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524 title(s) found
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  BƒUERLE, Adolf | Illustrierte Theaterzeitung
With Fifty-Five Engraved Plates, Mostly Hand-Colored, Depicting Theatrical Life in Vienna [BƒUERLE, Adolf, editor]. Illustrierte Theaterzeitung. Herausgeber und Redacteur: Adolf Bäuerle. Nos. 1 and 2-No. 313 (Mittwoch den 1. und Donnerstag den 2. Jänner 1845-Mittwoch den 31. December 1845). Achtunddreissigster Jahrgang. Vienna: [Gedruckt bei J.B. Sollinger], 1845. First edition. Bound in two large quarto volumes (14 7/16 x 10 13/16 inches; 366 x 270 pp.). 624; [625]-732, [729]-732, [737]-940, [945]-1260 pp. Lacking issue Nos. 183 (pp. [733]-736) and 235 (pp. [941]-944), but with issue No. 182 (pp. [729]-732]) duplicated. Text in three columns. With fifty-five engraved plates (including four double-page) by André Geiger, J.W. Zinke, and Zechmayer, after Cajetan and Edmund Mahlknecht. With an additional plate ìDas Fest der Handwerkerî from Gallerie drolliger und interessanter Scenen (5t. Jahrgang No. 11) at the end. All of the plates, except for three of the double-page plates, are hand-colored. Contemporary dark green morocco-grain cloth. Smooth spines ruled in blind and lettered in gilt. Some occasional minor foxing. A few short tears in the outer margin(where the pages were once folded), some neatly/discreetly repaired. An excellent copy. There are twenty-four plates from the series ìModebilder zur Theaterzeitungî (Nos. 704-727); thirteen plates from the series ìSatyrisches Bildî (Nos. 43-55); nine plates from the series ìRebus. Beilage zur Theaterzeitungî (Nos. 12-19 and 21); four plates from the series ìCostume Bild zur Theaterzeitungî (Nos. 102-105); and four plates from the series ìBesondere Bilderbeylage zur Theaterzeitungî (Nos. 1-3 and 3). According to a pencilled note on the front pastedown of the first volume, plate No. 101 from the series ìCostume Bild zur Theaterzeitungî is lacking. However, there is no mention in the text of a plate No. 101, and facing p. 164 in issue No. 40 (where plate No. 101 should be bound), is an added engraved title: ìWiener Allgemeine Theaterzeitung Sieben und Dreissigster, Jahrgang, Wien, 1844.î Plate No. 20 (which should be opposite p. 956 in No. 238) from the series ìRebus. Beilage zur Theaterzeitungî is lacking. Adolf Bäuerle (1786-1859), ìwas the author of more than seventy plays in the style of the Viennese popular theatreÖIn 1806 he founded the Theaterzeitung, which appeared until 1860 and provided him with a livelihood. In 1813 he wrote his first play, Kinder und Narren reden die Wahrheit, for the Theater in der Leopoldstadt, in which his plays were to be acted for the next thirty years. He wrote three or four plays a year until 1827. From then until 1848 he restricted himself mainly to journalismî (The Oxford Companion to German Literature). Hiler, p. 19 (under Allgemeine Theaterzeitung und Originalblatt für Kunst, Literature, Musik, Mode und geselliges Leben). 1845
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  REMARQUE, Erich Maria | All Quiet on the Western Front
First English Edition REMARQUE, Erich Maria. All Quiet on the Western Front. Translated from the German by A.W. Wheen. London: G.P. Putnamís Sons, [1929]. First edition in English of the authorís first novel (first published in German in 1929 with title: Im Westen Nichts Neues). Small octavo (7 7/16 x 4 7/8 inches; 190 x 185 mm.). 319, [1] pp. Original natural linen lettered in dark green on front cover and spine. Top edge stained dark green. Light foxing to edges, slight browning to endpapers. A near fine copy. In the original dark green dust jacket (jacket with minor rubbing along top edge). Erich Maria Remarque, pseudonym of Erich Paul Remark (1898-1970), ìwas twice wounded during the 1914-18 War, after which he had a variety of jobs before becoming a journalist in the 1920s and writing his war novel Im Westen nichts Neues (1929). A world-wide success as a novel and film, it portrays his experiences on the western front with great intensity and intentionally brutal realism. But the pacifism underlying Remarqueís treatment of war also met with bitter criticism; in 1933 the novel was one of the books burnt publicly in Berlin by the National Socialist regimeî (The Oxford Companion to German Literature). The 1930 film, directed by Lewis Milestone and featuring Lew Ayres, won the Academy Award for both Milestone and Best Picture. ìThis is an English language film (made in America) adapted from a novel by German author Erich Maria Remarque. The film follows a group of German schoolboys, talked into enlisting at the beginning of World War I by their jingoistic teacher. The story is told entirely through the experiences of the young German recruits and highlights the tragedy of war through the eyes of individuals. As the boys witness death and mutilation all around them, any preconceptions about ëthe enemyí and the ërights and wrongsí of the conflict disappear, leaving them angry and bewilderedÖThe film is not about heroism but about drudgery and futility and the gulf between the concept of war and the actualityî (Plot Summary for All Quiet on the Western Front by Michele Wilkinson, University of Cambridge Language Centre, at http://www.imdb.com/title/tt0020629/plotsummary). 1929 first edition
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  NORTON, Mary | Borrowers, The
First Edition of Mary Nortonís ìThe Borrowersî NORTON, Mary. The Borrowers. With Illustrations by Diana Stanley. London: J.M. Dent & Sons, 1952. First edition. Small octavo (7 3/4 x 5 1/2 inches; 197 x 140 mm.). 159, [1, blank] pp. Color frontispiece and numerous text illustrations in sepia. Original turquoise cloth pictorially stamped and lettered in purple on front cover and spine. Pictorial endpapers. Minimal rubbing to corners and spine extremities. A fine copy of this scarce book. In the original color pictorial dust jacket (jacket with minor chipping at folds and a few short tears at spine extremities). ìEverybody knows how small objects disappearóthe piece of india rubber you left in the pencil-drawer; the match-box you tucked in the green vase; the half-inch of sealing-wax; studs, hairpins, paper-clips, safety-pins, odd glovesÖThese things must be somewhere. But where? Mary Nortonís book throws new light on this mysteryî (front flap of jacket). 1952 first edition
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  DOYLE, Arthur Conan | Hound of the Baskervilles, The
A Fine First Edition ìHoundî in the Original Cloth DOYLE, A[rthur] Conan. The Hound of the Baskervilles. Another Adventure of Sherlock Holmes. London: George Newnes, 1902. First edition in book form (first serialized in the Strand Magazine between August 1901 and April 1902). Small octavo (7 1/4 x 4 3/4 inches; 184 x 122 mm.). [8], 358, [1], [1, blank] pp. With sixteen plates (including frontispiece) by Sidney Paget. Original scarlet cloth pictorially stamped in gilt and black (in a design by Alfred Garth Jones) and lettered in gilt on front cover and pictorially stamped and lettered in gilt on spine. Spine slightly faded, minor blistering to cloth on covers near joints. Minimal foxing to edges, free endpapers slightly browned from pastedown glue. Otherise an excellent copy, with the gilt bright and fresh. The Hound of the Baskervilles ìwas based on an idea given to [Doyle] by Bertram Fletcher Robinson, who was a nephew of Sir John Robinson and a correspondent for the Daily Express during the Boer War. The two men struck up a friendship when travelling back on the same ship from Cape Town. They spent four days together on a golfing holiday at Cromer in March 1901, and it was then that Robinson mentioned the legend (possibly of the Black Hound of Hergest associated with the Vaughan family of Hergest Court in Herefordshire). Doyle told his mother: ëFletcher Robinson came here with me and we are going to do a small book together ìThe Hound of the Baskervillesîóa real creeperíÖThe serial publication was an unprecedented success. It was the only occasion in the magazineís history that a seventh printing was needed to meet the demand, and the queues at the publisherís offices and throughout the country were extraordinaryî (Green and Gibson, p. 130). Green and Gibson A26a. 1902 first edition
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  LEONARD, Elmore | Get Shorty
Signed by Elmore Leonard LEONARD, Elmore. Get Shorty. [New York]: Delacorte Press, [1990]. First edition. Signed by the author on the title-page in blue ink. Octavo (9 3/16 x 6 1/8 inches; 234 x 155 mm.). [10], 292, [2, blank] pp. Original quarter white linen over black boards. Front cover stamped in blind with a palm tree. Spine lettered in green. A fine copy. In the original color pictorial dust jacket. "íThe best American writer of crime fiction aliveí (Newsweek) outdoes himself in GET SHORTY, a novel that proves the successful crook has all the job skills required to make it in Hollywood. GET SHORTY features the real-life characters, scams, surprises, gunplay, and read-aloud dialogue you expect from Elmore Leonard, and something more: the benefit of his twenty yearsí experience in the film industryî (blurb on front flap of jacket). 1990 first edition dust jacket signed
Price: USD 100.00 other currencies   order no. 00354   details     inquire
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  FORE-EDGE PAINTING | Gosden, Thomas | Lathy, Thomas | Angler; A Poem, in Ten Cantos, The
