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  ELIOT, George | Scenes of Clerical Life
George Eliotís First Works of Fiction ELIOT, George. Scenes of Clerical Life. In Two Volumes. Edinburgh: William Blackwood and Sons, 1858. First edition in book form of George Eliotís first works of fiction. Two octavo volumes (7 3/8 x 4 5/8 inches; 187 x 117 mm.). [4], 366; [2], 381, [1, blank] pp. Bound without the half-title in Volume I and without the half-title and fly-title in Volume II. Nineteenth-century half dark green hard-grain morocco, ruled in blind, over marbled boards. Spines ruled and lettered in gilt in compartments. Marbled edges and endpapers. Boards lightly rubbed. Closely trimmed, just affecting last line (ìThe Right of Translation is reserved.î) on title-page of Volume I. Scattered light foxing and soiling. Volume I with leaf H6 (pp. 123/124) poorly opened, not affecting text, a few tiny ink splatters in the inner margin of pp. 198 and 199, and pp. 326/327 slightly browned from an insertion (no longer present). A very good copy. A series of three tales, ìThe Sad Fortunes of the Reverend Amos Barton,î ìMr Gilfilís Love-Story,î and ìJanetís Repentance,î which first appeared in Blackwoodís Magazine in 1857. ìThese at once attracted praise for their domestic realism, pathos, and humour, and speculation about the identity of ëGeorge Eliotí, who was widely supposed to be a clergyman or possibly a clergymanís wifeî (The Oxford Companion to English Literature). Baker & Ross A3.2. Parrish, p. 7. Sadleir 818. Wolff 2062. 1858 first edition
Price: USD 2,750.00 other currencies   order no. 00003   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  CRUIKSHANK, George | Dickens, Charles | Original drawings in watercolor over pencil of two characters, Bill Sikes and Fagin, from Charles Dickensís Oliver Twist
Two Original Watercolor Drawings by George Cruikshank CRUIKSHANK, George. Original drawings in watercolor over pencil of two characters, Bill Sikes and Fagin, from Charles Dickensís Oliver Twist. [N.p.: n.d., ca. 1860]. The first drawing is captioned ìB[I]LL SIKESî at bottom and signed at lower right: ìGeorge Cruikshank [flourish].î Image size: 8 1/4 x 6 1/8 inches; 209 x 156 mm. A fine drawing of the bust of Bill Sikes in his top hat, with a scarf around his neck, his pipe in his right hand, and his cane tucked under his right arm. The second drawing is captioned ìFAGINî at bottom and signed at lower right: ìGeorge Cruikshank [flourish].î Image size: 8 3/16 x 6 inches; 208 x 152 mm. A fine drawing of the bust of Fagin in a top hat, stroking his beard with his left hand. Each drawing is matted, framed, and glazed. 1860
Price: USD 9,500.00 other currencies   order no. 00010   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  WELLS, H.G. | Bayntun | Works of H.G. Wells, The
A Finely Bound Set of the Best Edition of the Works of H.G. Wells WELLS, H.G. The Works of H.G. Wells. London: T. Fisher Unwin, 1924-1927. Atlantic Edition. One of 620 numbered sets for Great Britain and Ireland (this set being No. 73), out of a total edition of 1,670 sets. Signed by H.G. Wells. Twenty-eight octavo volumes (8 11/16 x 6 inches; 221 x 153 mm.). Photogravure frontispieces. Bound ca. 1960 by Bayntun of Bath (stamp-signed on the verso of the front free endpaper) in three-quarter dark red crushed levant morocco, ruled in gilt, over red cloth boards. Spines paneled and lettered in gilt in compartments with five raised bands, top edge gilt, ìCockerellî marbled endpapers. Spines very slightly faded. A fine set of the best edition of Wellsís works. English novelist and journalist H.G. Wells (1866-1946), ìis known for his science fiction, his satirical novels, and his popular accounts of history and science. He was a vigorous advocate of socialism, feminism, evolutionism, nationalism, and the advancement of science. The first great writer of science fiction, Wells produced The Time Machine [1895], The Island of Dr. Moreau (1896), The Invisible Man (1897), The War of the Worlds [1898], and The First Man in the Moon (1901), among many others. Coming down to earth in his next period, he wrote such realistic novels as Kipps (1905), Tono-Bungay [1909], The History of Mr. Polly (1910), and The New Machiavelli (1911)ÖAmong Wellsís later works were such popular nonfiction as the Outline of History (1920) and its compressed version, A Short History of the World (1922). Throughout Wellsís enormously productive life, he was deeply concerned with the survival of society. From Mankind in the Making (1903) and A Modern Utopia (1905) to Men Like Gods (1923), he tried to depict an ideal worldî (Benétís Readerís Encyclopedia). Hammond, pp. 153-157. 1924 signed
Price: USD 13,500.00 other currencies   order no. 00024   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  RACKHAM, Arthur | ìJust as the swineherd was taking the eighty-sixth kissî
A Superb Original Arthur Rackham Watercolor Drawing for Hans Andersenís ìFairy Talesî RACKHAM, Arthur. ìJust as the swineherd was taking the eighty-sixth kiss.î [N.p.: n.d., ca. 1932]. Original pen-and-ink and watercolor drawing for the color plate facing p. 84, illustrating the fairy tale ìThe Swineherdî in Arthur Rackhamís Fairy Tales by Hans Andersen (London: [1932]). Signed at lower left. Image size: 11 13/16 x 9 1/16 inches; 300 x 231 mm. Matted, framed, and glazed. This highly detailed pen-and-ink and watercolor drawing depicts the swineherd, ìthat is to say, the Prince (but, of course, they did not know that he was not a real swineherd),î and the Princess sitting just outside the pigsty, kissing, with three pigs in the pigsty at lower left, five maids of honor standing around them at right counting the kisses, and the Emperor watching them from behind a brick fence. 1932
Price: USD 45,000.00 other currencies   order no. 00026   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  BELLIARD, Zépherin | Belliard, Jean Felix Marius Zephirin... Dames de la Cour des 12e. 13e. 14e. 15e. 16e. et 17e. Siècles [And:] Seigneurs de la Cour des XIVe. XVe. et XVIe. Siècles
An Extremely Scarce Series of Thirty-Six Exquisitely Hand-Colored Lithographed Plates Depicting Ladies and Lords of the French Court BELLIARD, [Zépherin], [Jean Pierre] Sudré, and [Charles] Bazin. Dames de la Cour des 12e. 13e. 14e. 15e. 16e. et 17e. Siècles. Lithographiées par Mrs. Belliard, Sudre et Bazin. Paris: Delpech Editeur, [n.d., ca. 1840]. [Bound together with (as the second work):] BELLIARD, [Zépherin]. Seigneurs de la Cour des XIVe. XVe. et XVIe. Siècles. Lithographiés par Mr. Belliard. Paris: Delpech Editeur, [n.d., ca. 1840]. Two works in one large folio (17 1/4 x 11 3/8 inches; 438 x 290 mm.). Each work with lithographed title. Together thirty-six exquisitely hand-colored lithographed plates (thirty-one in Dames de la Cour and five in Seigneurs de la Cour), heightened with gum arabic. All plates mounted on heavy stock, the mounts ruled in ink and captioned in pencil. The plates in Dames de la Cour are captioned as follows: ìR. de Charles VIII;î ìR. de Charles VII;î ìR. de Charles V;î ìR. de Francois Ier;î ìXIIIème Siècle;î ìR. de Louis XIV;î ìDame de la Cour du Régent;î ìJeanne DíAroigon;î ìR. de Henri IV;î ìR. de Francois Ier;î ìR. de Charles VII;î ìR. de Louis XVI;î ìR. de Charles VI;î ìR. de Louis XII;î ìR. de Henri II;î ìR. de Louis XVI;î ìR. de Henri IV;î ìR. de Charles VII;î ìClémence Isaure;î ìR. de St Louis;î ìR. de St Louis;î ìR. de Louis XV;î ìR. de Louis XIV;î ìR. de Louis XIII;î ìR. de Louis XIII;î ìRègne de Charles IX;î ìR. de Francois Ier;î ìR. de François Ier;î ìAnne de Boulen;î ìR. de Louis XII;î and ìR. de Louis XII.î The plates in Seigneurs de la Cour are captioned as follows: ìRègne de Charles VII;î ìRègne de Louis XII;î ìR. de Francois Ier; ìR. de Henri II; and ìR. de Henri IV.î Each work contains one 'Falconry' plate. Modern quarter black morocco over the original cream-colored floral-patterned paper over boards. Smooth spine decoratively ruled in gilt with paper label lettered in gilt. Board edges and corner rubbed. Small dampstain in the lower gutter of Dames de la Cour. Some occasional foxing and slight edge browning to mounts. Previous ownerís ink presentation inscription, dated January 1840, at head of title of Seigneurs de la Cour. Small booksellerís ticket on front pastedown. An excellent copy of this extremely scarce series of plates. We have been able to locate one copy (at the British Library) of an 1845 edition of Dames de la Cour, with forty-four plates, including additional plates by Julien Vallou de Villeneuve. Zépherin Belliard (1798-1843) ìwas active between 1820 and 1830. He was one of the fine early masters in this field. Belliard created at least fifty contemporary portraits of distinguished Europeans. Belliardís lithographic art in portraiture, in fact, gained him full membership to the Restoration Salon in 1824. Officially, the Salon listed the portrait lithograph as being of the highest classification. Of the early lithographic printers and publishers, the names of Delpech and Charles Motte stand foremost. Delpechís Paris establishment was both a lithographic studio and a print selling gallery. During the 1820ís, it became a major centre for both artists and patronsómuch like Rudolph Ackermanís London studio was at the same time. Lithographs bearing Delpechís mark were a constant in the initial Salon exhibitions. Lithography was not invented in France, but it was the French who first recognized the vast potential of this new medium as a fine art form. Led by such masters as Delacroix, Gericault, Boilly, Vernet and Charlet, a host of great artists were bringing the lithograph to the forefront between 1810 and 1835. Such was the high regard in France for this new form of art that the Restoration Salons began holding annual exhibitions in lithography as early as 1817î (http://www.artoftheprint.com/artistpages/belliard_zepherine_felix_jean_hortense.htm). ìAfter preliminary training under the academic painter and art patron Alexandre Lenoir, [Honoré] Daumier became an apprentice to the lithographer and publisher Zépherin Belliardî (Beatrice Farwell, The Charged Image, p. 55). 1840
