A Chronicle of England B.C. 55 Ð A.D. 1485. The designs engraved and printed in colours by Edmund Evans.
ÒEvans colour printing at its very best is seen again in A Chronicle of England, written and illustrated by James Doyle, elder brother of Richard, and published by Longman in 1864Éthe numerous small illustrations are set in the text and printed in up to ten colours, as bright as if they had just been painted. As well as being a most gifted draughtsman, Doyle was a heraldic expert (his Official Baronage of England is still a standard work) and made full use of his knowledge. And no one throughout the nineteenth century could mix such bright and clear inks as Evans. These small illustrations rival anything that even Baxter ever didÓ (McLean, Victorian Book Design, p. 184). Quarto. viii, 462 pp. With eighty-one color-printed woodcuts by Edmund Evans after original drawings by James Doyle. PublisherÕs brown cloth elaborately decorated in gilt. Binding is bright and fresh despite some sunning to spine. All edges gilt. Red coated endpapers. Armorial bookplate of ÒA.F.F.N. and R.H.N.Ó with the motto Òspes salus decusÓ (the Neshem family?) to front flyleaf. Foxing to blan850ks and half-title. Otherwise, very clean throughout. A very good, bright, and attractive copy. First edition with the woodcuts printed by Evans. Martin Hardie states that this was the last volume printed by Evans on a handpress, and ÒMr. Evans told me that he considered this to be the most carefully executed book he had ever printedÓ (English Coloured Books, p. 270). Ray, The Illustrator and the Book in England, 241.
More from Michael R. Thompson
Two salesmanÕs sample albums with hand-colored greeting cards.
Florence V. Cannon (1883 Ð 1963) was born in Camden, New Jersey and educated at the Philadelphia School of Industrial Arts and the Pennsylvania Academy of the Fine Arts. The cards in these albums dated from the beginning of her career, when she founded the Florence V. Cannon Company, her own greeting card and printing business. An advertisement for the company in a 1916 issue of HarperÕs Bazaar offers Christmas cards, place cards, paper dolls, and tally cards for bridge featuring ÒBeautiful designs not duplicated in other shops. Hand colored.Ó The laid-in brochure advertises a line of CannonÕs ÒMotto CardsÓ Ñ proverbs or quotations with accompanying illustrations designed to be colored by the purchaser Ñ which were issued by Milton Bradley and, according to the brochure, Òare to be used in teaching color and design.Ó Two albums, 10 x 13." 20; 12 ff. Each album with hand-colored, mounted sample greeting cards, postcards, bridge tally cards, place cards, etc. by Florence V. Cannon. Sixty-two cards in album one and fifty-eight in album two, with some duplicates, for a total of about seventy-five original designs across the two albums (though many of the duplicate designs appear in different color schemes in each album, so there is some variation). Some of the cards are priced in pencil and some have limitations noted (Ò50 doz,Ó Ò100 dozÓ). Brown paper self-wrappers bound with cord. Some soiling. Empty spots throughout albums where cards were removed (or have fallen out), including some fully blank pages. The cards themselves are clean and bright. Very good. Mostly undated, though some of the cards have a copyright date of 1910. These albums may have been used in Florence V. CannonÕs print shop to display examples of her work to customers or may have been given by her to another seller, as Cannon did sell her work through other retailers, including major companies like Milton Bradley. By the 1920s, CannonÕs business pivoted to toy manufacturing, and by the 1930s she refocused on her fine art career. In 1939, she became a founding member of the American Color Print Society and served as its first president. She was also a member of the Philadelphia Art Alliance and, in the 1930s, returned to the Pennsylvania Academy of the Fine Arts as a teacher. The Story of the Wreck of the ‘Maria’ Mail Boat: with a Memoir of Mrs. Hincksman, the Only Survivor.