An Angling Binding by Thomas Gosden, with a Fore-Edge Painting by or for Thomas Gosden [FORE-EDGE PAINTING]. [GOSDEN, Thomas, binder]. LATHY, T[homas] P. The Angler; A Poem, in Ten Cantos. Comprising Proper Instructions in the Art, with Rules to Choose Fishing Rods, Lines, Hooks, Floats, Baits, and to Make Artificial Flies; Receipts for Pastes, &c. &c. Embellished with upwards of Twenty beautiful Wood-cuts. London: Printed for J.H. Burn, 1820. Second edition (first published in 1819). Small octavo (6 5/8 x 4 1/16 inches; 169 x 103 mm.). xxi, [1, blank], [1], [1, blank], 194, [4], [197]-234 pp. Steel-engraved frontispiece portrait of Thomas Gosden by J. Scott after A. Cooper. Wood-engraved title vignette and wood-engraved head- and tail-piece vignette for each canto. Contemporary green straight-grain morocco. The binding is almost certainly by Thomas Gosden, the sporting bookseller, who paid £30 for the copyright and bound a number of copies. Covers decoratively panelled in blind with a central gilt vignette of a seated angler. Spine in five compartments with four raised bands, lettered in gilt in two compartments and decoratively tooled in gilt in the remaining three compartments (a fish in one compartment and creels in two compartments). Board edges and turn-ins decoratively tooled in gilt. All edges gilt. With a contemporary fore-edge painting by or for Thomas Gosden depicting a fisherman seated on a river bank. Minor rubbing to extremities. The colors on the fore-edge painting are a little dull. An excellent example. A volume of rare delight, being, as Westwood and Satchell note, ìone of the worst instances of literary appropriation on record.î The poem, produced originally by a Dr. Scott of Ipswich, ìis transported bodily into Lathyís book, with a few substitutions and modificationsÖIn Canto X, having exhausted Scottís poem, Lathy has to fall back on his own resources, which do not carry him beyond a few dozen feeble lines.î As though this was not enough, Lathy ends by plagiarizing Isaac Waltonís ìAnglerís Wish.î ìBindingÖwas only one, and not the most important, of Gosdenís activities. He was a bookseller, a printseller, a publisher of both sporting books and prints, an artist and engraver of modest attainments, and also a book collectorÖAt the end of 1825 Gosden wound up the business which he carried on at 18 Bedford Street, Covent Garden, under the title of The Sportsmanís RepositoryÖThe stock was dispersed by the auctioneer, George Jones, on 17 January 1826 and the three following days. The 480 lots sold for a total of £1169 17s 6d and their descriptions provide an insight into the printselling and publishing practices of the ageÖTwenty-eight copies of The Angler, a Poem 1819 are a reminder of a fraud perpetrated on Gosden by T.P. Lathy, who sold him the manuscript for £30 as his own work. It was not until Gosden had issued an edition with a portrait of himself as the frontispiece (with 25 large-paper copies and an example on vellum) that the great-nephew of the real author Dr Thomas Scott, wrote to the Gentlemanís Magazine to point out that the poem already had been published in 1758 and reprinted in 1773î (A.N.L. Munby, ìNotes on Thomas Gosden,î in The Book Collector, Volume 24 (1975), pp. 13-16). Westwood and Satchell, Bibliotheca Piscatoria, p. 131. 1820
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  ROWLANDSON, Thomas | Raspe, Rudolph Erich | Raspe, Rudolf... Surprising Adventures of the Renowned Baron Munchausen
ìThe Adventures of Baron Munchausenî Illustrated by Thomas Rowlandson [ROWLANDSON, Thomas, illustrator]. [RASPE, Rudolf Erich]. Surprising Adventures of the Renowned Baron Munchausen, Containing Singular Travels, Campaigns, Voyages, and Adventures. Also, an Account of a Voyage to the Moon and Dog Star. Embellished with Numerous Engravings. London: Printed for Thomas Tegg, 1809. First edition illustrated by Thomas Rowlandson. Twelvemo (6 5/16 x 3 11/16 inches; 161 x 94 mm.). [4], viii, 144 pp. Nine hand-colored engraved plates, including folding frontispiece. Seven of the plates have the original tissue guards. Contemporary half red straight-grain morocco, ruled in gilt, over the original drab boards. Spine decoratively tooled and lettered in gilt in compartments. All edges gilt. Minimal rubbing to corners and spine extremities. Minimal offsetting from the plates. A wonderful copy. With a pencilled note on the front free endpaper: Beckford Copy. Small diamond-shaped label on the front pastedown with pencilled shelfmark: B.4. The plates are captioned: ìFrontispieceî (facing title-page); ìThe Baron, arrives at Ceylon, combats and conquers two extraordinary opponents Chap 1î (facing p. 1); ìThe Baron proves himself a good shot. Chapt 2î (facing p. 7); ìPresented with a famous horse by Count Pzzobosky [i.e. Przobossky], with which he performs many extraordinary feats. Chap 5î (facing p. 15); ìBathes in the MediterraneanÖis swallowed by a Fishófrom which he is extricated by dancing a hornpipe. Chapt. 7î (facing p. 25); ìThe Baron Jumps into the Sea with a Turkish piece of Ordnance. Chapter 9) (facing p. 35); ìThe Ship driven by a Whirlwind a thousand leagues above the surface of the water. Chapt 11î (facing p. 42); ìLose their Compass, their ship slips between the teeth of a fish unknown in this part of the world. Cha. 12î (facing p.49); ìThe Baron crosses the Thames, without the assistance of a bridge ship boat or balloon, or even his own will. Chap 25î (facing p. 142). ìThis name [Baron Munchausen] is famous in literary history on account of the amusingly mendacious stories known as the Adventures of Baron Munchausen. In 1785 a little shilling book of 49 pages was published in London (as we know from the Critical Review for December 1785), called Baron Munchausen's Narrative of his Marvellous Travels and Campaigns in Russia. No copy is known to exist, but a second edition (apparently identical) was printed at Oxford early in 1786. The publisher of both these editions was a certain Smith, and he then sold it to another bookseller named Kearsley, who brought out in 1786 an enlarged edition (the additions to which were stated in the 7th edition not to be by the original author), with illustrations under the title of Gulliver Reviv'd: the Singular Travels, Campaigns, Voyages, and Sporting Adventures of Baron Munnikhouson, commonly pronounced Munchausen; as he relates them over a bottle when surrounded by his friends. Four editions rapidly succeeded, and a free German translation by the poet Gottfried August Bürger, from the fifth edition, was printed at Göttingen in 1786. The seventh English edition (1793), which is the usual text, has the moral sub-title, Or the Vice of Lying properly exposed, and had further new additions. In 1792 a Sequel appeared, dedicated to James Bruce, the African traveller, whose Travels to Discover the Nile (1790) had led to incredulity and ridicule. As time went on Munchausen increased in popularity and was translated into many languages. Continuations were published, and new illustrations provided (e.g. by T. Rowlandson, 1809; A. Crowquill, 1859; A. Cruikshank, 1869; the French artist Richard, 1878; Gustave Doré, 1862; W. Strang and J.B. Clark, 1895). The theme of Baron Munchausen, the ëdrawer of the long-bowí par excellence, has become part of the common stock of the worldís story-telling. The original author was at first unknown, and until 1824 he was generally identified with Bürger, who made the German translation of 1786. But Bürgerís biographer, Karl von Reinhard, in the Berlin Gesellschafter of November 1824, set the matter at rest by stating that the real author was Rudolf Erich RaspeÖRaspe had apparently become acquainted at Göttingen with Hieronymus Karl Friedrich, Freiherr von Münchhausen, of Bodenwerder in Hanover. This Freiherr von Münchhausen (1720-1797) had been in the Russian service and served against the Turks, and on retiring in 1760 he lived on his estates at Bodenwerder and used to amuse himself and his friends, and puzzle the quidnuncs and the dull-witted, by relating extraordinary instances of his prowess as soldier and sportsman. His stories became a byword among his circle, and Raspe, when hard up for a living in London, utilized the suggestion for his little brochureî (The Encyclopædia Britannica, Eleventh Edition). 1809 first edition
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  KIPLING, Rudyard | Jungle Book, The [Together with:] The Second Jungle Book
A Superb First Edition Set of ìJungle Booksî KIPLING, Rudyard. The Jungle Book. With Illustrationsby J.L. Kipling, W.H. Drake, and P. Frenzeny. London: Macmillan and Co., 1894. First edition. Small octavo (7 5/16 x 4 13/16 inches; 185 x 122 mm.). [2, blank], vi, [2, contents], 212 pp. Frontispiece (with tissue guard) and forty-two text illustrations (nineteen full-page). [Together with:] KIPLING, Rudyard. The Second Jungle Book. With Illustrations by J. Lockwood Kipling,C.I.E. London: Macmillan and Co., 1895. First edition. Small octavo (7 5/16 x 4 13/16 inches; 186 x 123 mm.). [2, blank], [6], 238, [2, publisherís advertisements] pp. Thirty-nine text illustrations, including head- and tail-piece vignettes and historiated initials. Each volume in the original bright blue cloth decoratively ruled and pictorially stamped in gilt on front cover and spine and lettered in gilt on spine. All edges gilt. Original dark gray/green coated endpapers. The absolute minimum of rubbing to corners and spine extremities. Some light foxing in The Second Jungle Book. Lower edge of rear free endpaper in The Second Jungle Book a little stained by the ink dye. Small booksellerís description tipped to front free endpaper of The Jungle Book. A superb set, exceptionally clean and bright. The Jungle Book is a ìcollection of stories by Rudyard Kipling, published in 1894. The Second Jungle Book, published in 1895, contains stories linked by poems. The stories tell mostly of Mowgli, an Indian boy who is raised by wolves from infancy and who learns self-sufficiency and wisdom from the jungle animals. The book describes the social life of the wolf pack and, more fancifully, the justice and natural order of life in the jungle. Among the animals whose tales are related in the work are Akela the wolf; Baloo the brown bear; Shere Khan, the boastful Bengal tiger who is Mowgliís enemy; Kaa the python; Bagheera the panther; and Rikki-tikki-tavi the mongooseî (Merriam-Websterís Encyclopedia of Literature). Grolier, Kipling, 185 and 197. Livingston 104 and 116. Martindell 61 and 63. Stewart 123 and 132. 1894 first edition