Price: USD 9,500.00 other currencies   order no. 00028   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  Brontë, Anne | Bell, Acton | Tenant of Wildfell Hall, The
Anne Brontëís Excessively Rare Second Novel [BRONTÀ, Anne]. The Tenant of Wildfell Hall. By Acton Bell. In Three Volumes. London: T.C. Newby, 1848. First edition, first issue, of Anne Brontëís second novel, with all of the flaws noted by Smith. Three twelvemo volumes (7 3/4 x 4 13/16 inches; 197 x 122 mm.). [4], 358; [2], 366; [2], 342 pp. Complete with the excessively rare half-title in Volume I, but without the final leaf of advertisements in Volume I. No half-titles called for in Volumes II and III. Bound ca. 1900 by Rivière & Son (stamp-signed on the verso of the front free endpaper) in full tan polished calf. Covers with gilt triple fillet border and gilt corner ornaments, spine decoratively tooled in gilt in compartments with two brown morocco gilt lettering pieces, board edges ruled in gilt, turn-ins decoratively tooled in gilt, top edge gilt others uncut. Minimal foxing and mostly marginal soiling. Volume I with a tiny tear (1/8 inch) in the lower blank margin of D12 (pp. 71/72), not affecting text, and a faint dampstain in the outer margin of P6 (pp. 323/324). Volume II with small, very neat paper repairs to the outer blank margin of D7 (pp. 65/66) and F7 (pp. 109/110), a small faint stain in the upper corner of G3-G7 (pp. 129-138), and a small paper flaw in the upper blank margin of G6 (pp. 135/136). Volume III with a faint stain in the upper margin of D4 and D5 (pp. 55-58), a tiny tear in the outer margin of G3 (pp. 125/126), a short tear neatly repaired in the upper margin of G6 (pp. 131/132), and a tiny tear in the outer margin of P4 (pp. 323/324). Still, this is an exceptional copy of what Sadleir calls the rarest Brontë title in first edition, in any state whatsoever (No. 1 in Sadleirís list of ìComparative Scarcitiesî). The Tenant is virtually unobtainable in an original publisherís binding and is notoriously rare in any binding, in any condition. With the armorial bookplate of Herbert S. Leon on the front pastedown of each volume. ìThis epistolary novel presents a portrait of debauchery that is remarkable in light of the authorís sheltered life. It is the story of young Helen Grahamís disastrous marriage to the dashing drunkard Arthur Huntingdonósaid to be modeled on the authorís wayward brother Branwellóand her flight from him to the seclusion of Wildfell Hall. Pursued by Gilbert Markham, who is in love with her, Graham refuses him and, by way of explanation, gives him her journal. There he reads of her wretched married life. Eventually, after Huntingdonís death, they marryî (Merriam-Websterís Encyclopedia of Literature). Smith, Brontë, 4. Parrish, p. 91. 1848 first edition
Price: USD 42,500.00 other currencies   order no. 00031   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  CARROLL, Lewis | [Charles Lutwidge Dodgson]. | Aliceís Adventures in Wonderland
The First Published Edition of ìAliceís Adventures in Wonderland,î in the Original Cloth CARROLL, Lewis. Aliceís Adventures in Wonderland. With Forty-Two Illustrations by John Tenniel. London: Macmillan and Co., 1866 [i.e., November 1865]. Second (first published) edition. Small octavo. [12], 192 pp. Wood-engraved text illustrations. Original red cloth. Covers with gilt triple fillet border and central gilt vignette within three circular lines of Alice holding the pig on the front and the Cheshire Cat on the back. Spine lettered in gilt with gilt ornament and three gilt lines at head and foot. All edges gilt. Dark blue/green coated endpapers. Binderís ticket on rear pastedown: ìBound by Burn. 37 & 38 Kirby St.î A few very small marks and stains to cloth, some very light rubbing to extremities, with a few very tiny (less than 1/8 inch) splits at head and foot of spine. However, there are no repairs, the gilt is bright, and the hinges are perfectly sound. Some occasional foxing and soiling, but far less than is usually seen. There is some very faint waterstaining in the upper margin of the last few gatherings and a tiny tear in lower margin of U1 (pp. 145/146). An exceptional example. Chemised in a quarter dark blue morocco over blue cloth slipcase. Copies like this are very rare indeed. ìThe first edition, familiarly known to book-collectors as ëthe 1865 Aliceí, was printed at the Oxford University Press. This edition was at the last moment cancelled by the author, for whom Macmillanís were publishing ëon commissioní (i.e. as agent, not sponsors) because of what was considered the poor printing of Sir John Tennielís almost equally famous illustrations. The few early copies sent out were recalled; seemingly with fair success, since less than a score are known to survive today. The book was then reprinted, by Clay, with the title-page re-dated 1866, and this constitutes the first regularly published edition. Dodgson thriftily sold 500 copies of the suppressed 1865 printing for publication, with suitably altered title-page, by Appletonís of New York in 1866î (Printing and the Mind of Man). ìThough dated 1866, this edition was actually published in time for Christmas 1865î (Lovett and Lovett) and therefore preceded the publication of Appletonís New York edition by six months. Lovett and Lovett 3. Printing and the Mind of Man 354 (the 1865 first issue). Williams, Madan, and Green 46. 1866 first edition
Price: USD 52,500.00 other currencies   order no. 00035   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  STEVENSON, Robert Louis | Treasure Island
First Edition of ìTreasure Island,î ìThe Finest Tale of Maritime Adventure that has been Told sinceDefoe Produced His Great Romanceî (Prideaux) STEVENSON, Robert Louis. Treasure Island. London: Cassell & Company, 1883. First edition, first issue, with the following points: ìDead Manís Chestî is not capitalized on pp. 2 and 7; with ìrainî for ìvainî in the last line of p. 40; the ìaî is not present in line 6 of p. 63; the ì8î is not present in the pagination on p. 83; the ì7î is bolder than the other figures and slightly raised in the pagination on p. 127; the period is lacking following ìopportunityî in line 20 of p. 178; with ìworseî for ìworstî in line 3 of p. 197. Octavo (7 1/2 x 4 3/4 inches; 190 x 121 mm.). viii, 292 pp. plus 8 pp. advertisements, ìdated 5R-1083î (with Treasure Island listed on p. 2 as having ì304 pagesî). Frontispiece map of Treasure Island, printed in three colors, with tissue guard. Original olive green diagonal fine-ribbed cloth with covers ruled in blind and spine ruled and lettered in gilt. Original black coated endpapers. Just slightly skewed, the absolute minimum of wear to corners and extremities, rear inner hinge expertly and almost invisibly repaired, small abrasion at foot of front pastedown. Some very occasional browning and soiling. Paper flaw to the lower blank margin of L3 (pp. 165/166). Previous ownerís ink inscription on front flyleaf: ìT.E. Freeman/Xmas Eve. 1883.î An exceptionally fine copy, with the gilt on the spine bright and fresh. The Bradley Martin copy, with the bookplate of Mildred Greenhill on the front pastedown. Chemised in a quarter green morocco slipcase. Treasure Island was published on 14 November 1883, so it is most likely that the first issues had October advertisements (ì5R-1083î). Copies are known with July advertisements (ì5G-783î), and it is likely that the binder used these when he ran out of the October advertisements. There are also copies known with December advertisements (ì5R-1283î). In this copy, the ì7î in the pagination on p. 127 has been hand stamped in a larger font and darker ink, and, as with other copies of the first issue, the ì8î is not present in the pagination on p. 83 (copies are known with the ì8î present on p. 83 and with the ì7î missing from the pagination on p. 127). Stevenson supposedly raced through the first fifteen chapters of his soon to be classic tale. He would delight his family and friends by reading out loud the chapters of his new novel and according to one visitor Stevenson ìread it beautifully: recalling how he swayed rhythmically while reading it aloudÖhis fine voice, clear and keenî (McLynn, Robert Louis Stevenson, p. 197). Stevenson himself had no doubt of the merit of his book as he writes: ìIf this donít fetch the kids, why, they have gone rotten since my day. Will you be surprised to hear that it is about Buccaneers, that it begins in the ëAdmiral Benbowí public-house on the Devon coast, that itís all about a map, and a treasure and a mutiny, and a derelict ship, and a fine old Squire TrelawnyÖwith the chorus ëYo-ho-ho and a bottle of rumíî (McLynn, Robert Louis Stevenson, pp. 198-199). ìTreasure Island established itself as a classic, drawing plaudits from the widest range of literary sensibilities. In 1890 W.B. Yeats wrote to tell [Stevenson] that the book was the only one in which his seafaring grandfather had ever taken any pleasure and that he reread it on his deathbed with infinite satisfaction. Jack London, in so many ways RLSís true spiritual heir, declared: ëHis Treasure Island will be a classic to go down with Robinson Crusoe, Through the Looking Glass and The Jungle Booksííí (Frank McLynn, Robert Louis Stevenson, p. 203). Beinecke 240-241. Gumuchian 5443. Morgan Library, Early Childrenís Books and Their Illustration, 206. Osborne Collection II, p. 1030. Prideaux 11. Princeton 22. 1883 first edition