In 1826, the Maria shipwrecked off the coast of Antigua. Aboard the Maria were Òfive Missionaries, two of their wives, four children, and two servants, besides the boatÕs crew and another passenger,Ó but only Dorothy Jones Hincksman (1802 Ð 1859), one of the missionary wives, survived the ordeal. Though many of the passengers survived the wreck itself, all but Hincksman drowned over the course of the two days it took to conduct a rescue. The tragedy received quite a bit of press at the time: reports of the wreck appeared in The Missionary Register, The Wesleyan-Methodist Magazine, and other Christian publications, and the event had somewhat of an afterlife in publications like Stories, Sketches, Facts and Incidents: Illustrative of the Providence of God in Connexion with the Missionary Enterprise (1868), which cited HincksmanÕs miraculous survival as an act of God. Twelvemo. 96 pp. With a frontisportrait of Hincksman and three full-page illustrations of scenes from the shipwreck PublisherÕs brick red cloth. Binding is remarkably clean and bright. Some toning to first and last few leaves. Ink ownership inscription dated 1879. Blind embossed gift stamp of the Wesleyan Methodist Home and Foreign Missionary Committee to corner of title-page. A near-fine copy. First edition? Undated, but the text refers to the 1826 wreck occurring Òabout fifty yearsÓ previous. OCLC records four copies of this edition, only one in the US (University of Miami), and two copies of another undated London (Charles Kelly) edition, neither in the US. The first half of the book gives a history of HincksmanÕs life and her career as a Methodist missionary. In 1825, she and her husband sailed to Antigua, where they established a school. Hincksman taught the young Antiguan women how to read and led religious instruction classes. On the night of February 28, 1826, Hincksman, her husband, and the other missionaries were returning from a meeting in St. Kitts when their mail boat was caught in a storm and shipwrecked. The second half of the book describes the wreck and the aftermath in detail, ending with HincksmanÕs eventual rescue. After returning to England and remarrying in 1832, Hincksman remained in poor health, and seemingly did not return to missionary work, though she and her second husband were Methodist leaders. The couple organized Sunday school meetings for local boys and were described in a contemporary source as the Òlife and soulÓ of their Methodist community in the town of Preston (Kirkman, Memorials of Mr. Thomas Crouch Hincksman, 1885, p. 43). Avon cosmetics catalogue.
The ink annotations and stickers in the present item suggest that an Avon saleswoman kept this catalogue updated with changing prices and product offerings over time. The stickers issued by the California Perfume Company allow representatives to amend certain catalogue pages (e.g., for Avon hair tonic, pore cream, etc.) with a ÒGood Housekeeping Magazine Bureau of Foods, Sanitation and HealthÓ seal of approval. A few seals have already been applied to pages of the catalogue. 10 x 7." [134] pp. With full-color illustrations of Avon products on nearly every page. Original stiff blue binder with ÒAvonÓ in silver on front cover. Some cracking and a spot of staining. Toning to first and last page. A few ink notations and a few small stickers pasted down throughout (to correct/add prices). Laid in is a sheet of twelve stickers issued by the California Perfume Company for amending the catalogue. A very good copy of a rare, early Avon catalogue. Date inferred from the Avon company timeline. The California Perfume Company changed its name to Avon in 1939. The present binder is titled ÒAvon,Ó but some of the internal material still refers to the California Perfume Company or and ÒCPC-Avon.Ó The introduction mentions the companyÕs forty-five-year history (1892-1937). These catalogues, which were issued under varying titles more or less annually to Avon representatives, are all scarce, especially those from the 1930s and earlier. OCLC records just one copy of a similar Avon catalogue from 1938 (Hagley Museum) and a few copies of catalogues from 1935-1937 (UC Irvine, Hagley Museum, the Strong). In 1886, David H. McConnell (1858 Ð 1937) founded the company that would become Avon Products Inc. when he decided to sell perfumes door-to-door rather than books. The company has used the Òdirect salesÓ model (in which customers, mostly women, purchase products to resell to other customers) since its inception and counted around 25,000 resellers among its ranks by the 1920s. In the post-World War II economic boom, companies like Avon, Amway, and Tupperware rushed to harness the marketing potential of middle-class women who had both the disposable income to invest in home and beauty products and the social connections to market them. Those saleswomen were able to use their role to build social capital and, in some cases, make money in an era when womenÕs employment opportunities were restricted. These midcentury companies laid the groundwork for todayÕs multilevel marketing industry and codified a type of word-of-mouth marketing style that mobilizes consumers as advertisers and underlies many modern online advertising strategies. SalesmanÕs sample album with hand-colored greeting cards illustrated by Cannon.