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  SEUSS, Dr. | Geisel, Theodor Seuss | Cat in the Hat, The
First Edition of ìThe Cat in the Hat,î in the Rare First Issue Dust Jacket SEUSS, Dr. (pseudonym of Theodor Seuss Geisel). The Cat in the Hat. [New York]: Random House, [1957]. First edition, first issue. Octavo (8 15/16 x 6 3/8 inches; 227 x 163 mm.). [2], 61, [1] pp. Color illustrations throughout. Original unglazed color pictorial boards. Color pictorial endpapers. Tiny area of slight discoloration on front board, small stain on back board, the bare minimum of rubbing to spine extremities. Small erasure at top corner of front free endpaper. A near fine copy, far better than is usually seen. In the rare original first issue color pictorial dust jacket, with the price ì200/200î on the front flap and with no mention of the ìBeginner Booksî series on the rear panel. Jacket with the bare minimum of rubbing at folds. ìDr Seussís best-known picturebook epitomises the concept of instruction through delight. The Cat in the Hat was composed as a controlled vocabulary book with only 223 different words. Seuss created the book as a response to a 1954 article in Life magazine by John Hersey which speculated that the decline in childrenís reading abilities in the United States was due to the dull basal readers used in school...and suggested that childrenís writers, such as Seuss, might try to write a school primer. Seuss found the limited vocabulary a challenge and, after a period of frustration, simply chose the first two words that rhymed-ëcatí and ëhatí-from the list of approved words and created his most memorable character...The popularity of The Cat in the Hat led to the founding of the Beginner Book division of Random House in 1957 with Dr Seuss as president. The image of the Cat in the Hat became the logo for this controlled vocabulary series, which included the sequel The Cat in the Hat Comes Back (1958) as well as Green Eggs and Ham (1960). The Cat reappears in The Cat in the Hat Songbook (1967), The Catís Quizzer (1976) and I Can Read with My Eyes Shut (1978)î (The Cambridge Guide to Childrenís Books in English). Younger & Hirsch 7. 1957 first edition dust jacket
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  WHITMAN, Walt | Bennett, Whitman | Leaves of GrassÖ[And:] Complete Prose Works
With an Autograph Manuscript Fragment by Walt Whitman, an Autograph Letter Signed by John Burroughs, and a Typed Letter Signed and Three Autograph Letters Signed by Edmund C. Stedman WHITMAN, Walt. Leaves of Grass. Including Sands at Seventy, Good By My Fancy, Old Age Echoes, and A Backward Glance oíer Travelíd Roads. Boston: Small, Maynard, & Company, 1898. [Together with:] WHITMAN, Walt. Complete Prose Works. Specimen Days and Collect, November Boughs and Good Bye My Fancy. Boston: Small, Maynard & Company, 1898. Large-paper edition. One of sixty copies for sale in the United States (this being copy number ì16î), out of a total edition of ninety copies. Signed by the publishers, Small Maynard & Company. Two large octavo volumes (8 7/8 x 6 1/8 inches; 226 x 155 mm.). [2, blank], [2, limitation leaf], [8], 455, [5, blank]; [2, limitation leaf], xiii, [1, blank], [1, list of illustrations], [1, blank], [1, fly-title], [1, blank], 527, [3, blank] pp. Photogravure frontispiece portrait and five photogravure plates, with tissue guards, one facsimile. (The Leaves of Grass contains four plates not in the trade edition, the Complete Prose Works contains two plates not in the trade edition.) Printed on handmade paper watermarked ìRuisdael.î Bound by Whitman Bennett of New York (stamp-signed in gilt on the front turn-in) in full green levant morocco. Covers with gilt double fillet border and tiny gilt floral corner ornaments, spines in six compartments with five gilt-decorated raised bands, gilt-lettered in one compartment and panelled in gilt in the remaining compartments, with ìLimited Edition 1898î at foot, turn-ins ruled in gilt with gilt dot ornaments in the corners, red levant morocco doublures, green watered silk liners, top edge gilt, others uncut. Minimal foxing and darkening to edges, tiny faint dampstain in the upper blank corner, most noticeable at the beginning of Leaves of Grass and at the end of Complete Prose Works. A few pencil marking in the table of contents of each volume. Pages 254 and 255 of Leaves of Grass are slightly browned from an insertion (since removed). Complete Prose Works with a small ink stain and tiny adhesion to blank lower portion of p. xiii, pp. 289/290 torn across and neatly repaired, just affecting a couple of letters. An excellent copy. Bound in at the front of Leaves of Grass is a leaf of manuscript in Whitmanís hand, a Typed Letter Signed by Edmund C. Stedman, and an Autograph Letter Signed by John Burroughs. The Autograph Manuscript fragment (one page, written in black ink on paper ruled in blue): ìFor there are [deletion] vast & noble themes outside of & deeper than the topics even of Culture, Heroism, Intellect, or [deletion] best criticism of the Genuises and recipes for [?] gentlemen & scholars. The problems of Being, of the [deletion] universeís Harmony, [two words crossed out] of [the, crossed out] absolutness of Spirit inside and outside of Matter, and [Both, crossed out] The Body at its best [and, crossed out] or the Soul at its best relishes still other food. In profoundest hours these themes are tiresome.î The fragment is inscribed on the verso: ìoriginal MSS. of Walt Whitman, J.H. Johnston, 1902.î (See William White, ìëThe Body at Its Bestí: A Whitman Fragment,î Walt Whitman Review, 27 (March 1981), 48). The manuscript fragment is accompanied by a calligraphic leaf : ìI certify that the accompanying sheet is a page of Original Manuscript written by Walt Whitman. It was sent to me by him, and has been in my possession ever since.î Signed Jeannette L. [?]. ìSworn to before me May 19, 1902,î signed by the notary (Annie B. Walters), with her gold embossed seal. The Typed Letter Signed (two small octavo pages on one folded sheet) by Edmund C. Stedman to Mr. John H. Johnston, on Lawrence Park, Bronxville, N.Y. letterhead, is dated ìDecoration Day 1901. ìMr. John H. Johnston, ëMannahattaí, Dear Mr. Johnston; I have expressed to Secretary Traubel my regret that I cannot attend the dinner of the Walt Whitman Fellowship to-morrow evening. Irrespectively of individual convictions as to war and expansion, it may be said that there can be no more auspicious year for a Whitman reunion than this, when the flag of Democratic America at last floats in peace, as he prophesied, over the Pacific isles and far toward the shores of Asia. The Fellowship, besides, may well feel at home in this city ëof the aboriginal nameí so dear to Walt Whitman--the metropolis which he so often called ëmy cityí, avowing that nothing could ever ëbe more stately and admirableí to him ëthan mast-hemmed Manhattaní. To his insistence upon this name, at least as much as to any other cause, is due the fact that at last his ëisland sixteen miles long, solid-foundedí, constitutes the chartered Borough of Manhattan. Its sturdiest bard and lover never had a doubt but that it would in time be so.î The Autograph Letter Signed (two small octavo pages on the rectos of one folded sheet)by John Burroughs, ìWest Park NY, May 3d/99,î is to an unknown recipient: ìDear Sir: I never heard Whitman say that he ever went to Plymouth Church, I doubt his ever having gone there. Yet he knew [Henry Ward] Beecher. They once met on the Camden ferry & B. was very cordial W. said. I heard Walt speak of him at the time of his death as a miscellaneous man. I remember that he spoke affectionately of him & said many things in his praise. When they met in Camden B. asked Walt to visit him in Brooklyn. I agree with you that he did not owe anything to Beecher & not much to Emerson. His democracy & comradship find no countenance in E.î Bound in at the front of Complete Prose Works are three Autograph Letters Signed by Edmund Clarence Stedman, two to Mr. John H. Johnston and one to John Swinton. The first letter, to Mr. Johnston, is dated Nov. 21st 1881 (two octavo pages on one folded sheet), on Office of E.C. Stedman & Co. Bankers & Brokers, No. 8 Pine Street, New York letterhead: ìMy dear Mr. Johnston, I am indeed very much obliged to you for your thoughtful & very welcome letter. The only thing, of note, which I could justly bring against Whitman, is that [He, crossed out] he never took any notice of my long & honest article except to quote from it in The Critic, saying ëOne of my recent critics, who ought to know betterí &c. &c. I do not attribute to him most abusive language used toward me by a paper on whose staff he has influential friends. Nor do I sympathize with equally abusive articles [about?] him in various papers. The Sun review seemed fair to [me, crossed out] Whitman, in the main thoughts, & very well written.