Price: USD 32,500.00 other currencies   order no. 00036   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  MASONIC BINDING | Harris, John | Joseph, Jack | Craft and Royal Arch Tracing Boards
A Fine Mid Nineteenth-Century Masonic Binding Containing Five Exquisitely Hand-Colored LithographedPlates Depicting Craft and Royal Arch Tracing Boards [MASONIC BINDING]. HARRIS, John. [Craft and Royal Arch Tracing Boards. London: ca. 1845]. Blank book. Octavo (9 1/16 x 5 1/2 inches; 230 x 141 mm.). [124] leaves of ruled paper. Five hand-colored lithographed plates depicting tracing boards. The plates are signed: ìFr. Jo. Harris inv. et fecitî (first and third plates); ìFr. Jo. Harris inv. et fecit. No. 8. Strand LONDONî (second plate); ìBy Ino. Harris. 10 Sidmouth St Regent Square Londonî (fourth plate); ìDes. & Drawn on Stone by Com. J Harris P.Z. Published the 8 April 1844. Ent. Sta. Hallî (fifth plate). Contemporary dark purple hard-grain morocco. Covers decoratively tooled in gilt with single gilt fillet border and gilt Masonic emblems, smooth spine divided into seven compartments with gilt lettering in one compartment and gilt Masonic emblems in the remaining six compartments, board edges and turn-ins decoratively tooled in gilt, all edges gilt, light blue moiré silk endleaves. With the original brass lock. A spectacular example of a mid nineteenth-century Masonic binding. Inscribed in ink ca. 1950 on the verso of the front free endpaper: ìThe Property of/Worshipful Bro. Jack Joseph/Past Master of the Barnato Lodge 2265/Joining Member of Old Owens Lodge 4440./Companion of Barnato Chapter 2265./First D.C. Old Owenís Chapter 4440./The illustrations in this volume (5 in/ all) depict the 5 tracing boards./The 3 first representing the 3 degrees/of Craft masonry & the last 2 representing/Royal Arch Chapter. They were drawn/about 1844 as will be gathered by the/date on the last board./Their workmanship is/exquisite, it needs no praise or/elaboration. The artist, one J. Harris,/who was a P.M, P.[?] was also a printer/& it is evident that he made a super/effort in the execution of these illustrations/Their beauty is only equaled by their interest/and extreme rarity. It is doubtful whether/outside Museums & Libraries such choice/specimens could be obtained or seen, & apart/from their rarity of Masonic Interest, they are/exceedingly scarce as items of early litho-/graphic interest. Almost, one could describe them as/unique. Their possession is a matter of/intense gratification./Jack Joseph.î ìJohn Harris (1791-1873) was a talented artist of the early 19th century who was famous for his works in watercolours and miniature paintings. He specialised in watercolour illustrations for books (architecture, geography, etc), and exhibited at the Royal Academy as early as 1810. The British Museum possesses one of his pieces. John started his Masonic career in 1818, when he was initiated in London. The Duke of Sussex, Grand Master of the ëUnited Free And Accepted Masons Of Englandí in 1814, valued his works and it is assumed that the Duke commissioned John to harmonise the Tracing Boards by creating one official model for each degree. After dedicating all his strengths to his art, he unfortunately lost his vision but, despite this, continued to look after his invalid wife. From 1856 until his death, he was a dependent of the ëRoyal Masonic Benelovent [sic] Institutioníî (Tracing Boards at http://www.zetlandhall.com/tboard.php#jh). 1845
Price: USD 5,500.00 other currencies   order no. 00040   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  HOLLAND, John | Song of a Boy
Signed by the Authorís Mother HOLLAND, John. Song of a Boy. London: Privately Printed, 1939. First edition. Presentation copy, inscribed by the authorís mother on the front free endpaper: ìTo thank you for your/appreciation of my/sonís work./Phyllis Holland.î Small quarto. [2, blank], [6], 177, [1, blank] pp. Twenty-five plates, twenty-three in color (including frontispiece portrait) and two portraits from photographs. Descriptive tissue guards. Original cream-colored cloth pictorially stamped in gilt on front cover and lettered in gilt on spine. Top edge gilt on the rough, others uncut. Inner hinges just starting. Minimal foxing at beginning and end. A near fine copy. Largely unopened. ìJohn Douglas Holland was born at Basing Houre, Southsea, on August 30th, 1917, and was the only son of Rear-Admiral L.E. Holland. He entered Winchester College when just thirteenÖOn leaving Winchester he went to the Architectural Association for one term and then decided to go to Oxford and was to have entered Magdalen College in October 1936, but while on a short sketching tour in Yugoslavia he caught infantile paralysis and died at Split, Dalmatia, on July 30th, after six daysí illnessÖThese poems and rhymes were written from the age of fourteen. They are not arranged in any particular order of writing as, though some were written out carefully, others were found scribbled here and there in his books and on odd pieces of paper. His paintings, some of which are also reproduced in this book, were, like his poems, quick and unlabouredódone at any moment he might feel in the moodî (preliminary p. [3]). 1939 first edition
Price: USD 225.00 other currencies   order no. 00041   details     inquire
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offered by: David Brass Rare Books, Inc.   (USA)
  BOSWELL, James | Foulis, Robert | Foulis, Andrew | Account of Corsica, An
Boswellís Account of Corsica BOSWELL, James. An Account of Corsica, the Journal of a Tour to that Island; and Memoirs of Pascal Paoli. Illustrated with a New and Accurate Map of Corsica. Glasgow: Printed by Robert and Andrew Foulis for Edward and Charles Dilly in the Poultry, London, 1768. First edition. In this copy, the table of contents (b2) follows the Preface (a1-b1); D2 recto is in Rothschildís first state, with the words ìJohn Homeî incorrectly placed following the first quotation on p. 51; E2 is a cancellans, with lines 11 and 12 on p. 69 reading: ìenjoying the noble fief of/Istriaî (not recorded by Rothschild); Z3 is a cancellans, with ìMarianaî corrected to ìMarianiî on p. 357. The map is in the second state, as per Rothschild, with the imprint, and is bound between the half-title and title. In addition, this copy has the following misprints recorded by Pottle: ì141î for ì241î in the table of contents (corrected in this copy by over-stamping); broken ìEî in ìEtruscansî on p. 70, line 17 (with the lower bar showing faintly); ìfeelirgî on p. 137, line 11; ìtha theî on p. 172, line 9; ìMontgomerÿî on p. 184, line 4; ìspeculati-ionsî on p. 327, lines 9-10. Pages 93 and 296 are correctly printed. Octavo (8 1/16 x 4 7/8 inches; 205 x 125 mm.). xxi, [1, blank], [1, table of contents], [1, blank], 382 pp. Bound without the final blank leaf (Aa8). Large folding engraved frontispiece map of Corsica by Thomas Phinn. Engraved coat-of-arms on title-page. Contemporary sheep. Spine decoratively tooled in gilt in compartments with burgundy morocco gilt lettering label. Board edges decoratively tooled in gilt. Binding rubbed and worn, head and tail of spine chipped, front joint starting. Tiny tear to upper blank margin of M1 (pp. 177/178). Short tear to map, just affecting one letter. Front pastedown with early ink signature (partially erased), pencil signature of D. Cecil Gibbs, armorial bookplate of Thomas Havers (with his name crossed out in pencil), pencilled note: ìJ. Josephís copy,î and pencilled booksellerís note. Pencilled annotations at foot of p. 71 and 72. ìThe first edition was sold out within six weeks, and a new edition (also of 3500 copies) was advertised for 1 April 1768ÖThis second edition supplied the public demand for a year. The third edition was advertised for 1 May 1769, with the announcement that ëMr. Boswellís Account of Corsica has been so well received by the Public that two numerous Editions of 3500 Copies have been sold within the Space of a few Months; and the Book is so highly esteemed abroad that it has been translated into the French and Dutch languages, and printed at Amsterdam and LausanneíÖAs Boswell proudly recorded laterÖit was ëtranslated into Dutch, German Italian, and twice into Frenchíóall within a year of its publication. Besides this, there were, as listed above, at least three editions printed in Ireland. The Account of Corsica was a book of the hour. Many more copies of its were sold in Boswellís lifetime than of either of his great works in the biography of Johnson, and it achieved abroad a much more remarkable successî (Pottle, p. 62). Cox I, pp. 138-139. Gaskell 473. Lowndes I, p. 242. Pottle 24. Rothschild 442-445. 1768 first edition
Price: USD 2,000.00 other currencies   order no. 00044   details     inquire
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  SASSO, Panfilo | Saxus, Pamphilus | Epigrammatum