Florence V. Cannon (1883 Ð 1963) was born in Camden, New Jersey and educated at the Philadelphia School of Industrial Arts and the Pennsylvania Academy of the Fine Arts. The cards in these albums dated from the beginning of her career, when she founded the Florence V. Cannon Company, her own greeting card and printing business. An advertisement for the company in a 1916 issue of HarperÕs Bazaar offers Christmas cards, place cards, paper dolls, and tally cards for bridge featuring ÒBeautiful designs not duplicated in other shops. Hand colored.Ó The laid-in brochure advertises a line of CannonÕs ÒMotto CardsÓ Ñ proverbs or quotations with accompanying illustrations designed to be colored by the purchaser Ñ which were issued by Milton Bradley and, according to the brochure, Òare to be used in teaching color and design.Ó 10 x 13." 14 ff. With eighty-two hand-colored, mounted sample greeting cards, postcards, bridge tally cards, place cards, etc. by Florence V. Cannon. Many of the cards are priced in pencil and some have limitations noted (Ò25 doz,Ó Ò100 dozÓ). Includes a set of Christmas cards designed by Cannon for the Boy Scouts. Brown paper self-wrappers bound with cord. Some soiling. Some empty spots where cards were removed (or have fallen out), including two fully blank pages. The cards themselves are clean and bright. With two items laid in: a four-page brochure from the Milton Bradley Co. offering twelve ÒMotto Cards for Illumination Designed and Published by Florence V. Cannon,Ó all of which are compiled in is album, and CannonÕs business card. Very good. Mostly undated, though some of the cards have a copyright date of 1910. The present album may have been used in Florence V. CannonÕs print shop to display examples of her work to customers or may have been given by her to another seller, as Cannon did sell her work through other retailers, including major companies like Milton Bradley. By the 1920s, CannonÕs business pivoted to toy manufacturing, and by the 1930s she refocused on her fine art career. In 1939, she became a founding member of the American Color Print Society and served as its first president. She was also a member of the Philadelphia Art Alliance and, in the 1930s, returned to the Pennsylvania Academy of the Fine Arts as a teacher. A New System of Practical Domestic Economy; Founded on Modern Discoveries, and the Private Communications of Persons of Experience.
A household management manual that gives advice on the inner workings of the English middle- and upper middle-class homeÑeverything from preparing tea to preventing mold growth. The manual is organized in chapters according to parts of the household: Residences, Principal Apartments, Auxiliary Apartments, Domestic Offices, External Conveniences (i.e., gardens), and ServantsÕ Hall, plus chapters of general advice and the lengthy section on budgeting in annual income brackets from £55 to £5,000. The budgeting section lists full estimates of expenses for each of these income brackets: the lower income brackets list just simple purchases like food, clothing, and candles, while the highest includes the salaries of twenty-two servants. Twelvemo. xii, 402, 76 [addenda], [22, index] pp. Contemporary marbled boards rebacked in modern calf with red spine label. Some rubbing to boards. Very fresh throughout. A very good, unusually clean copy. Third edition, Òrevised and greatly enlarged. To which are now first added, estimates of household expenses, founded on economical principles, and adapted to families of every description.Ó OCLC records no copies of any earlier editions and only eight copies of this edition in North America. Jisc (COPAC) also does not record copies of any earlier editions. The introduction indicates a patriotic motive to the maintenance of the English household. The author implies that members of the British middle class were moving to France for cheaper housing and education, but cautions against this decision, arguing that French values would corrupt the minds of the English youth and erode their patriotism. The morals of young Englishwomen, in particular, needed to be protected: the author writes, ÒIt is chiefly for them that we have undertaken our task, to unite elegance with economy, not only in the highest, but in the middle walks of life; and to shew that good old English housewifery is still a good old English virtueÓ (p. vii). We could not locate any information on the author of the present work. The Health and Happiness Club. [Cover title.] [A Service for the Mother-to-be and the Baby-to-come.]