î The second letter (two octavo pages on recto and verso of one sheet), addressed to John Swinton, is dated M[ar]ch 30th 1876, on ìOffice of E.C. Stedman, Stock Broker, No. 80 Broadway, New Yorkî letterhead: ìMy dear Philosopher: You [?] all this talk about Whitman, which must be very painful alike to him & to his friends. My name has been printed in connection with his case, greatly to my annoyanceóespecially as I am forced to disclaim a printed statement.óBut really = Is old Hesiod in want? And, if so, why donít you, who know him so well, & who are so well acquainted with many of us writing-men, quietly pass the word around, & give the Yankees a chance to forestall the Britishers in making things brighter for the good gray [?]? Even the Philistines w[oul]d gladly [?] in, accordiní to their ëlightí & means. I take this opportunity of acknowledging your remittance, which has been found to your creditóor which, when the Bank cashes it [?] not yet been able to fill the other on the ëfancyí securities, but to printers are rapidly getting ready the [?] investment [?] guaranteed by the Victorian Poets.î Together with the original Autograph Envelope, addressed to Mr. John Swinton, 134 E. 38th St. City, with the original stamp and postmark: ìNew York Mar. 30, 5.P.M.î The third letter (two octavo pages on recto and verso of one sheet), dated Mar. 17th 1879, is to J.H. Johnston, Esq., on paper headed ìMemorandum. From E.C. Stedman, 80 Broadway, New Yorkî: ìMy Dear Sir: Your [?] is at hand. I shall be glad to hear Whitmanís lecture, and have no doubt it will be strong & onquial, and produce an impression. I have nothing to do with the management of it. Do not belong to the Union League Club. Never did. Donít know Mr. Staunton, to remember him, although I learn that he is a member of the Stock Exchange. Between my cares in relation to Taylorís death & burial, my delayed & pressing work, and a strenuous effort I am making to get away to Europe, I have been & am about distracted; begin to feel as if I wish somebody would help me. In three years my whole time has been devoted to my brother authors, & other peopleís affairsóand I am losing my health & courage.î Leaves of Grass is the first issue to contain ìOld Age Echoes.î Complete Prose Works contains the first book appearance of ìWalt Whitmanís Lastî (pp. 526-527), which was first published in Lippincottís Magazine, August, 1891. Poet, critic, and anthologist Edmund Clarence Stedman (1833-1908) was ìborn in Connecticut [and] studied at Yale for two years before going to New York City, where he worked as a journalist and stockbroker. His early poetry, including abolitionist verse, was collected in Pan in Wall Street (1867). Stedman, an influential critic in his day, was an admirer of Edgar Allen [sic] Poe and one of the first to recognize the abilities of Walt Whitman. In The Nature and Elements of Poetry (1892) he decried prosaic moralism. In collaboration with George Edward Woodberry he edited a 10-volume edition of The Works of Edgar Allan Poe (1894-95). Two volumees of Stedmanís criticism, Victorian Poets (1875) and Poets of America (1885), were supplemented by two anthologies, A Victgorian Anthology (1895) and An American Anthology (1900), both of which becam widely popularî (HarperCollins Readerís Encyclopedia of American Literature). ìJohnston was a New York jeweler who befriended Whitman and housed him for long stays in New York in the late 1870s. During Whitmanís first stay in 1877, Amelia Johnston died as she gave birth to Harryóand Whitman was protective of the children, especially Harry, ever after, regarding them as ëmodel children lively & free.í Many years later, John H. Johnston remembered that during Whitmanís brief two-day visit on July 6 and 7, 1878, ëWalt enjoyed rambling up & down the Avenue and opposite in Central Park with our two youngest children, and one day of his own accord he took them down to Kurtzóthen the most famous photographer in New York and had himself photographed with themî (http://www.vqronline.org/viewmedia.php/prmMID/9082). 1898
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  TENNYSON, Alfred, Lord | Tennyson, Charles | Tennyson, Fr... Poems, by Two Brothers
Tennysonís First Book of Poems, the Jerome Kern Copy, Uncut, in the Original Boards, Together with an Autograph Letter Signed by Tennyson [TENNYSON, Alfred, Lord, Charles Tennyson, and Frederick Tennyson]. Poems, by Two Brothers. London: Printed for W. Simpkin and R. Marshall, Stationersí-Hall-Court; and J. and J. Jackson, Louth, 1827. First edition, first issue, small paper copy, of Tennysonís first book of poems, written with his brothers, Charles and Frederick, and published anonymously. Small octavo (6 11/16 x 4 1/4 inches; 170 x 108 mm.). xii, 228 pp. Uncut, in the original drab boards with the original printed paper spine label. Expertly and almost invisibly rebacked in the early twentieth century. Front joint expertly and almost invisibly repaired. Some minor marginal foxing or staining. With the leather bookplate of Jerome Kern and the ink signature of A.C. Winstanley, dated 1852, on the front pastedown. Ink shelfmark ì8625î on the front free endpaper. A spectacular copy. Chemised in a full dark green morocco gilt pull-off case. Laid in is an Autograph Letter Signed from Lord Tennyson to a Mr. Elwes, relating that he had finally recovered a book of his which his sister had loaned to a woman who never returned it: ìMy dear Mr. Elwes/Much obliged. Smith himself sent/to me. I have got it back for six/guineas. My sister (48 years ago) lent/it to a woman who never returned it/& now I have to pay for my own/Yours sincerely/A. Tennyson/Dec./22/-74.î With the original stamped envelope addressed in Tennysonís hand: ìD.C. Elwes Esq/5 The Crescent/Bedford.î This copy was Lot 1281 in the Jerome Kern sale at The Anderson Galleries, New York, January 1929, where it brought $475. ìThe following poems were written from the ages of fifteen to eighteen, not conjointly, but individually; which may account for their difference of style and matter. To light upon any novel combination of images, or to open any vein of sparkling thought untouched before, were no easy taskÖand, no doubt, if submitted to the microscopic eye of periodical Criticism, a long list of inaccuracies and imitations would result from the investigation. But so it is: we have passed the Rubicon, and we leave the rest to fate; though its edict may create a fruitless regret that we ever emerged from ëthe shade,í and courted notorietyî (ìAdvertisementî on p. [iii]). Published in April 1827. ìA few poems by Frederick were included in the volume but the bulk were by Charles and Alfredî (The Cambridge Guide to English Literature). ìAt the age of twelve Tennyson wrote a 6,000-line epic poem. His father, the Reverend George Tennyson, tutored his sons in classical and modern languages. In the 1820s, however, Tennysonís father began to suffer frequent mental breakdowns that were exacerbated by alcoholism. One of Tennysonís brothers had violent quarrels with his father, a second was later confined to an insane asylum, and another became an opium addict. Tennyson escaped home in 1827 to attend Trinity College, Cambridge. In that same year, he and his brother Charles published Poems by Two Brothers. Although the poems in the book were mostly juvenilia, they attracted the attention of the ëApostles,í an undergraduate literary club led by Arthur Hallam. The ëApostlesí provided Tennyson, who was tremendously shy, with much needed friendship and confidence as a poet. Hallam and Tennyson became the best of friends; they toured Europe together in 1830 and again in 1832. Hallamís sudden death in 1833 greatly affected the young poet. The long elegy In Memoriam and many of Tennyson's other poems are tributes to Hallamî (The Academy of American Poets, Lord Alfred Tennyson, at http://www.poets.org/poet.php/prmPID/300). Ashley Library VII, p. 102. Sterling 912. Tinker 2058. Wise, Tennyson, 1. 1827 first edition
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  BARRETT, Eaton Stannard | Heroine, or Adventures of a Fair Romance Reader, The
ìA Delightful Burlesque, Particularly on the Radcliffe StyleîóJane Austen BARRETT, Eaton Stannard.The Heroine, or Adventures of a Fair Romance Reader. In Three Volumes. London: Printed for Henry Colburn, Public Library, Conduit-Street, Hanover-Square; and sold by George Goldie, Edinburgh, and John Cumming, Dublin, 1813. First edition. Three small octavo volumes (5 7/8 x 3 13/16 inches; 148 x 97 mm.). xx, 224; [2], 239, [1, blank]; [2], 302, [2, publisherís advertisements] pp. Contemporary dark green horizontally-ribbed cloth. Front cover stamped in blind with the royal arms of Great Britain (United Kingdom) and Hanover, back cover stamped in blind with a central cartouche, spine decoratively stamped and lettered in gilt, edges sprinkled red. From the library of the Royal House of Hanover at Marienberg, Germany, with a pencilled shelfmark (ì1141î) on the front pastedown of Volume I. A fine copy, in a contemporary royal cloth binding. ìPublished in 1813, The Heroine quite clearly draws on the content and conventions of other texts as a way of creating its comic effects. More specifically, the contrivances and contraptions of Gothic novels are much in evidence as the eponymous heroine turns her back on a humdrum rural existence and embarks upon a set of picaresque adventures. While Jane Austenís Northanger Abbey (1818) has long been enjoyed as an entertaining engagement with the Gothic (first as a burlesque and more recently as a subtle appropriation of Gothic conventions for the purpose of exploring dark but mundane truths), Barrettís The Heroine has fallen into obscurity. Austenís famous novel begins with the words, ëNo one who had seen Catherine Morland in her infancy, would have supposed her born to be an heroineí. Barrettís ëheroineí, Cherry Wilkinson, is a similarly unlikely candidate for the role; like Catherine Morland, she is a novel reader but one who wilfully sets out to adopt an identity modelled on the fictional heroines she has encountered. The result is that the story of Cherryís adventures, like those of Catherine Morland, bears a parodic relationship to the novels of her timeÖJane Austen, in a letter dated 2 March 1814, comments: ëI finished The Heroine last night and was very much amused by itÖIt diverted me exceedinglyÖI have torn through the third volumeÖI do not think it falls off. It is a delightful burlesque particularly on the Radcliffe styleíî (Avril Horner and Sue Zlosnik, Dead Funny: Eaton Stannard Barrettís The Heroine as Comic Gothic, Cardiff Corvey: Reading the Romantic Text, Articles, Issue 5 (November 2000) at http://www.cf.ac.uk/encap/corvey/articles/cc05_n02.html). Summers, Gothic Bibliography, p. 354. 1813 first edition