An Italian Incunable Book of Epigrams SASSO, Panfilo. Epigrammatum. Libri quattuor. Distichorum. Libri Duo. De Bello Gallico. De laudibus Veronæ. Elegiarum liber unus. [Edited by Johannes Taberius]. [Brescia: Bernardinus de Misintis, for Angelus Britannicus, 6 July 1499]. First edition. Two parts in one small quarto volume (8 1/8 x 5 1/2 inces; 207 x 140 mm.). [188] (of 192) leaves. (Collation: a10 b-q8A8 B6 C8 D4 E-H8). Bound without gathering r, which according to the British Library Catalogue, should conclude the volume. Twenty-nine lines plus headline. Capital spaces, with guide letters. Two large initials (six-line on a3 recto and five-line on A1 recto) in blue with red penwork, numerous initials (twelve five-line, nineteen four-line, and one three-line) in alternating red or blue, rubricated in red, underlining in red. At head of title: Pamphili saxi Poetæ lepidissimi. Eighteenth-century calf. Covers with double gilt fillet enclosing a decorative blind border, spine decoratively tooled in gilt in compartments with five raised bands. The lettering label has been lost but the title is still visible impressed into the spine. Board edges decoratively tooled in gilt. Marbled endpapers. Edges stained red. First leaf a little stained and torn across with a very old repair, short tear (1 1/8 inch) to inner margin of h4, short tear (2 inch) tear to inner margin of h5, small portion (5/8 x 3/8 inch) of upper blank corner of p3 torn away (paper flaw), short tear (5/8 inch) in the lower blank margin of q3 (paper flaw). Slight browning to a few leaves, faint dampstain in the inner and outer margins of gathering G, a few additional leaves with soiling and/or staining. Faint early ink annotation on o4 recto. Otherwise a remarkably fresh copy. Booklabel on front pastedown with name erased. Gathering r contains: r1 recto-r3 recto Baptistae Mantiuanae ad Pamphilum Saxum [carmen], r3 verso blank, r4 errata, in double columns. Only one copy has sold at auction in the last thirty yearsóa complete copy, from the library of Charles Fairfax Murray, at Sothebyís London in December 1991, which brought £3,400 plus premium. Panfilo Sasso (1455-1527), ìhumanist and poet, originally from Modena, who composed several collections of vernacular poetry and a book of Latin epigrams. His poetry, like that of Serafino Aquilano and Tebaldeo, is typical of 15th-c. Petrarchism as practised in North Italian courts. He was tried for heresy in 1523 but acquittedî (The Oxford Companion to Italian Literature). BMC VII, p. 992 (IA. 31265). Goff P24. Polain 4710. Proctor 7045. 1499 first edition
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  ROUSSEAU, Jean Baptiste | Derôme | Oeuvres de Rousseau
In a Contemporary Morocco Binding by Derôme ROUSSEAU, [Jean Baptiste]. åuvres de Rousseau. Nouvelle édition. London: 1781. Two twelvemo volumes (4 5/8 x 2 13/16 inches; 118 x 72 mm.). [4], 252; [4], 276 pp. Engraved frontispiece portrait by Delvaux in Volume I. Contemporary full red morocco by Derôme. Covers with gilt triple fillet border, smooth spines decoratively tooled in gilt in panels with two olive green morocco gilt lettering labels, board edges with single gilt fillet, turn-ins decoratively tooled in gilt, all edges gilt, bright blue endpapers. The absolute bare minimum of rubbing to extremities. A wonderful copy. Volume I contains ìOdes sacrées,î ìOdes, Liv. II-IV,î and ìCantates allégoriques.î Volume II contains ìEpitres, Liv. I-II,î ìAllégories, Liv. I-II,î ìEpigrammes, Liv. I-IV,î and ìPoésies diverses.î Jean-Baptiste ROUSSEAU (April 6, 1671- March 17, 1741), was a French poet. He was born in Paris, the son of a shoemaker, and was well educated. As a young man, he gained favour with Boileau, who encouraged him to write. Rousseau began with the theatre, for which he had no aptitude. A one-act comedy, Le Café, failed in 1694, and he was not much happier with a more ambitious play, Le Flatteur (1696), or with the opera Venus et Adonis (1697). In 1700 he tried another comedy, Le Capricieux, which had the same fate. He then went with Tallard as an attaché to London, and, in days when literature still led to high position, seemed likely to achieve success. His misfortunes began with a club squabble at the Café Laurent, which was much frequented by literary men, and where he indulged in lampoons on his companions. A shower of libellous and sometimes obscene verses was written by or attributed to him, and at last he was turned out of the café. At the same time his poems, as yet printed only singly or in manuscript, acquired him a great reputation, due to the dearth of genuine lyrical poetry between Jean Racine and André de Chénier. In 1701 he was made a member of the Académie des inscriptions; he was offered, though he had not accepted, profitable places in the revenue department; he had become a favourite of the libertine but influential côterie of the Temple; and in 1710 he presented himself as a candidate for the Académie française. Verses more offensive than ever were handed round, and gossip maintained that Rousseau was their author. Legal proceedings of various kinds followed, and Rousseau ascribed the lampoon to Joseph Saunin. In 1712 Rousseau was prosecuted for defamation of character, and, on his non-appearance in court, was condemned to perpetual exile. He spent the rest of his life in foreign countries except for a clandestine visit to Paris in 1738; he refused to accept the permission to return which was offered him in 1716 because it was not accompanied by complete rehabilitation. Prince Eugène and then other persons of distinction took him under their protection during his exile, and at Soleure he printed the first edition of his poetical works. He met Voltaire in Brussels in 1722. Voltaire's Le Pour et le contre is said to have shocked Rousseau, who expressed his sentiments freely. At any rate the latter had thenceforward no fiercer enemy than Voltaire. His death elicited from Jean-Jacques Lefranc, marquis de Pompignan an ode that was perhaps better than anything of Rousseau's own work. That work may be roughly divided into two sections. One consists of formal and partly sacred odes and cantatas of the stiffest character, of which perhaps the Ode a la fortune is the most famous; the other of brief epigrams, sometimes licentious and always, or almost always, ill-natured. (http://en.wikipedia.org/wiki/Jean-Baptiste_Rousseau). 1781
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  [CHAP BOOKS] | Burns, Robert | Wilson, Alexander | Lewis,... Collection of Nineteenth-Century Chap Books, A
A Wonderful Collection of Nineteenth-Century Chap Books [CHAP BOOKS]. [A Collection of Thirty-Eight Nineteenth-Century Scottish Chap Books and Penny Histories]. [Various places (Stirling, Paisley, Glasgow, Airdrie, and Durham)]: 1823-1838. Twelvemo (6 5/8 x 4 inches; 168 x 102 mm.). Woodcut title vignettes, decorative woodcut title borders and head-pieces. Nineteenth-century quarter burgundy roan, ruled in gilt, over russet sand-grain cloth boards. Spine decoratively ruled and tooled in compartments with four flat raised bands. The lettering label has come off but the title is still visible impressed into the spine: Chap Books. Early ink signature of A.E. Fisher, July 19, 1893, on front free endpaper. Spine extremities, joints, and corners rubbed. Some occasional soiling and/or browning. A few short tears or paper flaws. A wonderful collection. In addition to several collections of songs, this collection includes Robert Burnsís Tam OíShanter. A Tale (Paisley: Printed for G. Caldwell, Jun. Bookseller, 1825); Matthew Gregory Lewisís Rugantino, the Bravo of Venice (Durham: Printed by George Walker, Jun., 1838); and The Man with the Iron Mask; Being A Circumstantial Account Of His Mysterious Confinement In The Prison Of The Bastile; and of the secresy with which his name and countenance were prevented from being known or seen, until the period of His Death. With a particular detail of all the circumstances connected with his Real Birth and Parentage, and of The cruel Treatment and Restraint which he experienced, By Order Of His Brother, Louis XIV. King of France (Durham: Printed by George Walker, Jun., 1838). A complete listing is available upon request. ìGrowing out of an earlier tradition of inexpensive ballad literature, eighteenth- and nineteenth-century chapbooks were small publications that contained songs, poems, political treatises, folk stories, religious tracts, and all manner of short textsÖIn general, chapbooks were inexpensive publications designed for the poorer literate classes. They were typically printed on a single sheet of low-quality paper, folded to make eight, sixteen, or twenty-four pages, though some examples were longer stillÖRather than using relatively expensive etchings, chapbook printers illustrated their wares with crude woodcuts. Many of these woodcuts were reused in multiple chapbooks, a single image serving to depict several different persons, places, or events. They were usually sold without covers (though many are today found regathered into volumes, the legacy of generations of collectors). This combination of low-quality paper, crude illustrations, and no cover made for a very ëcheap bookí that was affordable for the ever-increasing number of working-class readers. In Scotland, where literacy rates tended to be higher than elsewhere in the British Isles, chapbooks were particularly popular. Whereas England, with its large cities, supported a thriving newspaper industry, Scotland's rural nature discouraged the production of inexpensive periodical literature to compete with chapbooks. Three chapbooksGlasgow and Edinburgh in particular became centers for chapbook publication, with smaller cities such as Paisley, Kilmarnock, Stirling, Falkirk, and Dumfries also contributing to the trade. Cities just south of the border, such as Newcastle, Carlisle, and Penrith, published as much for a Scottish audience as for an English oneî (The Scottish Chapbook Project, University of South Carolina, Department of Rare Books and Special Collections, at http://www.sc.edu/library/spcoll/britlit/cbooks/cbook.html).