Dr. Josephine Hemenway Kenyon, M.D. (1880 Ð 1965) received her undergraduate degree from Pritchett College in Missouri in 1898 and graduated from the Johns Hopkins University School of Medicine in 1904, one of only three women in her class. Kenyon trained at the Johns Hopkins Hospital for a year and the BabiesÕ Hospital in New York City for six years before opening her private practice, which she maintained until 1950. She also taught courses on childcare and social hygiene at the Columbia University Teachers College, helped organize the first International Conference of Women Doctors in 1919, and wrote the extremely popular manual Healthy Babies are Happy Babies (1934). Kenyon was a contributor of articles on childcare and womenÕs health to Good Housekeeping for thirty years. 9 x 6 Ó [36] pp. The full set of eight ÒLetters,Ó each [4] pp., written for Good Housekeeping by Dr. Josephine Hemenway Kenyon with information for mothers on pregnancy and preparing for childbirth. Brown printed paper folder enclosing the eight ÒLetters.Ó Disbound, as issued, with punched holes in each leaf for compilation in a binder. Three items laid in: instructional sheet on sewing baby clothes (laid in to third ÒLetter,Ó as issued), order postcard for the second series of The Health and Happiness Club (left blank), and Good Housekeeping-issued card for recording a babyÕs health information (also left blank). Some toning to a few leaves and creasing to the postcard. Enclosed in an envelope addressed from Good Housekeeping at the Hearst Magazine Building to Mrs. Lloyd S. Williams in Waite, Maine (postmarked April 1937). A very good set of rare ephemera. Third printing? Date from publisherÕs mark on verso of first ÒLetterÓ (12-35). All printings are rare: OCLC records only two copies of a 1920 printing (Harvard, the Strong) and two copies of a 1932 printing (Harvard, the Center for Research Library in Illinois). These eight ÒLettersÓ comprise the first series; a second series, The BabyÕs First Year, was also issued. ÒJosephine Hemenway Kenyon CollectionÓ (webpage). Johns Hopkins Chesney Archives. How Women Can Make Money.
The introduction to the present work explains that Mae Belle Savell Croy (1883Ð1981) was born in a small town near Pensacola, Florida and, at the age of seventeen, moved away from home alone to seek employment. She eventually moved to New York City to start her own advertising business, which marketed labor-saving appliances for the home. She was the author of manuals like PutnamÕs Household Handbook (1916) and 1000 Things a Mother Should Know (1917), along with several handbooks on gardening including 1000 Hints on Vegetable Gardening (1917). Octavo. .xvi, 290 pp. PublisherÕs blue cloth titled in yellow. Some toning to edges. A bright, near fine copy in the original color-printed dust jacket (with some chipping and creasing). First edition. The chapters in How Women Can Make Money are organized around the lifestyles of the women to whom their advice would be useful. The chapter titles include ÒIf a Woman Suddenly Has to Support Herself,Ó ÒFor the Elderly Woman Who Wants to Earn Money,Ó and ÒFor the Woman Who is Physically Vigorous.Ó A more targeted chapter, ÒOpportunities in Radio,Ó explains how women could find employment at radio stations as musicians, on-air personalities, radio play writers and researchers, and voice actors for audio advertisements. Croy also describes how the professional environment of radio was shifting to welcome more women (pp. 84-85) and offers practical advice to disabled women who might not be able to visit a station for an in-person interview (p. 86). Croy was married to the author Homer Croy (1883 Ð 1965), whose most popular novel, They Had to See ParisÊ(1926), was adapted to the screen in 1929 and was the first sound film to feature the actor Will Rogers. Collotype: Being a History-Practicum-Bibliography.
Steven and Meryl Chayt were a couple from Pasadena (who were quite young when this book was produced) that were devoted to every aspect of the printing arts. They published modern poetry under the imprint Anachronic Editions, but spent most of their time and energy writing works like Collotype and A Ludlow Anthology (1986), which they printed in very small editions. They subsequently gave up printing and work in public education in Florida Small folio. [12], [106] pp. Text illustrations, plates (nyloprint engravings made at Anachronic Editions). Printed on dampened Penshurst & Langley handmade paper on a Washington handpress and a Vandercook proof press. Green cloth boards with natural linen spine. In the glassine dust jacket. Slight wear to glassine. A fine copy. One of eighty-five copies. Signed in pencil on the colophon by the Chayts. This is the only work, that we know of, devoted completely and exclusively to this very important photographic and printing process, invented in 1856 by the French photographer, chemist, and engineer Alphonse Poitevin, and appreciated for its very rich results. OCLC records fifty-five copies of this book in libraries. Considering that the edition is only eighty-five copies, there are not many chances to purchase a copy of this book, and it is indeed very scarce in commerce. Land of Fact. A Companion to Land of Fiction. Thirty-six nonfiction books about Southern California selected and annotated by Lawrence Clark Powell.