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  SMITH, Charlotte | Montalbert
First Edition of Charlotte Smithís ìSentimental-Gothicî Novel ìMontalbertî SMITH, Charlotte. Montalbert. A Novel. In Three Volumes. London: Printed by S. Low, for E. Booker, 1795. First edition. Three twelvemo volumes (6 5/8 x 4 1/8 inches; 169 x 105 mm.). [6], 259, [1 blank]; [6], 257, [3 blank]; [4], 326, [2 blank]. Complete with half-titles and with the inserted errata leaves in Volumes I and II. Near contemporary dark green cloth. Front covers with the royal arms of Britain and Hanover stamped in blind, back covers with central blind cartouche, spines titled in gilt with large gilt ornaments either side, edges sprinkled red. A fine copy. From the library of the Royal House of Hanover at Marienberg, Germany. With a pencilled shelf-mark on the front pastedown of Volume I. ìA chronicle history of two generations of unconventional women victimised by marriage to proud, violent husbands, Montalbert is Smithís darkest exploration of the institution of marriage and of the insidious gender politics constraining contemporary womenî (The Works of Charlotte Smith published by Pickering & Chatto at http://www.pickeringchatto.com/charlottesmith.htm). ìThe two most successful Gothic novelists of their time borrowed freely from each other; [Ann] Radcliffe interspersed her story with pieces of poetry in The Romance of the Forest (1791), and in Charlotteís Montalbert (1795), Rosalie is carried off by banditti like Emily in the The Mysteries of Udolpho of the previous yearî (Loraine Fletcher, Charlotte Smith: A Critical Biography, p. 141). ìThe public have so frequently borne witness to the superior abilities of Mrs Smith as a novel writer, that there is now little left for us to say, more than merely announcing the work before us, and adding that it does not by any means disgrace its parentage. One thing, however, we must remark, to the cringenious authoress, viz. that, though she relates a journey across the Alps, and many of the scenes are in Italy, Sicily, and the South of France, yet we find no instance of protracted description. Other writers, and Mrs. S. herself in former publications, have minutely and much too frequently entered into long descriptions of scenes, which, however beautiful or grand they may be, and however, when sparingly introduced, they may enrich a novel, have often by immoderate repetition created disgust. Mountains, woods, castellated rocks overhanging a lake, luxuriant thickets, glowing sunsets, and midnight storms, if without intermission presented to the reader, cannot but become extremely tedious; and it is in our opinion not a little to the praise of Mrs. S. that, though she shines in the delineation of these poetical landscapes, she has sacrificed glare to propriety, and has again reduced fancy under the direction of tasteî (Review of Montalbert: a Novel, by Charlotte Smith in The Monthly Review/JAS, 1796, Vol. 19, p. 87-88, at http://www2.shu.ac.uk/corvey/cw3/ContribPage.cfm?Contrib=119). 1795 first edition
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  REINHARD, Joseph | Collection de Costumes Suisses des XXII Cantons
Forty-Six Exquisitely Hand-Colored Engraved Plates Depicting the Costume of Switzerland REINHARD, J[oseph]. Collection de Costumes Suisses des XXII Cantons, peints par J. Reinhard de LucerneÖBasel: Publiés par Birmann & Huber, 1819. First edition. Folio (13 5/8 x 10 1/4 inches; 346 x 260 mm.). [50] leaves. Forty-six engraved costume plates, delicately hand-colored in gouache and watercolor and heightened with gum arabic. Plates watermarked ìJ. Whatman.î Each plate with a leaf of descriptive text. Contemporary half red roan over orange paper boards. Smooth spine decoratively tooled and lettered in gilt. All edges gilt. Some light foxing to text leaves. Minor marginal soiling to a few plates. Tiny hole in the inner blank margin of Plate 17. Bookplate of Debora Sylvester Jane Campbell of Jura on front pastedown. Early pencil signature of an Edmund Turton on front free endpaper. A wonderful copy of an extremely rare book with OCLC noting one institutional holding. The plates are captioned: 1. ìCanton de Berne. Environs dîOberhasli.î/ìCostumes díOberhasli dans le Cant de Berne.î 2. ìCanton de Lucerne.î/ìCostumes du Canton de Lucerne.î 3. ìCanton díArgovie. Cidevant Bailliages Libres.î/ìCostumes des Baillages libres.î 4. ìCanton de Schwitz.î/ìCostumes du Canton de Schwytz.î 5. ìCanton díUnterwalden. Environs de Stanz.î/ìCostumes du Canton díUnterwalden.î 6. ìCanton de Zurich. Environs de Niederwenigen.î/ìCostumes du Canton de Zürich.î 7. ìCanton díUri. Environs díAltorf.î/ìCostumes du Canton díUri.î 8. ìCanton de Saint-Gall. Environs de la Ville.î/ìCostumes du Canton de St. Gall.î 9. ìCanton de Thurgovie.î/ìCostumes du Canton de Thurgovie.î 10. ìCanton de Soleure.î/ìCostumes du Canton de Soleure.î 11. ìCanton de Schaffhouse.î/ìCostumes du Canton de Schaffhouse.î 12. ìCanton díAppenzell. Rhodes Intérieurs.î/ìCostumes du Canton díAppenzell.î 13. ìCanton du Vallais.î/ìCostumes du Vallais.î 14. ìCanton de Berne. Emmenthal.î/ìCostumes du Canton de Berne.î 15. ìCanton de Bâle.î/ìCostumes du Canton de Basle.î 16. ìCanton de Glarus.î/ìCostumes du Canton de Glarus.î 17. ìCanton de Fribourg. Environs de Gessenay.î/ìCostumes du Canton de Fribourg.î 18. ìCanton des Grisons.î/ìCostumes du Canton des Grisons.î 19. ìCanton de Schwitz. Gersau.î/ìCostumes de Gersau.î 20. ìCanton de Zoug.î/ìCostumes du Canton de Zoug.î 21. ìCanton de Saint-Gall. Toggenbourg.î/ìCostumes du Toggenbourg.î 22. ìCanton de Lucerne. Entlibouch.î/ìCostumes díEntlibuch au Canton de Lucerne.î 23. ìCanton díAppenzell. Rhodes Extérieurs.î/ìCostumes du Canton díAppenzell, Rhodes extérieur.î 24. ìCanton de Vaud. Porte de Vevey.î/ìCostumes du Canton Lemann.î 25. ìCanton de Berne.î/ìCostumes du Canton de Berne.î 26. ìCanton díUnterwalden. Vallée díEngelberg.î/ìCostumes du Canton dîUnverwalden.î 27. ìCanton díUri. Environs díUrseren.î/ìCostumes du Canton díUri.î 28. ìCanton díArgovie. Environs díArbourg.î/ìCostumes du Canton díArgovie.î 29. ìCanton díArgovie. Environs de Baden.î/ìCostumes des Environs de Baden.î 30. ìCanton díUnterwalden. Environs de Lungern.î/ìCostumes du Canton díUnterwalden.î 31. ìCanton de Schwitz. Bourg de Schwitz.î/ìCostumes du bourg de Schwytz.î 32. ìCanton de Soleure.î/ìCostumes du Canton de Soleure.î 33. ìCanton de Fribourg. Environs de Morat.î/ìCostumes des Environs de Morat au Canton de Fribourg.î 34. ìCanton de Berne. Gouggisberg.î/ìCostumes du Guggisberg au Canton de Berne.î 35. ìCanton de Tessin.î/ìCostumes du Canton du Tessin.î 36. ìCanton de Zurich. Environs de Knonau.î/ìCostumes du Canton de Zurich.î 37. ìCanton díArgovie. Frickthal.î/ìCostumes du Frickthal.î 38. ìCanton de Zoug. Costumes des Jours de Fête.î/ìCostumes du Canton de Zoug.î 39. ìCanton de Neuchatel.î/ìCostumes des Environs de Neuchatel.î 40. ìCanton de Lucerne. Entlibouch. Témoins de Confirmation.î/ìCostumes des temoins de confirmation dans líEntlibuch.î 41. ìCanton de Zurich. Environs du Lac.î/ìCostumes du Canton de Zurich.î 42. ìAnabaptistes Suisses.î/ìCostumes des Anabaptistes Suisses.î 43. ìCanton de Schaffhouse. Costumes des Fiancés.î/ìHabit de cérémonie des fiancés du Canton de Schaffhouse.î 44. ìCanton de Fribourg. Costumes des Fiancés.î/ìHabit de cérémonie des fiancés du Canton de Fribourg.î 45. ìCanton de Berne. Environs de la Ville.î/ìCostumes des Environs de Berne.î 46. ìCanton de Genève.î/ìCostumes du Canton de Genève.î Colas 2528. 1819
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  ELIOT, George | Silas Marner
First Edition of ìSilas Marnerî ELIOT, George. Silas Marner: The Weaver of Raveloe. Edinburgh: William Blackwood and Sons, 1861. First edition. Octavo (7 11/16 x 4 7/8 inches; 195 x 124 mm.). [6], 364 pp. plus 16 pp. publisherís advertisements, [4, unnumbered ads for the third edition of ìAutobiography of Dr Alexander Carlyle"] pp. All edges uncut. Original cinnamon diagonal ripple-grain cloth (Carter A, no priority established) with covers decoratively panelled in blind and spine decoratively stamped and lettered in gilt. Top edge rough-trimmed, fore and bottom edges trimmed. Original cream-colored endpapers. Binderís ticket (ìBound by Burn. 37 & 38 Kirby St.î) on rear pastedown. Minor rubbing to corners and spine extremities, with two tiny splits (1/8 inch and 1/4 inch) at head of spine. Minor blistering to cloth on front cover. Some light foxing. An excellent copy. Housed in a blue cloth slipcase. The advertisements are in placing ìbî (eight plus two leaves, at rear, with the advertisements for the third edition of Autobiography of Dr Alexander Carlyle following the publisherís catalogue), and the ìNew Worksî list is in the later form, with pp. [1] and [2] each listing four titles (p. [1]: John Petherickís Egypt, Soudan, and Central Africa, Sir Archibald Alisonís Lives of Lord Castlereagh and Sir Charles Stewart (still ìIn the pressî), the Count de Montalbertís The Monks of the West (no longer ìIn the pressî), and David Pageís The Past and Present Life of the Globe; p. [2]: John Tullochís English Puritanism and Its Leaders, the Second Edition of Tullochís Leaders of the Reformation, the Rev. J. Cave-Browneís The Punjab and Delhi in 1857, and George Finlayís History of the Greek Revolution (still ìIn the pressî)). Baker & Ross A6.1.a. Carter, Binding Variants, pp. 111-112. Parrish, p. 15. Sadleir 819. Wolff 2063. 1861 first edition