Price: USD 2,000.00 other currencies   order no. 00049   details     inquire
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  GOLDSMITH, Oliver | Beauties of English Poesy, The
Oliver Goldsmithís ìBest Collectionî of English Poetry [GOLDSMITH, Oliver, editor]. The Beauties of English Poesy. Selected by Oliver Goldsmith. In Two Volumes. London: Printed for William Griffin, 1767. First edition. Two twelvemo volumes (6 9/16 x 4 inches; 167 x 102 mm.). [4], iv, 169 [i.e. 269], [1, blank], [2, contents]; [4], 262, [2, contents] pp. Bound without the first and final blank leaf in each volume. Contemporary calf, neatly rebacked, with original spines and olive green morocco lettering labels laid down. Some browning and occasional staining. Volume II with short tear to lower corner of E2 (pp. 75-76), not affecting text, and small paper flaw to outer blank margin of F1 (pp. 97/98), not affecting text. A very good copy. Includes Alexander Popeís ìThe Rape of the Lock,î Thomas Grayís ìAn Elegy, Written in a Country Church Yard,î Samuel Johnsonís ìLondon,î John Drydenís ìAlexanderís Feast,î and John Gayís ìThe Shepherdís Week.î ìMy Bookseller having informed me that there was no collection of English Poetry among us, of any estimation, I thought a few Hours spent in making a proper selection would not be ill bestowed. Compilations of this kind are chiefly designed for such as either want leisure, skill, or fortune, to choose for themselves; for persons whose professions turn them to different pursuits, or who, not yet arrived at sufficient maturity, require a guide to direct their application. To our youth, particularly, a publication of this sort may be useful; since, if compiled with any share of judgement, it may at once unite precept and example, shew them what is beautiful, and inform them why it is so: I therefore offer this, to the best of my judgement, as the best collection that has yet appearedÖAs to the short introductory criticisms to each poem, they are rather designed for boys than menÖIn short, if this work be useful in schools, or amusing in the closet, the merit all belongs to others. I have nothing to boast, and at best, expect, not applause, but pardonî (Preface, pp. i-iv in Volume I). Scott, pp. 199-200. 1767 first edition
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  SMOLLETT, Tobias | History and Adventures of an Atom, The
Smollettís Satire on English Public Affairs SMOLLETT, Tobias. The History and Adventures of an Atom. In Two Volumes. London: Printed for Robinson and Roberts, 1769. First edition, second issue (with the title-pages correctly dated 1769), of Smollettís satire on English public affairs from 1754 to the time of publication. Two twelvemo volumes. viii, 227, [1, blank]; [4], 190, [2, blank] pp. Contemporary sheep, neatly rebacked, with original gilt spines and red morocco gilt lettering labels laid down. Edges decoratively tooled in gilt. Bookplate of Hazardís Circulating-Library, Cheap-Street, Bath, on front pastedown of each volume. An excellent copy. The first issue was incorrectly dated 1749. Rothschild, in describing the first issue, states that ìalthough it is generally accepted as by Smollett, there is no conclusive proof that he wrote [this work].î Rothschild 1923. 1769 first edition
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  NUMISMATICS | Dassier, Jean | [Medals of the Sovereigns of England]
Engravings of Dassierís Medals of the Sovereigns of England [NUMISMATICS]. [DASSIER, Jean]. [An Explanation of Dassierís Medals of the Sovereigns of England]. [N.p.: n.d., ca. 1797]. Blank book with mounted engravings of thirty-three medals, including thirty-one medals by Jean Dassier of the Sovereigns of England from William I to George II, including Oliver Cromwell (without the medals of the medals for Richard III, Henry VII, and Henry VIII), as well as medals of George III (by Lewis Pingo) and Queen Charlotte (by John Kirk). Twelvemo (6 3/8 x 3 3/4 inches; 162 x 95 mm.). [33] leaves, each with two mounted engravings showing the recto and verso of a medal. Each leaf separated by a guard leaf. Bound in late eighteenth-century full red roan. Covers with gilt single fillet border, smooth spine ruled in gilt, board edges and turn-ins decoratively tooled in gilt, all edges gilt, marbled endpapers. Spine, corners, and board edges rubbed. A few areas of slight discoloration on covers. Pencilled annotations on verso of one leaf. An excellent copy. The engravings are most likely cut from An Explanation of Dassierís Medals of the Sovereigns of England, a series of six engraved plates of the Kings and Queens of England, by Pye, c. 1773, the final plate with additional medals of George III and Queen Charlotte, followed by 7 pp. of explanatory text, reduced landscape folio. ìThe additional medals chosen are interesting, the first the undated medal of George III, by Lewis Pingo. Eimer [Pingo, 54], dates the medal to c. 1775, when the medal was exhibited at the Free Society of Artists. Stainton (private notes) believed it to have been used by the Welch Society. However it is catalogued by Brown [BHM 265], following Col. Grantís lead, as "American Independence", and placed ten years later in 1785. The second medal is John Kirkís medal of Queen Charlotte, for the founding of the Medical Society of London in 1773 [BHM 184]. It would seem logical to date the book to 1773-1776î (http://www.coinarchives.com/w/lotviewer.php?LotID=319961&AucID=233&Lot=1303&Match=). A complete listing of the engravings is available upon request. Swiss medallist Jean (John) Dassier (1676-1763) ìtrained under his father Domaine Dassier (1641ñ1719), chief engraver at the Geneva Mint, and studied in Paris under Jean Mauger and Joseph Roettier. From 1711 he was assistant engraver at the Geneva Mint and in 1720 succeeded his father as chief engraver, a post he held until his death. Around 1720 he designed and executed his first series of medals: those of French monarchs (72 medals) and religious reformers (around 24). In 1728 he visited England, where he refused the offer of a position at the Royal Mint. In 1731 he issued a series of medals dedicated to George II, depicting British sovereigns from William I to George II. This consisted of 35 medals available in gold, silver and bronze, some of which were damascened. He was joined in this project by his second son, and the medals are described in his A Sett of Medals of all the Kings of England (London, 1731) and An Explanation of the Medals of the English Monarchs Engraved by John Dassier and Son (Birmingham, 1731)î (Grove Art Online). ìHaving being presented to Queen Caroline, perhaps through the good offices of Wake, Dassier set out proposals for a set of thirty-three medals of English sovereigns from William I to George II, to whom the series was dedicated. Based on engravings by George Vertue for Paul Rapin de Thoyrasís History of England, these were advertised in the prospectus published in 1730 for purchase by subscription at 6 guineas for sets in copper and at 15 guineas for silver. During his second stay in England Dassier also planned, according to Vertue, to engrave many remarkable persons noted for great Actions in the government of this nation in Times passd. and learned men of all degrees lately or formerly or of the present time which he proposes to grave at his own expence. (Vertue, Note books, 3.51ñ2). Medals of Milton, Bacon, and Selden were included in this set. Together these two medallic series belong to those series of historicizing portraits in different media that were being formulated at Stowe and elsewhere during the 1730s to represent figures from the national pastî (ODNB). 1773
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  MILNE, A.A. Shepard, Ernest | Winnie-the-Pooh [Together with:] Now We Are Six [And:] The House at Pooh Corner
First American Signed Limited Editions of ìWinnie-the-Pooh,î ìThe House at Pooh Corner,î and ìNow We Are Sixî MILNE, A.A. Winnie-the-Pooh. With Decorations by Ernest H. Shepard. [New York]. E.P. Dutton & Company, [1926]. First American edition on large paper. Limited to 200 numbered copies (this copy being No. 108), signed by the author and the illustrator. Small quarto (8 13/16 x 7 inches; 224 x 178 mm.). [2, limitation leaf], ix, [1, blank], [4], 158, [1], [3, blank] pp. Original quarter lavender diagonally-ribbed cloth over salmon-colored boards. Front cover pictorially stamped and lettered in black and back cover pictorially stamped in black. Salmon-colored paper spine label printed in black. Top and fore-edge trimmed, bottom edge uncut. Very slight indentation to top edge of rear board. Small booksellerís ticket on front pastedown. Pages 46 and [47] very slightly browned from an inserted booksellerís postcard. A remarkably fine copy. In the original salmon-colored pictorial dust jacket. Housed in the publisherís matching salmon-colored pictorial cardboard box (box lid with edges very slightly browned, tiny split at lower left corner, and small indentation on left side). [Together with:] MILNE, A.A. Now We Are Six. With Decorations by Ernest H. Shepard. New York: E.P. Dutton & Company, [1927]. First American edition on large paper. Limited to 200 numbered copies (this copy being No. 133), signed by the author and the illustrator. Small quarto (8 13/16 x 7 inches; 224 x 178 mm.). [ii], [2, frontispiece], [iii]-iv, [2, limitation leaf], v-ix, [1, blank], [2], 103, [3, blank] pp. Printed on Japon vellum. Text illustrations. Original half pink linen over light blue pictorial boards. Light blue printed paper spine label. Blue laid paper endpapers. Top edge trimmed, others uncut. Paper very slightly browned at the edges. Bookplate of Eugene A. Clauss on