Powell compiled this bibliography as the companion to Land of Fiction (1991), a list of works of fiction featuring Southern California. Land of Fact is the nonfiction counterpart. Octavo. [100] pp. Dedicated to Glen Dawson on his eightieth birthday. Designed by Ritchie. Off-white cloth with gilt design of hills. Some foxing to cloth. Gray endpapers. Near fine. One of 150 copies in a special binding signed on the colophon by Ward Ritchie and Laurence Clark Powell. 350 regular copies were also produced. The Alice and George Millard Collection Illustrating the Evolution of the Book. Acquired for the Huntington Library by a group of their friends.
[ Ritchie, Ward, printer ] Alice Millard (1873 Ð 1938) was a Chicago-born rare book dealer and promoter of culture in the Arroyo Seco region of Los Angeles. While in Chicago, she visited A.C. McClurgÕs bookstore, looking for a book on William Morris. While there she met George Millard, her future husband, who worked in the Rare Book Department. In 1906, the Millards commissioned Frank Lloyd Wright to design a house in Chicago for them, now called the George Madison Millard House. The Millards moved to Pasadena, California after GeorgeÕs retirement and converted a bungalow on Huntington Drive into a book salon. After GeorgeÕs death, Alice again commissioned Wright to design another home, which was called ÒLa MiniaturaÓ (The Little Museum). It contained fine pictures, china, silver, sculpture, and many other items, including her husbandÕs printed books and manuscripts. She left the collection to the Huntington Library. Millard influenced a later generation of booksellers and collectors including Estelle Doheny, William Andrews Clark, Jake Zeitlin, and Ward Ritchie. Octavo. [2], 15, [1, blank], [1, colophon] pp. Printed blue wrappers. Some dampstaining to wrappers. Very good. One of seventy-five copies designed and printed by the Ward Ritchie press for presentation to donors. ÒThe [Millard] Collection.has found a safe and permanent home in the Huntington Library.it is distinguished because of the high quality of its items. At least ten are of outstanding importance, and numerous rare and unique pieces are only less impressive individuallyÓ (p. 7). Some of the items in the collection include a group of Babylonian and Egyptian records consisting of two papyri, a fifteenth century manuscript calendar, and the Bodoni Horace of 1873. Also included are two lists: the first consisting of contributors and the second consisting of the group of members of Pasadena Junior League, acting as Volunteer Guides to the Huntington Library exhibitions. The Ward Ritchie Press and Anderson, Ritchie & Simon, p. 81. G to W/W to G. These two poems were written for Ward Ritchie. Christmas and New YearÕs 1995.
Stuart, Gloria. Gloria Stuart (1910 - 2010) was an actress, visual artist, letterpress printer, and a co-founder of the Screen Actors Guild. She starred in numerous films across the horror, musical, and comedy genres between 1932 and 1940, at which point she shifted the focus of her career toward art and experimented with decoupage, painting, silk screening, and bonsai growing for the next thirty years. Stuart met Ward Ritchie in 1983 and was inspired to pursue fine printing and bookmaking, eventually printing her own books on a Vandercook S15 and releasing them under the imprint Imprenta Glorias. Along with earning widespread acclaim for her artistÕs books, Stuart won a Screen Actors Guild Award for her role in James CameronÕs Titanic (1997). She was also nominated for a Golden Globe Award and an Academy Award for the same role. 4 1Ú2 x 7 1Ú2," [4] pp. Letterpress printed on handmade paper. Blue and beige Cockerell paper wrappers. Fine. One of a small edition size, probably around a hundred copies. The two poems included in this item were written by Gloria Stuart, Ward RitchieÕs longtime partner, during the last winter of his life and printed soon after his death in January of 1996. Adventures with Authors.
Ritchie, Ward. Òthis short accountÉis here printed as a vehicle to show some initial letters designed for me by the late Polish sculptor and painter, Stanislaw Szukalski. They were cut in wood by a young employee named Digges Graves and for more than forty years have been buried to be exhumed and printed here for the first time.Ó Octavo. . [32] pp. Decorative title-page in yellow, red, green and black. Decorative initials in red, printerÕs device in green on colophon. Red, black and cream marbled wrappers with decorative labels on front and back covers. A fine copy. One of about fifty copies printed on an1865 Albion hand press by Ward Ritchie. The text is based on a talk given to members of the Zamorano Club. Ritchie discusses his experiences with Robinson Jeffers, Gertrude Stein, Robert Graves, Laura Riding, Somerset Maugham, and others. Laguna Verde Imprenta Bibliography, 11. Center Sill.