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  VERNE, Jules | Tour of the World in Eighty Days, The
First Edition in English of Jules Verneís ìAround the World in Eighty Daysî VERNE, Jules. The Tourof the World in Eighty Days. Boston: James R. Osgood and Company, [July] 1873. First American edition and first edition in English, first issue, with no mention of the translator, George M. Towle, on the title-page. Small octavo (5 13/16 x 4 1/8 inches; 148 x 105 mm.). vii,[1, blank],[9]-291,[1, blank] pp. Frontispiece illustration of ìLe Saint Michelî (included in pagination), with tissue guard. Title printed in red and black. Original terra cotta fine diagonal-ribbed cloth with covers and spine decoratively stamped in blind, front cover pictorially stamped (reproducing the frontispiece illustration) and lettered in gilt, and spine lettered in gilt. Original green-black coated endpapers. All edges stained red. Minor rubbing to corners and spine extremities, just slightly skewed. Tiny tear (5/16 inch) to upper blank margin of B8 (pp. 31/32), where corner was folded down. Previous ownerís pencilled presentation inscription on front free endpaper. Otherwise a near fine copy. Housed in a brown cloth slipcase. This famous tale of the circumnavigation of the globe by Phileas Fogg and Passepartout was first published in French in 1873 as Le Tour du monde en quatre-vingt jours. James R. Osgood published this unillustrated edition in English by early July of that year. It was reprinted in 1873, 1874, and 1875, with the same collation and size, but with the added note on the title-page ìTranslated by George M. Towle.î Within a few months, Osgood published a more elaborate illustrated edition with the title Around the World in Eighty Days. The English edition (London: Sampson Low, Marston, Low & Searle, 1874) was not published until November of 1873, but is dated 1874. ìIn an unusual twist, this American translation crossed the Atlantic for use by Sampson Low in Englandî (Taves and Michaluk). Myers 54. Taves and Michaluk V011. 1873 first edition
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  LATROBE, Charles Ignatius | Latrobe, Rev. C.I. | Journal of a Visit to South Africa
First Edition of Latrobeís ìVisit to South Africa,î with Twelve Fine Hand-Colored Aquatint Plates, Uncut in the Original Drab Boards LATROBE, C[harles] I[gnatius]. Journal of a Visit to South Africa in 1815, and 1816. With Some Account of the Missionary Settlements of the United Brethren, near the Cape of Good Hope. London: Published by L.B. Seeley and R. Ackermann, 1818. First edition. Large quarto (11 1/4 x 8 7/8 inches; 285 x 225 mm.). vii, [1, ìDirections to the Binderî], 406, [2, publisherís advertisements] pp. Folding engraved frontispiece map of ìThe Southern Division of the Cape of Good Hope Colony,î with the route of the journey outlined in red and blue, twelve fine hand-colored aquatint plates drawn by R. [and J.] Cocking from sketches by C. Latrobe and M. [John] Melville and engraved by Stadler, J. Bluck, and D. Havell, and four uncolored plates of coastal views. Plates watermarked ìJ Whatman 1816î and ìJ Whatman 1817.î Uncut, in the original drab boards with printed paper label on spine. Front joint expertly and almost invisibly repaired, spine extremities chipped, with a small triangular piece (measuring approximately 1 x 1 1/4 inch) missing at foot of spine, short (1 1/4 inch) repaired split to upper edge of front board, corners rubbed, spine label chipped. Some light foxing and edge browning, minor offsetting from the plates, a few text leaves with tiny holes or tears at the upper edge. Early ink signature on front pastedown. Still, an exceptional copy, with the plates very clean and fresh. Housed in a red cloth clamshell case. Christian Ignatius Latrobe (1758-1836), ìeldest son of the Rev. Benjamin Latrobe, a prominent Moravian minister, was born at Fulneck, near Leeds, 12. Feb. 1758ÖIn 1771 Christian went to Niesky, Upper Lusatia, for study at the Moravian college there, and after completing his course was appointed teacher in the pedagogium or high school. He returned to England in 1784, was ordained, and in 1787 became secretary to the Society for the Furtherance of the Gospel. In 1795 he succeeded James Hutton as a secretary of the Unity of the Brethren in England, and at the Herrnhut synod of 1801 was appointed a ësenior civilis,í an office of the ancient brethrenís church which he was the last to hold. As an advocate of the missions of his church he laboured at home with great zeal, and in 1815-16 undertook a visitation in South Africa, an account of which he published under the title of ëJournal of a Voyage to South Africaí (London, 1818). Besides this work and a translation of Loskielís ëHistory of the Missions among the Indians in North America,í Latrobe wrote an account of the voyage of the brethren Kohlmeister and Kmoch to Ungava Bay, and published ëLetters on the Nicobar Islandsí (London, 1812)î (D.N.B.). ìIn order to choose a site, the author travelled through a large part of the country right up to Fish River. There is a full description of the district of Groenekloof, and of the missionary settlementsî (Mendelssohn). Abbey, Travel, 325. Mendelssohn I, pp. 866-867. Prideaux, pp. 240 and 342. Tooley 292. 1818 first edition
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  MONNIER, Henry | Péchés capitaux, Les
Twenty-Three Hand-Colored Lithographed Scenes on Twelve Plates by Henry Monnier Depicting the SevenCardinal Sins [MONNIER, Henry, illustrator]. [Scènes du jour]. [And:] [Les Péchés capitaux]. [Paris: n.d.]. Title from spine label. Folio (14 1/16 x 10 11/16 inches; 357 x 270 mm.). One uncolored lithographed plate (4 1/2 x 7 5/8 inches; 114 x 194 mm.), mounted to size, and twelve numbered hand-colored lithographed plates (Plates 1-11 each with two captioned vignettes). Plates lithographed by Delpech. The hand-colored plates are as follows: 1. Uncaptioned; 2. ìDes Visitesî and ìUne Rencontre;î 3. ìLes Commèresî and ìLíEcrivain Public;î 4. ìBureau de Loterieî and ìDes Oppositions;î 5. ìAliénésî and second vignette uncaptioned; 6. ìUn Exempleî and ìMystificateurs;î 7. ìSoirée Bourgeoiseî and ìRécréation populaire;î 8. ìDelassemensî and ìInutilités;î 9. ìLíEnvieî and ìLíOrgueil;î 10. ìLa Luxuréî and ìLa Gourmandise;î 11. ìLa Paresseî and ìLavarice;î and 12. ìLa Colère.î Modern half gray cloth over marbled boards. Blue roan spine label ruled and lettered in gilt (ìHenri Monnier. Des Scènes du jour et Des Péchés capitauxî). Minimal foxing, some faint offsetting from the plates. Short tear (1/2 inch) to lower blank margin of Plate 4, two thort tears (1 inch and 1 1/8 inch) to outer magin and one tear (1/2 inch) to lower margin of Plate 8, two short tears (1/2 inch and 1 inch) to outer margin and one tear (1/2 inch) to lower margin of Plate 10, a few additional tiny marginal tears. An excellent copy of this extremely scarce series of plates. We have been unable to locate any copies of a series of plates by Monnier with this title (Les Péchés capitaux). 1828
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  LAMI, Eugène | Vie de château, La
Twenty Charming Hand-Colored Lithographs of French Upper Class Country Life LAMI, Eugène. La Vie de château. [First and Second Series]. Paris: Chez Gihaut frères, éditeurs, [n.d., 1828-1833]. Two parts in one oblong folio volume (10 9/16 x 14 3/4 inches; 269 x 374 mm.). Lithographed title (bound before the second series) and twenty numbered hand-colored lithographed plates. All plates mounted on guards. With seven additional plates laid in (plate Nos. 1-6 of the first series, including two copies of plate No. 6). The plates in the first series are captioned: No. 1. ìLa Traverse;î No. 2. ìLíarrivée des Lettres et des Journaux;î No. 3. ìLa Matinée;î No. 4. ìUne visite au Village;î No. 5. ìLes Voisins de Campagne;î No. 6. ìLes Amateurs de Paysage;î No. 7. ìUne visite dans le voisinage;î No. 8. ìLa Chasse au Sanglier (líattaque);î No. 9. ìLes Contes de vevenants;î and No. 10. ìLes Amusements nocturnes.î The plates in the second series are captioned: No. 1. ìLíarrivée. Jíarrive bien crotté, bien mouillé, heureux de trouver la redingotte de mon hôte;î No. 2. ìLa promenade après diner;î No. 3. ìLa nôce de la fille du fermier;î No. 4. ìLes anglais du voisinage;î No. 5. ìNotre-Dame de Paris;î No. 6. ìLa Course en Sac;î No. 7. ìLa manie de la Gruelle;î No. 8. ìLe fils du fermier;î No. 9. ìCauseries du soir;î and No. 10. ìLe départ pour la promenade.î In the first series, plate Nos. 1, 2, 4, 6, 7, 8, and 9 have the imprint ìI. lith. de Gihaut frères éditeurs,î plate Nos. 3 and 5 have no imprint, and plate No. 10 has the imprints: ìLith. de Villainî and ìPublié par Lami Denozan, Libraire éditeurs.î In the second series, all of the plates have the imprint: ìI. lith. de Gihaut frères éditeurs,î and plate Nos. 5, 6, and 7 are dated 1832. The additional plate Nos. 1-5 and 7 have the imprints: ìLith. de Villainî and ìPublié par Lami Denozan;î both copies of plate No. 6 have only the imprint ìLith. de Villain.