front pastedown. A spectacular copy. In the original light blue printed jacket. Housed in the publisherís light blue pictorial cardboard box (slight browning to box edges). [And:] MILNE, A.A. The House at Pooh Corner. With Decorations by Ernest H. Shepard. New York: E.P. Dutton & Co., [1928]. First American edition on large paper. Limited to 250 numbered copies (this copy being No. 141), signed by the author and the illustrator. Small quarto (8 13/16 x 7 inches; 224 x 178 mm.). xi, [1, blank], 178, [1], [1, blank] pp. With signed limitation leaf between pp. [vi] and [vii]. Text illustrations. Original quarter light green buckram over yellow pictorial boards printed in dark green. Yellow paper spine label printed in dark green. Lime green laid paper endpapers. Top edge trimmed, others uncut. Paper very slightly browned at the edges. Faint ink (?) smudge in the lower blank margin of pp. 137 and 138. Bookplate of Eugene A. Clauss on front pastedown. A fine copy. In the original glassine (not issued in a dust jacket) and publisherís yellow pictorial box printed in dark green. A spectacular set of the three first American signed limited edition ìPoohî books. The first American edition of When We Were Very Young was only issued in a smaller octavo trade formatólimited to 500 copies, 100 of which were signed. After it was published in 1924, the decision was made to issue the signed limited editions of the remaining titles on large paper like the English signed limited editions. Fewer copies of the American signed limited editions were printed than of the English signed limited editions (200, 200, and 250 copies of the American editions, respectively, as opposed to 350, 200, and 350 copies of the English editions) and, as a result, they are rarer than the English signed limited editions. 1926 first edition dust jacket signed
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  ACKERMANN, Rudolph | COMBE, William | PUGIN, Augustus | R... Microcosm of London; or, London in Miniature, The
An Early and Exceptionally Large ìMicrocosmî in the Original Boards ACKERMANN, R[udolph]. [The Microcosm of London; or, London in Miniature]. London: R. Ackermannís Repository of Arts, [1808-1810]. First edition, early issue, with the text watermarked 1807 and the plates watermarked 1806-1808, and with the errata corrected in Volume I, except for ìofficiisî on p. 136, and the errata uncorrected in Volumes II and III (see Abbey, Scenery, p. 138). Three large quarto volumes (14 5/16 x 11 9/16 inches; 363 x 294 mm.). [2, half-title], [2, woodcut title], [2, engraved dedication], iv, [1, contents], [1, blank], [3]-231, [1, blank]; [2, half-title], [2, woodcut title], [2, engraved dedication], [iii]-vi, [1, contents], [1, blank], 239, [1, blank]; [2, half-title], [2, woodcut title], [2, engraved dedication], [iii]-iv, [1, contents], [1, publisherís note], 280, [6, index and errata] pp. Woodcut title and engraved dedication leaf in each volume. With 104 hand-colored aquatint plates, including fifty-four by J. Bluck, twenty-nine by J.C. Stadler, ten by T. Sutherland, ten by J. Hill, and one by Harraden, after Rowlandson and Pugin. Six of the twelve ìkey platesî are in the first state (Plates 4, 5, 6, 7, 8, and 10). Uncut, in the original drab boards with later green paper spine labels printed in black. Some expert repairs to boards. Some slight offsetting from and foxing to the plates. Short tear to outer margin of contents leaf in Volume III. Overall, an excellent and very large copy in the original boards, partially unopened. Each volume housed in a quarter red morocco clamshell case lined with red velvet. ìThe striking feature [of The Microcosm of London: or London is Miniature] is not so much the text (though the third volume is notable as the work of W. Combe) but the coloured illustrations, in this case the combined work of Pugin and RowlandsonÖThe pictures in this book cover all the well-known public buildings of Londonóchurches, banks, prisons, theatres, etc.,ócapitally portrayed by PuginÖThe great metropolis, with its high life and low, its light and its shade, could have had no one better fitted [than Rowlandson] to portray its inmates. The spirited figures that he adds to Puginís backgrounds show that his talents were not limited to the ludicrous and grotesque. With the happiest faculty for expressing character, he is equally at home amid a serious discussion of naval policy at the Admiralty Board-Room, or among the excited, gambling crowd of the Royal Cockpit. At Westminster Abbey or Bridewell, the College of Physicians or Billingsgate, everywhere he has seized on the essential features and the typical frequenters of the placeÖThe book is a living and delightful record of the old metropolis of [two] hundred years ago, the London of Lamb, Jane Austen, Dickens, and Thackeray, of places and incidents that are now mere memoriesî (Martin Hardie, pp. 101-102). Early impressions are particularly prized: ìoriginal impressions of these splendid plates have a luminous quality entirely absent from later printingsî (Abbey). Abbey, Scenery, 212 (measuring 13 1/4 x 10 3/4 inches and in a half morocco binding by Rivière). Adams, London Illustrated, 99. Martin Hardie, pp. 100-103. Prideaux, pp. 121-124 and 348. Tooley 7. 1808 first edition
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  ABBEY, J.R. | Curwen Press | Life in England in Aquatint and Lithography 1770-1860
First Limited Edition of J.R. Abbeyís ìLife in England in Aquatint and Lithographyî ABBEY, J.R. Life in England in Aquatint and Lithography 1770-1860. Architecture, Drawing Books, Art Collections, Magazines, Navy and Army, Panoramas, Etc. From the Library of J.R. Abbey. A Bibliographical Catalogue. London: Privately Printed at the Curwen Press, 1953. First edition. Limited to 400 numbered copies (this copy being No. 210). Large quarto (12 1/4 x 9 1/2 inches; 317 x 244 mm.) xxi, [1, blank], 427, [1] pp. Color frontispiece, thirty-two black and white collotype plates, with tissue guards, and fifty text illustrations. Title-page printed in red and black with a decorative border. Original gray-brown cloth with crimson morocco spine label lettered in gilt. Top edge gilt. Mild wear to extremities. A very clean and crisp copy. In the original printed dust jacket (jacket with some edge wear and soiling and with a tiny closed tear at head of spine). ìLife in England is the second of the proposed series of four volumes cataloguing books published in England between 1770 and 1860 and illustrated with aquatints and coloured or tinted lithographs which have scenic backgroundsÖThe first volume was entitled Scenery of Great Britain and Ireland and dealt with landscape and architecture from a topographical standpoint, while Life in England comprises the range of subjects outlined later in this introduction. The first collations for this book were compiled by Mr. G. Bates; the text was finally edited for printing by Mr. E. Jutro, who has also compiled the indexes. This volume will perhaps have added interest in that the books and panoramas listed are known, in the main, only to booksellers and a few collectorsî (Preface, p. xv). 1953 first edition
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  ABBEY, J.R. | Scenery of Great Britain and Ireland in Aquatint and Lithography 1770-1860
First Limited Edition of J.R. Abbeyís ìScenery of Great Britain and Ireland in Aquatint and Lithographyî ABBEY, J.R. Scenery of Great Britain and Ireland in Aquatint and Lithography 1770-1860. From the Library of J.R. Abbey. A Bibliographical Catalogue. London: Privately Printed at the Curwen Press, 1952. First edition. Limited to 500 numbered copies (this copy being No. 126). Large quarto (12 1/4 x 9 1/2 inches; 317 x 244 mm.). xx, 399, [1, blank] pp. Color frontispiece, thirty-four black and white collotype plates, with tissue guards, and fifty-four text illustrations. Title printed in red and black within a decorative border. Original gray-brown cloth with crimson morocco spine label lettered in gilt. Top edge gilt. Mild wear to extremities, one tiny spot on spine. A near fine copy. In the original printed dust jacket (jacket with some edge wear and soiling, closed tear and creasing to rear panel, one small chip to head of spine, and another small chip to rear panel at upper joint). ìIn this Bibliographical Catalogue, the word ëSceneryí is not strictly confined to landscape but includes architecture, and urban and social scenes. I have found it a fascinating subject and a field in which there seem to have been few serious collectors. Many of the illustrations are of real beauty, and the fact that a large number are from books of the greatest rarity and therefore known to few in their original form gives added significance to those which are reproduced in this catalogueÖMy original idea of recording all books of the period with illustrations printed in aquatint and lithograph printed in two colours has been extended to include examples in which special copies were coloured by hand after printing and, in the case of lithographs, I have included those coloured and even one or two outstanding books containing uncoloured lithograph illustrationsî (Preface, pp. xv-xvi). 1952 first edition
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  ALASTAIR | Pater, Walter | Sebastian van Storck