[ Archetype Press ]. Albon, George. This collection comprises three of AlbonÕs poems: ÒUnlike,Ó ÒAlso,Ó and ÒBeside.Ó Each poem spans multiple pages, with the illustrations for ÒUnlikeÓ appearing in yellow, ÒAlsoÓ in blue, and ÒBesideÓ in red, plus the two fold-out leaves in ÒAlsoÓ that reveal a beautiful geometric illustration in all three colors. 6 x 9 in. [26] ff., including wrappers. With two fold-out leaves. Vibrantly illustrated in color with large geometric designs throughout (using woodcuts and photopolymer plates). Hand-set and printed in Stempel Palatino, ATF Spartan, and ATF Stymie foundry type on Vandercook proof presses. Text paper is Mohawk Superfine. Hand-bound by Alex Ascencio in gray Rives BFK paper wrappers with blindstamped geometric shapes. Fine. No limitation given, but probably one of about fifty copies (based on other Archetype Press editions). Signed on the colophon by George Albon. Designed and printed by Art Center College of Design students Keith Oshiro, Kristine Lim, Landi Gonzalez, Lulubi Garcia, and Victor Artiga Rodriguez. The group of students worked closely with Albon and under the guidance of professors Gloria Kondrup, Dennis Phillips, and Steve Turk. George Albon (b. 1954) is the author of numerous poetry collections including Fire Break (2013), which won the Northern California Independent Booksellers Association Award for Poetry;Momentary Songs (2008); and Brief Capital of Disturbances (2003), which won a Book of the Year award from the Small Press Traffic literary foundation. AlbonÕs prose works include the collection Lyric Multiples (2018) and the essay ÒParadise of Meaning,Ó which was the 2002 George Oppen Memorial Lecture. His work has appeared inÊHambone,ÊNew American Writing, and the anthologiesÊBay Poetics (2006), The Gertrude Stein Awards in Innovative American Poetry (2005), andÊBlood and Tears: Poems for Matthew Shepard (1999). Prometheus Typographica. Impressions from Mary ShelleyÕs Frankenstein.
[ Archetype Press ] Shelley, Mary. The twenty-two students in the class were each tasked with designing and printing one of the two-page spreads. Each bears a quote from ShelleyÕs Frankenstein with creative typography and illustrations that reflect the content of the quote. The illustrations are each labeled with a thematically relevant word or phrase: Twin, Hybrid, Viewpoint, Human, Nostalgia, Romanticism, Reversal, Revenge, Revelation, Path, Goodness, Corrupt, Desire, Creation, Responsibility, Alienation, Fervor, Madness Ends, Creator, Evil Kind, Judgement, and Wanted. 6 x 9." Unpaginated. With twenty-two two-page illustrations comprised of creative typography and a variety of image-making techniques (woodcuts, blindstamping, photopolymer plate prints, etc.) in color. One page with a printed reproduction of a letter from Mary Shelley to Percy Shelley, decorated with a red wax seal. Printed on Vandercook presses using hand-set foundry metal and wood type. Bound by Alex Ascensio in black paper wrappers titled in silver. Fine. One of fifty copies produced by a printing and typography class at the Art Center College of Design in Pasadena. The class was taught by Christina Aumann and Seth Drenner with assistance by Joshue Molina and Jorge Ruano. Report from Zuni: 1986.
[ Ninja Press ]. Campbell, Carolee. From the colophon: ÒReport from Zuni: 1986 came about after a trip to observe the culmination of the Shalako, an ancient tribal ceremony taking place near the Winter Solstice and marking the end of the Zuni ceremonial year. With the exception of invited guests, the Shalako is closed to outsiders.Ó 7 x 11 in. [8] ff. Type is hand set Meridien and Neuland printed letterpress by Carolee Campbell on dampened Charter Oak handmade at the now-closed Barcham Green Hayle Mill in Kent, England (1808 Ð 1987). The Charter Oak used here was made in 1986. Bound by Carolee Campbell in Indiana Corn paper, which was made by Andrea Peterson at Hook Pottery Paper in La Porte, Indiana from local cornstalks and leaves. The endpapers are maps of the Zuni Indian Reservation (Pueblo of Zuni) in western New Mexico, with the lower endpaper folding out to a width of 12 in. A fine copy. One of seventy numbered copies signed by Carolee Campbell. Five lettered artistÕs proofs were also produced. ÒVotes for Women! The WomanÕs Reason BecauseÉÓ [Pro-suffrage broadside.]
