-II + 4 plates lettered KK-NN + 9 plates lettered a-i + 1 plate lettered k (JJ and j not used). HISTOIRE NATURELLE - 2 vols bound in 3: (I). 62 plates; (II). 105 plates; (II bis). 77 plates. Amongst the artists who contributed to this section are Barraband, Bessa, Redoute, and Turpin. CARTES GEORAPHIQUE ET TOPOGRAPHIQUE - engraved title & 52 engraved plates. Provenance: Bookplate of Algernon Percy, 4th Duke of Northumberland (1792-1865). Volumes with either the Garter Crest or Ducal bookplate. Percy, the second son of Hugh, the second Duke, was a distinguished naval officer and a man of science and learning, who rose to the rank of Admiral, and was First Lord of the Admiralty in 1852. Percy became Duke of Northumberland in 1847, and a Knight of the Garter in 1852. FIRST EDITION OF ONE OF THE MOST AMBITIOUS SCIENTIFIC, HISTORICAL, ARTISTIC AND PUBLISHING PROJECTS - A COMPLETE SET WITH FINE ENGLISH PROVENANCE. THE FIRST COMPREHENSIVE DESCRIPTION OF ANCIENTAND MODERN EGYPT, THE OUTSTANDING ACHIEVEMENT OF THE SAVANTS WHO ACCOMPANIED NAPOLEON'S EXPEDITION TO EGYPT (1798-1801). THE WORK IS THE GREATEST OF A NUMBER OF OUTSTANDING SCIENTIFIC PUBLICATIONS BY THE FRENCH GOVERNMENT DETAILING THE RESULTSOF EXPLORATION, UNEQUALLEDBY ANY OTHER NATION DURING THE SAME PERIOD. The only flaw in Napoleon’s preparations for the invasion of Egypt was a miscalculation when it came to Turkey’s reaction to France’s unsolicited ‘help’ in dealing with its mostly unruly vassals, the Mamluks of Egypt. Had it not been for this, Napoleon’s plan for following up military conquest by revolutionising the economy and institutions of Egypt might well have created a modern European-style state, controlled by France, at the axis of all the trade routes between Europe, India and the East. Plans to this end involved nearly 500 civilians, the cream of whom were about 150 men drawn from the Institut de France. Once in Egypt their first task was to make a thorough survey of every aspect of the country to assist the planning of its future shape, and this was extended to include Antiquities. The work was co-ordinated by L’Institut de l’Egypte (later replaced by the Commission des Sciences et Arts d'Egypte), founded in the appropriated house of Hassan Kachef (illustrated in the plates to the Etat Moderne), with Gaspar Monge as president.As early as October 1798 Fourier was entrusted with the task of uniting the reports of the various disciplines with a view to publication. Following the capitulation of the army to Egypt under General Menou (a convert to Islam), the savants returned to France where a commission was set up for the editing and supervision of the work. The first volumes were published by Napoleon’s government, and it is a measure of how important this work was considered to be that publication continued following the Bourbon restoration. ‘. never before or since has a study of such scope and thoroughness been accomplished
  • $296,665
  • $296,665