Walter Paterís ìSebastian van Storck,î Illustrated by Alastair [ALASTAIR, illustrator]. PATER, Walter. Sebastian van Storck. With Eight Illustrations in Colour by Alastair and an Introduction by P.G. Konody. London: John Lane, The Bodley Head, 1927. Limited to 1,050 numbered copies (this copy being No. 40), each copy with one of the plates signed by the artist. Large quarto (12 3/8 x 10 1/8; 313 x 250 mm). 67, [1] pp. Eight color plates (including frontispiece). This copy with the third plate signed by Alastair in pencil. Original cream-colored cloth lettered in gilt and pictorially stamped in brown. Spine lettered in gilt. Top edge gilt, others uncut. Very minor rubbing to spine and extremities. A near fine copy. Publisherís parchment dust jacket. Housed in the publisherís brown slipcase with printed paper label. Slipcase lacking spine and with some wear to edges. ìThe legitimate successor of Aubrey Beardsley whose conventions served him not as models to copy, but as bases for new rhythms pulsing with strange nervous energy and sensibilityî (Introduction). 1927 dust jacket signed
Price: USD 500.00 other currencies   order no. 00080   details     inquire
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  ALDIN, Cecil | Artistís Models, An
ALDIN, Cecil. An Artistís Models. London: H. F. & G. Witherby, [n.d., 1930]. First edition. Limited to 310 numbered copies on English hand-made paper (this being copy No. 164), signed by the author/artist. Quarto (11 1/2 x 7 1/2 inches; 285 x 190 mm.). 80 pp. Twenty color plates, with captioned tissue guards. Original vellum over boards lettered in gilt on front cover and spine. Top edge gilt, others uncut. Very minor discoloration to vellum, mild bump to bottom edge of lower board near joint, otherwise a fine copy. Cecil Aldin (1870-1935) ìwas a most prolific artist and illustrator. While living in London, he became friends with the Beggarstaff Brothers (see Houfe under William Nicholson and James Pryde), John Hassall, Phil May and Dudley Hardy, and their influence on his work was great. He produced a great number of prints, a select list of which is included with a comprehensive bibliography in Heronís book [Cecil Aldin: The Story of a Sporting Artist (1981)]. He did a great deal of advertising work, including posters, for such companies as Bovril, Colman (manufacturers of starch and mustard), and Cadburyís, and Royal Doulton produced about sixty items with Aldin drawings between 1910 and 1939. Horses, dogs and the English countryside were the major topics of Aldinís illustrations. The obituary in The Times asserted that ëthere never yet has been a painter of dogs fit to hold a candle to himÖCecil Aldin can justly be described as one of the leading spirits in the renaissance of British sporting artíî (Alan Horne, The Dictionary of 20th Century British Book Illustrators, p. 67). Books written and illustrated by Aldin include Old Inns (1921); Old Manor Houses (1923); Cathedral[s] and Abbey Churches of England (1924); Romances of the Road (1928); An Artistís Models (1930); Exmoor, the Riding Playground of England (1935); and Hunting Scenes (1936). 1930 first edition signed
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  BARTHOU, Louis | Wagner, Richard | Michel, Marius | Autograph Manuscript Signed of La Vie amoureuse de Richard Wagner
Autograph Manuscript Signed for ìLa Vie amoureuse de Richard Wagnerî BARTHOU, Louis. Autograph Manuscript Signed by Louis Barthou for La Vie amoureuse de Richard Wagner. [Paris: n.d., 1925]. Quarto (10 1/4 x 8 inches; 260 x 203 mm.). 104 pp. Written on rectos only in blue ink on pale blue paper, with a large left margin for corrections (of which there are many, again in Barthou's hand). All leaves mounted on guards. Contemporary full tan crushed morocco by Marius Michel (stamp-signed in gilt signed on the front doublure). Spine lettered in gilt with four raised bands, tan morocco doublures with gilt single fillet border, floral silk liners, marbled endpapers. Bookplate of Louis Barthou on front free endpaper. A beautiful example in fine condition of a French jansenist binding. Louis Barthou (1862-1934), ìPrime Minister of France 1913. An adept moderate right-wing member of the Chamber of Deputies since 1889, he held a large number of ministerial appointments before and after World War I. Hostile to Germany and suspicious of Briand's policies, he had the opportunity to realize some of his demands for a tougher stance towards Germany as president of the Reparations Committee 1922ñ6. As a result of this vigilant stance, he led French hostility towards the aggressive Nazi regime in Germany in 1933 and 1934. He prepared an anti-Fascist alliance with the Soviet Union, which was concluded by Laval in 1935 after his death. His assassination during a state visit of the Yugoslav king, Alexander I, deprived France of its last major politician ready to stand up to Hitler; thereafter, its politicians such as Blum preferred to follow British policies of appeasement towards Germanyî (A Dictionary of Contemporary World History). ìBarthou enjoyed a certain reputation as a man of letters and authored a number of books on historical and literary topics, among them Mirabeau (1913), Lamartine orateur (1918), Danton (1932), and Victor Hugo (1935). He was elected to the Académie française in 1918î (J.M. Rife, Jr. in Historical Dictionary of the Third French Republic, 1870-1940 (Westport, CT: 1986), I, pp. 80-81). His biography of Richard Wagner La Vie amoureuse de Richard Wagner (Paris: 1925) was translated into English by Henry Irving Brock as The Prodigious Lover: New Aspects in the Life of Richard Wagner (New York: 1927). 1925
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  BAWDEN, Edward | Bliss, Douglas Percy | Edward Bawden
One of 200 Copies with a Signed Lithograph by Edward Bawden [BAWDEN, Edward]. BLISS, Douglas Percy. Edward Bawden. [Godalming, Surrey]: The Pendomer Press, [n.d., 1979]. First edition, de luxe issue. Limited to 200 numbered copies (this copy being No. 40). Quarto (11 3/8 x 8 inches; 287 x 222 mm.). 200 pp. Eleven color plates and numerous black and white text illustrations. Pictorial title-page. ìThis book has been designed by John and Griselda Lewis. It has been printed and bound by the Scolar Press. The paper is Glastonbury Book Antique LaidÖThe book has been set in 12/14 Monotype Modern Extended and printed by offset lithographyî (Colophon). Bibliography, by Barry McKay (p. 177-197). With a four-color lithograph laid into a terra cotta paper portfolio: ìëNekayah, the Prince and Imlac in Cairoí from The History of Rasselas, Prince of Abyssinia by Samuel Johnson. Lithograph drawn in four colours by Edward Bawden and printed in an edition of 200 by The Curwen Studio, each copy being signed by the artist[this copy also being No. 40].î Original quarter black morocco, ruled in gilt, over decorative paper boards. Spine lettered in gilt. Top edge gilt. Laid in is a two-page color illustrated article on Edward Bawden. As new. Housed together with the signed lithograph in the original plain terra cotta paper over board slipcase (mildest of soiling to slipcase). Edward Bawden (1903-1989) was ìone of Britainís most original and versatile artists. In this, the first full-length study of his work, the author tells the story of Bawdenís career and devotes sections to his book illustrations and advertisements, his watercolours, including the brilliant series he made as an Official War Artist, his murals and his linocuts. Bawdenís graphic work is characterised by humour and the frankness and simplicity of his lineÖThere is a full bibliography of Bawdenís illustrations for books, magazines and publicity material, compiled by Barry McKayÖThere are over 100 illustrations including 11 in colourî (from the first trade edition dust jacket). 1979 first edition signed
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  BLAKE, William | Trianon Press | Keynes, Geoffrey | Book of Los, The
The Trianon Press Facsimile of William Blakeís ìBook of Losî BLAKE, William. The Book of Los. [Clairvaux, Jura, France: Published by The Trianon Press for The William Blake Trust, London, 1976]. One of 480 numbered copies bound in quarter morocco (this copy being No. 277), out of a total edition of 538 copies. Quarto (11 1/2 x 9 1/4 inches; 293 x 238 mm.). [7], [1, colophon] pp. Five color collotype and hand-stenciled facsimile plates. ìCommentary and Bibliographical Historyî by Geoffrey Keynes. Printed on Arches pure rag paper made to match the paper used by Blake. Original quarter light brown morocco over marbled boards. Spine lettered in gilt. A bit of drying to the morocco, otherwise a fine copy. Housed in the original marbled board slipcase with light brown morocco tips. Facsimile of the unique copy in the British Museum, London. ìThe poem opens with a lamentation by ëEno aged Motherí over the loss of Edenic pleasures through Urizenic error and the world it creates. The narrative then centers on Losís anguished responses to that world, including his transformation of the void into matter and his binding of Urizen. The five plates of The Book of Los were etched in intaglio and printed in 1795î (http://www.blakearchive.org/exist/blake/archive/work.xq?workid=b-los&java=yes). Bentley, Blake Books Supplement, p. 62. 1976
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  BLAKE, William | Trianon Press | Keynes, Geoffrey | Book of Thel, The