[ Woman's Suffrage ]. Nation Woman's Suffrage Association (NAWSA). The broadside presents ten arguments for why women should have the right to vote, including Òbecause women must obey the laws just as men do, they should vote equally with menÓ and Òbecause women pay taxes just as men do, thus supporting the government, they should vote equally with men.Ó Other arguments include the fact that millions of women worked industrial jobs at the time, so they deserved a voice in improving workplace legislation; and that Òmothers want to make their childrenÕs surroundings better.Ó The final reason reads, ÒBecause women are citizens of a government of the people, by the people, and for the people, and women are people, they should vote equally with men.Ó Broadside (7 x 10 Ó). Orange paper sheet printed in black. A couple small nicks to edges of paper. A very good copy of a fragile, scarce item. Probably printed ca. 1917. An earlier printing by the Libbie Printing Co. (Boston), which was printed with the name of the Boston Equal Suffrage Association rather than the NAWSA, states ÒBecause 5,000,000 women in the United States are wage workersÉÓ This flier states the number as Ò8,000,000,Ó which conforms with a holding at the University of Houston dated 1917. The National American Woman Suffrage Association was formed in 1890 when the National Woman Suffrage Association (NWSA), led by Elizabeth Cady Stanton and Susan B. Anthony, merged with Lucy Stone and Julia Ward HoweÕs American Woman Suffrage Association (AWSA). The two organizations had previously taken different approaches to securing the vote for women, with the NWSA pursuing a constitutional womenÕs suffrage amendment and the AWSA arguing for a state-by-state approach. The winning tactic eventually proved to be a combination of both, with the NAWSA, under Carrie Chapman CattÕs leadership, proving essential to the passage of the Nineteenth Amendment in 1920. After the passage of the Nineteenth Amendment, the NAWSA became the League of Women Voters. See ÒVotes for Women! The WomanÕs Reason BecauseÉÓ 100 Years of Progress exhibit (item 20156). University of Houston Libraries. An Easy Wheel and other Stories. Stories of Real Life.
Hunt, Gertrude Breslau. Gertrude Breslau Hunt (1869 Ð 1952) was a suffragist, socialist organizer, and one of the leading writers for the Socialist Party of America. She was writing for socialist publications by 1902 and rose to prominence as a national leader in the Socialist Party by 1907, even serving as a delegate from Pennsylvania at the 1912 Convention of the Socialist Party of America. Hunt was also instrumental in freeing Fred Merrick, editor of the leftist magazine Justice, after he was jailed for libel in the Western Penitentiary in Pennsylvania. Hunt was able to document and reveal the brutal treatment of prisoners in the penitentiary, which resulted in MerrickÕs release. In the last two decades of her life, Hunt joined the Democratic party and became the state Democratic vice-chairman for Pennsylvania. She continued to participate in political organizing into her seventies and gave a speech alongside Senator Joseph F. Guffey at a Pennsylvania Democratic rally in 1940. 5 x 8 in. 48 pp. PublisherÕs brown paper wrappers with portrait of the author. Some creasing and dustsoiling to wrappers. Two faint contemporary pencil ownership signatures (Bessie Dashnia?) to back cover. Clean throughout. A very good copy of a scarce work. First edition of this collection of five stories depicting working class and rural life (ÒAn Easy Wheel,Ó ÒThe JuggernautÕs Prey,Ó ÒBlind TeklaÕs Story,Ó ÒNero, a Tale of a Dog,Ó and ÒAn EvictionÓ). The story ÒAn Easy WheelÓ was first published in WaylandÕs Monthly in 1900. OCLC records only three copies (Northern Illinois University, Duke, Ohio State).
Lets Play Circus! Another Peek-a-Boo Book.