î Contemporary quarter burgundy hard-grain morocco over marbled boards with green parchment tips. Spine ruled in gilt and blind and lettered in gilt in compartments. Marbled endpapers. Original green lithographed front wrapper bound in. Spine faded. Small paper repair (measuring approximately 7/8 x 1 1/8 inches) in the lower blank margin of the lithographed title. In the first series, plate No. 3 has a tiny hole in the inner blank margin, not affecting image; plate No. 10 is lightly foxed and has a tiny tear (1/4 inch) in the lower blank margin. In the second series, plate Nos. 3, 8, and 10 are slightly browned. Of the additional plates laid in, plate No. 1 has several short marginal tears and is strengthened in the outer and lower right margin, Nos. 2 and 5 are reinforced in the inner margin. An excellent copy. ìThis elegant and brilliant painter devoted much of his time to lithography between 1817 and 1833. The son of an Empire bureaucrat, [Lami] grew up in Paris. Beginning in 1815, he studied painting with Horace Vernet and afterwards in the studio of Baron GrosÖTo support himself he made lithographs for several albums, including in 1822 a Collection des uniformes des armées françaises, de 1791 à 1814ÖLami paid his first visit to England in 1826, during which he drew the sketches which resulted in his Souvenirs de LondresÖunder [Henry Monnierís] guidance [he] comprehensively explored London and the countryside. Indeed, Monnier provided more than a third of the twenty-eight designs which make up Lamiís finest album, the Voyage en Angleterre. It is here that for the first time Lami struck his distinctive note in lithography. These precise and sparkling plates, which show England in its most attractive aspects, brought the lithographic recording of the passing scene to an unprecedented level of grace and refinement. Lamiís Tribulations de gens à équipages of 1827 and Six quartiers de ParisÖtreat French subjects in the same mannerÖAfter Lami gained recognition as a painter, he became a frequenter of the fashionable world, which he rendered with sympathy and brio. His chief albums of this kind are the charming Vie de château, published in two series in 1828 and 1833, and the Quadrille de Marie Stuartî (Ray, The Art of the French Illustrated Book, p. 203). Lemoisne, Lami, p. 383. Rahir, La Bibliothèque de líamateur, p. 362. 1828
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  GAVARNI | Chevalier, Sulpice-Guillaume | Bertall, Albert ... Diable a Paris, Le
With 208 Wood-Engraved Plates after Gavarni [GAVARNI (pseudonym of Guillaume Sulpice Chevallier), and others, illustrators]. Le Diable a Paris. Paris et les Parisiens. Múurs et coutumes, caractèes et portraits des habitants de Paris, tableau complet de leur vie privée, publique, politique, artistique, littéraire, industrielle, etc., etc. Texte par MM. George dDe Balzac, Taxile Delord, Alphonse Karr, Méry, A. Juncetis, Gérard de Nerval, Arsène Houssaye, Albert Aubert, Théophile Gautier, Octave Feuillet, Alfred de Musset, Frédéric Bérat, précédé díune Histoire de Paris par Théophile Lavallée. Illustrations Les Gens de Paris, Séries de gravures avec légendes par Gavarni. Paris comique, vignettes par Bertall. Vues, monuments, édifices particuliers, lieux célèbres et principaux aspects de Paris par Champin, Bertrand, díAubigny, Français. Paris: Publié par J. Hetzel, 1845-1846. First edition. Two large octavo volumes (10 3/8 x 6 7/8 inches; 263 x 175 mm.). [4], xxxii, 380; [4], lxxx, 364 pp. Wood-engraved title vignette in each volume, 212 wood-engraved plates (208 after Gavarni and four after Bertall), with tissue guards, and numerous wood-engraved head- and tail-pieces, vignettes, and initials. This copy with a duplicate of the plate facing in Volume I. Music. Contemporary half black hard-grain morocco, ruled in gilt, over black morocco-grain paper over boards. Smooth spines decoratively tooled in gilt and blind and lettered in gilt. Marbled edges and endpapers. Minor rubbing to extremities, head of spine of Volume II expertly and almost invisibly repaired, front hinge of Volume I cracked, but sound. Minimal foxing and soiling. Small area of surface abrasion to upper blank margin of plate ìArtistes, ó6î facing p. 160 in Volume II, where it was once adhered to the facing page. Bookplate (ìBibliothèque de A. Vautrainî) on front pastedown of each volume. An excellent copy. ìHetzelís two volumes are something of a potpourri. There are texts by well-known writers including Balzac, Gautier, Musset, George Sand, and Hetzel himself. There is much detailed information about Paris of a historical, geographical, and statistical nature, but the bulk of the book is made up of essays, stories, and dialogues with Parisian subjects, sometimes documentary in the manner of Les français peints par eux-mêmes (227), sometimes facetious. The illustrations are also heterogeneous. The most impressive are the 208 wood-engraved plates after Gavarni. There are also wood engravings in the text, said by Hetzel to number 800, which are largely the work of Bertall, though Champin, Bertrand, and occasionally Daubigny provided architectural and topographical designs. The book appeared in part-issues, at the rate of one or two a week, between April of 1843 and December of 1845. The major attraction of Le diable à Paris resides in Gavarniís plates, which are of even greater interest than the 320 wood engravings of his Oeuvres choisies (207). The engraving is superior for the most part, and they are new conceptions, not versions of his lithographs. He limits himself almost entirely to single figures or pairs, evoked with his usual concentration and psychological subtlety. He had a free hand with his subjects, since his designs are quite unrelated to Hetzelís text. As usual he arranged them is series, some of which (those devoted to writers and politicians, for example) are largely unprecedented in his previous repertory. He invaded Daumierís world with success in the fifteen plates of ëBourgeois,í exampled in the self-satisfied worthy reproduced (II, 328). Other sequences, such as ëCeintures doréesí (II, 104), anticipate the spirit and the subjects of Masques et visages (157). Hetzelís way of imposing unity on these varied materials was to present them as documents bearing on the Devilís visitation of Paris. Gavarniís only contribution to this aspect of the book was a melodramatic frontispiece which depicts his satanic majesty with his foot on a map of the city. Bertall, on the other hand, outdid himself in the variety and wit with which he commented on instances of diabolical intervention, beginning with his opening conception of the Hellish boredom from which the Devil was escaping (I, 1). His designs make Le diable à Paris the culmination of the Romantic tradition of diablerie, which began with the lithographic albums of the 1820s. It is also the last of the big books of collaborative illustrationî (Ray, The Art of the French Illustrated Book). Hiler, p. 237 (ìVolume 2 has been published separately under title: Le tiroir du diableî). Lipperheide 1170e. Ray, The Art of the French Illustrated Book, 236. Vicaire I, cols. 241-243. 1845 first edition
Price: USD 1,450.00 other currencies   order no. 00414   details     inquire
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  KIPLING, Rudyard | Just So Stories for Little Children
The True First Issue of Kiplingís ìJust So Stories,î in the Extremely Scarce Original Printed Dust Jacket KIPLING, Rudyard. Just So Stories for Little Children. Illustrated by the Author. London: Macmillan and Co., 1902. First edition, first issue (with white pigment) of Kiplingís famous collection of twelve stories and twelve poems, including ìHow the Camel Got His Humpî and ìHow the Leopard Got His Spots.î Small quarto (9 1/16 x 6 7/8 inches; 231 x 175 mm.). [2, blank], [6], 249, [1, blank], [1, printerís device], [1, blank] pp. Twenty-two full-page illustrations. Original red cloth pictorially stamped in black and white (in a design by the author) on covers, lettered in white on front cover, and pictorially stamped and lettered in white on spine. White pigment flaking a little, mainly on the spine, but far less than usual. Minimal foxing to endpapers. A near fine copyóone of the best that we have ever seenóin the extremely scarce original tan dust jacket printed in red (jacket spine missing). Chemised in a quarter red morocco slipcase. ìThe white pigment used on the covers of the first edition flaked off and a new ink was used for subsequent issuesî (Stewart). ìThese twelve stories with an equal number of poems, written ëfor little childrení, were drawn from the store of ëmake believeí tales that Kipling told to his own children. All of the stories but one [ìHow the Alphabet Was Madeî] had appeared in periodicals between 1897 and 1902, but none of the verses had been published before 1902î (Stewart). This book has the distinction of being the only one illustrated by Kipling. Gumuchian 3526. Livingston 267. Martindell 99. Osborne Collection I, pp. 362-363. Stewart 260. 1902 first edition dust jacket
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  DISNEY, Walt | Taylor, Deems | Stokowski, Leopold | Zaehn... Walt Disneyís Fantasia
A Finely Bound First Edition of Walt Disneyís ìFantasiaî [DISNEY, Walt]. TAYLOR, Deems. Walt Disneyís Fantasia. By Deems Taylor. With a Foreword by Leopold Stokowski. New York: Simon and Schuster, 1940. First edition. Folio (12 1/2 x 9 5/16 inches; 318 x 237 mm.). 157, [1], [2, blank] pp. Profusely illustrated in color and black and white (including sixteen tipped-in color illustrations). Title-page printed in red, black, and blue. Bound ca. 1977 by Zaehnsdorf for E. Joseph (stamp-signed in gilt on the front turn-in) in full brown crushed levant morocco. Front cover and smooth spine lettered in gilt after the original binding lettering. Board edges ruled in gilt, turn-ins decoratively tooled in gilt, pale gray watered silk doublures and liners, all edges gilt. A very fine copy. 1940 first edition