The Trianon Press Facsimile of William Blakeís ìBook of Thelî BLAKE, William. The Book of Thel. [Clairvaux, Jura, France: Published by The Trianon Press for The William Blake Trust, London, 1965]. One of 380 numbered copies (this copy being No. 309), out of a total edition of 426 copies. Printed on Arches pure rag paper made to match the paper used by Blake, each page watermarked with Blakeís monogram. Quarto (10 7/8 x 8 1/2 inches; 277 x 215 mm.). Eight numbered color collotype and hand-stenciled facsimile plates. [7], [1, blank], [1, colophon], [1, blank] pp. ìDescription and Bibliographical Statementî by Geoffrey Keynes. Original quarter brown morocco over marbled boards. Spine lettered in gilt. Top edge gilt. A fine copy. Housed in the original marbled board slipcase with brown morocco tips. Facsimile of Copy O in the Rosenwald Collection, Library of Congress. ìThe Book of Thel is Blakeís first illuminated book written in lines of fourteen syllables, a measure used in most of his subsequent books. Thel, a virgin shepherdess burdened by her sense of mortality, seeks meaning for her life by talking with several creaturesóa lily, cloud, worm, and clod of clay. These speaking symbols of lifeís transience are satisfied with their lot because all believe themselves to be part of natural cycles related through self-sacrifice to a higher purpose. On the final plate, Thel comes to her grave and hears her own unanswered questions redolent with fears of both death and sexuality. This voice, and Thelís flight from it, indicate either her failure to accept the harsh facts of life or the failure of her interlocutorsí philosophy to satisfy the human desire for transcendental truths. Blake etched The Book of Thel in relief, with a few touches of white-line work, on eight plates in 1789, the date on the title page, and 1790î (http://www.blakearchive.org/exist/blake/archive/work.xq?workid=thel&java=yes). Bentley, Blake Books, 26. 1965
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  DICKENS, Charles | Eckel, John C. | First Editions of the Writings of Charles Dickens, The
[DICKENS, Charles]. ECKEL, John C. The First Editions of the Writings of Charles Dickens, Their Points and Values. A BibliographyÖRevised and Enlarged, with Illustrations and Facsimiles. New York: Maurice Inman, Inc. [and] London: Maggs Bros. 1932. Second edition, revised and enlarged (first published in 1913). Limited to 750 numbered copies (this copy being No. 22). Quarto (9 3/8 x 6 1/4 inches; 238 x 158 mm.). xvi, [2], 272, [6, blank except for ìNotesî] pp. Frontispiece and twenty-eight plates. Original maroon morocco-grain cloth lettered in gilt on spine. Top edge gilt. Edges lightly bumped. Ink inscription on front free endpaper: ìLeslie Bricusse/Work Copy.î A very good copy. Gimbel H160. 1932
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  BULL, René | Mérimée, Prosper | Johnson, A.E. | Carmen
One of 100 Copies Signed by René Bull [BULL, René, illustrator]. M…RIM…E, Prosper. Carmen. Translated by A.E. Johnson. With Pictures by René Bull. London: Hutchinson & Co., [n.d, 1916]. Edition de Luxe. Limited to 100 numbered copies (this copy being No. 55), signed by the artist. Quarto (10 3/4 x 8 7/16 inches; 273 x 214 mm.). [2, blank], x, 204 pp. Color frontispiece and fifteen color plates, with descriptive tissue guards. Seventy-four black and white illustrations in the text. Original vellum over boards pictorially stamped and lettered in gilt on front cover and spine. Gray and white pictorial endpapers. All edges gilt. Spine a little darkened. Otherwise an excellent copy of this very scarce signed limited edition. René Bull (d. 1942) ìwas born in Ireland and went to Paris to study engineering, but left this for art work in London, 1892. After working for various magazines, he was appointed ëspecialí for Black and White, 1896, attending the Armenian massacres and the Graeco-Turkish War as artistÖHe served in the First World War in RNVR, 1916, and RAF, 1917. Bull was one of the most versatile specials because his stature as an artist was above average. Not only an accurate reporter, he was a talented comic draughtsman and a brilliant illustrator of fairy storiesî (Houfe, The Dictionary of 19th Century British Book Illustrators, p. 81). Works illustrated by Bull include: La Fontaineís Fables (1905), Uncle Remus, by Joel Chandler Harris (1906), The Arabian Nights (1912), The Russian Ballet by A.E. Johnson (1913), Rubáiyát of Omar Khayyám (1913), Carmen, by Prosper Mérimée (1916), and Travels into Several Remote Nations of the World, by Jonathan Swift (1928). 1916 first edition signed
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  CLARKE, Harry | POE, Edgar Allan | Tales of Mystery and Imagination by Edgar Allan Poe
Edgar Allan Poeís ìTales of Mystery and Imaginationî Illustrated by Harry Clarke [CLARKE, Harry, illustrator]. POE, Edgar Allan. Tales of Mystery and Imagination. Illustrated by Harry Clarke. London: George G. Harrap & Co., [1928]. Reprint of the second trade edition (the first with color plates). Quarto (10 9/16 x 8 inches; 269 x 203 mm.). 381, [2], [1, blank] pp. Eight color plates mounted on gray paper (including frontispiece), twenty-four black and white plates, and twenty-seven decorative tail-pieces and vignettes. Original black cloth with pictorial paper label printed in gold and black on front cover. Spine pictorially stamped and lettered in gilt. Top edge gilt. Minor wear to extremities. Some very light foxing to endpapers. A very good copy. Tales of Mystery and Imagination was first published in 1919 with twenty-four black and white plates. It was republished in 1923 with all but one of the black and white plates in the 1919 edition (The Colloquy of Monos and Una illustration (facing p. 240) replaced by an extra Pit and the Pendulum illustration (facing p. 252)), three extra tail-pieces (twenty-seven in all, the ten basic designs being repeated a number of times), and eight additional color plates tipped in on gray card (cf. Bowe). ìMr. Harry Clarke has allowed himself full liberty in attempting to express the features of Poeís Tales which differentiate them from others. In his drawings, the morbid imaginings of Poeís extraordinary genius are depicted without any attempt to soften their weird effects upon most readers. At the same time the drawings are extremely beautiful. They exhibit a wealth of delicate and intricate design such as few other, if any, living artists can commandî (Harrapís advertising feature in the Bookmanís Christmas Supplement, quoted in Bowe, p. 52). See Bowe, pp. 149-150. Steenson A2.j. 1928
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  DICKENS, Charles | Story of Little Dombey, The
With a Clipped Signature of Dickens DICKENS, Charles. The Story of Little Dombey. London: Bradbury& Evans, 1858. First edition thus. With a Clipped Signature of Dickens mounted on the verso of the half-title. Small octavo. [4], 121, [1, blank], [1, ads] pp. Original green printed wrappers. Early expert restoration at foot of spine. Bookplate on inside front wrapper, small booksellerís description mounted on half-title. An excellent copy. Housed in a quarter light brown morocco over terra cotta cloth clamshell case by Sangorski & Sutcliffe. An excerpt from one of Dickensís most popular novels, prepared for the authorís famous public readings. ìDickens first read The Story of Little Dombey in London on 10 June 1858 and its enormous popularity caused him to keep it in his repertoire for the rest of his reading careerî (The Catalogue of the Suzannet Charles Dickens Collection, p. 13). Gimbel B171. 1858
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  DULAC, Edmund | Poe, Edgar Allan | Bells and Other Poems, The
One of 750 Copies, Signed by Edmund Dulac [DULAC, Edmund, illustrator]. POE, Edgar Allan. The Bells and Other Poems. With Illustrations by Edmund Dulac. London: Hodder and Stoughton, [n.d., 1912]. Edition de Luxe. Limited to 750 copies (this copy being No. 318), numbered and signed by the artist. Large quarto (12 1/8 x 9 7/8 inches; 309 x 250 mm.). Unpaginated. Twenty-eight mounted color plates, with descriptive tissue guards. Ten black ink head-pieces on tan backgrounds and portrait of Poe on the title-page, also in black ink on tan background. Original vellum over boards. Front cover and spine lettered and pictorially stamped in gilt with an all over Dulac design of clusters of bells. Top edge gilt, other uncut. Later silk ties. Endpapers lightly browned. An excellent copy. Loosely inserted is the Leicester Galleries announcement for the exhibition of Dulacís original drawings for The Bells. The exhibition ran from November 23 until Christmas 1912. Housed in a brown cloth slipcase. ìDulacís pictures for The Bells were more uniform in mood and style than groupings for almost any other book of his to this time. Although water colours, they are overstreaked with gilt in some cases, crayon in others, to produce rich haunting effects. Deep shades of blue and a special deep pink-rust predominate throughout. The style was so different from that in Dulacís other books that critics were taken by surprise and reacted contrastingly. The Times, describing the water colours at the Leicester Galleriesí exhibition (23 November 1912 until Christmas), finds serious fault with the lot: ëMr. Dulacís failure as an illustrator is more complete when he deals with the finer poems;Ö(he) neither in his colour nor his forms gives us any equivalent for the peculiar atmosphere of PoeÖ(he) has hampered himself fatally as an illustrator by his desire to be decorativeÖ(he) uses a decorative recipe and imposes it on his subject matter.íÖQuite a different view was expressed in The Outlook, which printed, in black and white, plate 22 and commented: ëÖfor the book thinking people will say with graceÖsometimes Dulacís pictures are deep-coloured and intense, sometimes dim and ghost-like. But one and all are sensitized to record impressions of unearthly beauty or horror. Only Poe could have written the poems. Only Dulac could have illustrated them.íÖNot to be overlooked here are the sophisticated ink drawings Dulac made for headpieces. Although many of the books he illustrated had small ink decorations throughoutÖhe had not worked in this medium so fluently since the days of doing illustrations for The Pall Mall magazine (1906-1908)ÖAs the 10 Bel