Dudley, Carrie. Carrie Douglas Dudley Ewen (1894 Ð 1982) was a Kentucky-born illustrator educated at the Art Institute of Chicago. She was a prolific artist whose work appeared in childrenÕs books, cookbooks, in advertisements and magazines, and on holiday cards. Her most popular books were these peek-a-boo books, though her work also appeared in Betty BaxterÕs SupposinÕ (1931), May JustusÕ At Foot of Windy Low (1930), and others. 12 x 9 in. [15] ff. With eight heavy card leaves, printed in color with circus scenes, each with die-cut windows that give a view of the underlying leaves. The remaining seven leaves are a thinner paper stock, also color-printed, offering backgrounds that can be viewed through the die-cut windows. The thick leaves are hinged at the left and the thin leaves at the right (similar to a dos-a-dos format), so they can be interleaved to create circus scenes. Playful verse printed in red. PublisherÕs die-cut pictorial boards printed in color. The cut-away parts of the boards reveal a Òwild manÓ circus attraction in a wooden cage (the Òwild manÓ appears to be a white child in blackface with the caption Òwild kanibull from feegee ilezÓ). The circus attractions include ÒAnimulez Freeks & EverythingÓ: a ÒmermadeÓ and Òbeerded lady,Ó a fierce ensemble of animals (goat, horse, parrot, and friendly dog), and the Òwild kanibull from feegee ilez.Ó The children playing circus appear in all the roles, including as at the ringmaster, the snake charmer, the wild man, the mermaid, and the clowns. Some wear to corners. Blue cloth spine. One leaf with minor old tape repair. Still a bright, near fine copy of an uncommon book. First edition of this movable toy book. This is a follow-up to an earlier movable toy book illustrated by Dudley, My Peek-a-Boo Show Book, which was very popular. Both feature the vivid color printing of Gordon Volland, son of the publisher Paul Frederick Volland (1875 Ð 1919). OCLC records seven copies: NYPL, UCLA, Chicago PL, Princeton, University of Michigan, University of Southern Mississippi, and the Filson Historical Society (Kentucky). ÒCarrie Douglas Dudley Ewen: Ohio Valley ArtistÓ and ÒCarrie Douglas Dudley Ewen Paper Doll CollectionÓ (webpages). Filson Historical Society website.![Sample catalogue of Japanese kimono and obi silks. [Japanese title:] Ran Omoteji yoseatsume-cho.](https://rarebookinsider.com/wp-content/uploads/2024/04/31789702640.jpg)
Sample catalogue of Japanese kimono and obi silks. [Japanese title:] Ran Omoteji yoseatsume-cho.
[Textiles ]. [ Japan]. The Meiji period brought rapid globalization and economic expansion to Japan. Feudalism was abolished and, within a generation, governmental reforms resulted in the establishment of an elected parliament, a surge in educational access, and the rapid growth of the industrial sector. In addition, the Japanese economy "opened" to the West again after having been closed to trade for over 250 years. One result of the government's investment in industry and the reopening of the economy was a boom in textile manufacturing and exporting. Textile manufacturers also began displaying their work at World Expositions in the late nineteenth century, which, essentially, reintroduced the West to the art of fine Japanese textiles. 9 x 6 in. [12] ff., including wrappers. With seventy-three mounted silk swatches, including richly embroidered and woven designs (pictorial, geometric, and patterned) in a variety of colors (red, green, blue, silver, and gold). Some of the swatches were dyed using the nagaita ch gata (rice paste resist dyeing) technique. Swatches vary in shape and size from 2 x 1 in. to 9 x 6 in. Heavy paper stock album with woven silk overlay to covers. Silk patterned with Noh mask motif in red, black, brown, and gold. Chipped gilt label with manuscript title in black. Some rubbing and wear to covers and slight foxing to a couple leaves. The swatches themselves are clean and bright. Very good. This unique draperÕs showroom catalogue was compiled during the Meiji period (1868 - 1912) to display kimono and obi fabrics. These silks are beautifully decorated in classic Japanese patterns including florals and leaves, geometric designs, and images of birds, dragons, and clouds. Japanese art and design fascinated buyers and artists alike, leading to the "japonisme" craze in the West. The Tate Britain website explains that "The rediscovery of Japanese art and design had an almost incalculable effect on Western art. The development of modern painting from impressionism on was profoundly affected by the flatness, brilliant colour, and high degree of stylisation, combined with realist subject matter, of Japanese woodcut prints. Design was similarly affected in as seen in the aesthetic movement and art nouveau." James Whistler, Christopher Dresser, and William Godwin were all heavily influenced by Japanese aesthetics. Meiji Restoration and Modernization. Asia for Educators, Columbia University (webpage)."Art Term: Japonisme." Tate Britain (webpage).
A Chronicle of England B.C. 55 Ð A.D. 1485. The designs engraved and printed in colours by Edmund Evans.: https://rarebookinsider.com/rare-books/a-chronicle-of-england-b-c-55-d-a-d-1485-the-designs-engraved-and-printed-in-colours-by-edmund-evans/