Price: USD 2,000.00 other currencies   order no. 00420   details     inquire
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  Leech, John | Mills, John | Flyers of the Hunt, The
John Millsís ìFlyers of the Huntî Illustrated by John Leech [LEECH, John, illustrator]. MILLS, John. The Flyers of the Hunt. Illustrated by John Leech. London: The ìFieldî Office, Strand; and Ward and Lock, 1859. First edition. Small octavo (7 1/4 x 4 3/4 inches; 184 x 120 mm.). [2, blank], [1, half-title], [1, blank], [8], 114, [1], [1, blank] pp. Six hand-colored etched plates (including frontispiece). Bound by Zaehnsdorf (stamp-signed on the verso of the front free endpaper) in half black morocco, ruled in gilt, over green marbled boards. Spine decoratively tooled and lettered in gilt in compartments. Top edge gilt. Spine sunned to a warm brown, some light wear to extremities. Otherwise a near fine copy. Schwerdt II, p. 28. 1859 first edition
Price: USD 350.00 other currencies   order no. 00424   details     inquire
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  SZYK, Arthur | Lewisohn, Ludwig | Last Days of Shylock, The
[SZYK, Arthur, illustrator]. LEWISSOHN, Ludwig. The Last Days of Shylock. With Drawings by Arthur Szyk. New York: Harper & Brothers, 1931. First trade edition. Octavo (8 1/8 x 5 7/16 inches; 205 x 139 mm.). vii, [1 blank], [1], [1 blank], 221, [1]pp. Twelve black and white plates. Original green cloth. A fine copy. In the original printed dust jacket. Irvin Ungar, Justice Illuminated: The Art of Arthur Szyk, p. 93. 1931 first edition dust jacket
Price: USD 250.00 other currencies   order no. 00426   details     inquire
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  SZYK, Arthur | Roth, Cecil | Haggadah, The
The First Trade Edition of Arthur Szykís ìHaggadahî [SZYK, Arthur, illustrator]. The Haggadah. Executed by Arthur Szyk. Edited by Cecil Roth. Jerusalem [and] Tel-Aviv: Published by ìMassadahî and ìMagen,î 1956. First trade edition (first published in 1939 in a deluxe limited edition of 250 copies). Quarto (10 15/16 x 9 inches; 278 x 229 mm.). Printed in black, sanguine, purple, blue, red, and green inks on [56] double-folded leaves. Fourteen full-page and numerous vignettes and border decorations printed in color. Text in English and Hebrew on facing pages (the illustrations are on the Hebrew pages). ìThe illustrations contained herein are reproductions of originals of Arthur Szyk of New-Canaan, Connecticut, U.S.A. Engraved by The Sun Engraving Co., Englandî (verso of title-page). Publisherís blue velvet over boards. Covers pictorially stamped in gilt with design in gilt of a Kiddush cup. Spine decoratively stamped and lettered in gilt. Pictorial pastedowns as in the original vellum edition. A fine copy. Housed in the publisher's quarter black imitation morocco over blue cloth clamshell case lined with blue velvet, with spine lettered and stamped in gilt, and with front cover stamped in gilt with the design of a Kiddush cup. ìDuring many of his years of travel, Szyk had been working on a large project of illumination, The Haggadah. The work took on a special meaning in light of the then growing anti-Semitism in Europe. Passover is a festival of freedom, and The Haggadah tells the story of Jewish liberation from slavery in Egypt. In order to heighten the topical message and relate the historical events to contemporary ones, Szyk emblazoned the Egyptians with the Nazi swastika. However, fearing reprisals, publishers on the continent would not touch the book as long as it included this symbolÖSzyk removed the swastika, believing that the underlying message of the book was still clear and it was more important to see the project through to publication. A deluxe volume in a limited edition of 250 copies was published in 1940 by the Beaconsfield Press in London. Bound in gold-stamped leather, with end pages printed on silk, the full color illuminations are printed on double-leaf parchment and an English translation is matched to the Hebrew text. While the pages of English are decorated with small, intricate, sepia-toned emblems, the emphasis in on the illuminated Hebrew pages and the brilliant colors and striking combinations which are jewel-like in affect. One contemporary reviewer [ëThe HaggadahóA Sumptuous Illustrated Edition,í The Times Literary Supplement, 22 February 1941, p. 9] called it ëworthy to be placed among the most beautiful of books that the hand of man has producedí. The first copy of the printing was presented to George VI, King of England, to whom the book is dedicatedî (Irvin Ungar, Justice Illuminated: The Art of Arthur Szyk (1999), pp. 80-81). ìMost descriptions of this book list the date of publication as 1939, however, Cecil Rothís note in Studies in Bibliography and Booklore, Spring 1969, regards the year of publication as 1940ÖThe first trade edition, printed on paper, appeared in 1956 published by Massadah and Magen, Jerusalem and Tel Avivî (p. 93). 1956 first edition
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  RACKHAM, Arthur | Ford, Julia Ellsworth | Ford, Lauren | Imagina
Julia Ellsworth Fordís ìImaginaî with Illustrations by Arthur Rackham [RACKHAM, Arthur, illustrator]. FORD, Julia Ellsworth. Imagina. With Illustrations by Arthur Rackham and Lauren Ford. New York: E.P. Dutton & Company, [1923]. Second edition (first published in New York in 1914 by Duffield & Company). Quarto (9 9/16 x 7 3/16 inches; x 243 x 184 mm.) [12], 178, [1], [1, blank] pp. Two color plates by Arthur Rackham (including frontispiece) and numerous black and white drawings in the text by Lauren Ford. Original blue cloth pictorially stamped and lettered in gilt on front cover and lettered in gilt on spine. Pictorial endpapers in pale blue and white by Lauren Ford. Spine very slightly faded. Short tear (1 3/4 inch) to outer blank margin of pp. 127/128. Otherwise a fine copy. Riall, p. 123. See Latimore and Haskell, p. 42. 1923
Price: USD 175.00 other currencies   order no. 00431   details     inquire
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  SZYK, Arthur | Omar Khayyám | Rubáiyát of Omar Khayyám
Arthur Szykís ìRubáiyátî [SZYK, Arthur, illustrator]. OMAR KHAYY¡M. Rubáiyát of Omar Khayyám. Rendered in English Verse by Edward Fitzgerald. The Text of the First Edition. Illustrated by Arthur Szyk. New York: The Heritage Club, 1940. Quarto (10 15/16 x 8 1/8 inches; 278 x 208 mm.). Printed in colors on [20] double-folded leaves. Eight mounted color plates (including frontispiece) printed in gold and colors. ìPrinted in London by the Sun Engraving Company.î Original tan cloth with covers pictorially stamped in gilt and spine lettered in blue. A fine copy. Irvin Ungar, Justice Illuminated: The Art of Arthur Szyk, p. 93. 1940
Price: USD 250.00 other currencies   order no. 00432   details     inquire
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  DULAC, Edmund | Milton, John | Limited Editions Club | Masque of Comus, The
John Miltonís ìMasque of Comus,î the Last Book Illustrated by Edmund Dulac [DULAC, Edmund, Illustrator] MILTON, John. The Masque of Comus. The Poem by John Milton, with a Preface by Mark Van Doren & The Airs by Henry Lawes, with a Preface by Hubert Foss. Illustrated with Water-Colors by Edmund Dulac. [New York]: Printed for the Members of The Limited Editions Club at the University Press, Cambridge, 1954. Limited to 1500 numbered copies (this copy being No. 1420). Quarto (10 3/8 x 7 7/16 inches; 263 x 189 mm.). [8], 57, [2], [1, blank], [12, music], [1, blank], [1, colophon] pp. Six chromolithographed plates, including frontispiece. Original quarter parchment over marbled boards. Spine lettered in gilt. Top edge gilt. A fine copy. In the original glassine (glassine a little browned on the spine) and black cardboard slipcase with spine lettered in gilt (slipcase very lightly rubbed at corners). ìBy November 1951, Dulac no longer had working arrangements with American Weekly. He was recovered from his March 1949 heart attack. The second Dulac-Macy book, The Marriage of Cupid and PyscheÖhad just been distributed in the spring and fall of 1951. Dulac now sought to take up with George Macy Co. the work on pictures for Baron Munchausen that he had put aside when, in July 1948, Macy had agreed to suspend his contract. Dulac was disappointed to learn that Macy had already acquired the illustrations he had needed for Munchausen from Fritz Kredel. But Macy quickly suggested to Dulac several new titles, Amphitryon, Iolanthe, and Comus. Dulac chose Comus. Dulac was to paint 10 picturesÖHis pace was slow. He did not get started until June 1952. By October he had finished two illustrations. By April 24, 1953, he reported to Macy that he had completed 4 more for a total of 6. A few weeks later, on May 30, Helen Beauclerk wrote Macy of Dulacís death on May 25th. She told Macy that as recently as May 21st, Dulac had been working on his 7th Comus illustrationÖComus was the 250th book Macy had made for his Limited Editions Club. It was nearly his last, as he died in 1956 at age 56. Like all his books, Macyís Comus is a beautiful productionî (Hughey). Hughey 103. LEC Bibliography 250. 1954
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  PEPYS, Samuel | Bright, Mynors | Wheatley, Henry B. | Diary of Samuel PepysÖThe
A Fine Set of Samuel Pepysís Diary PEPYS, Samuel. The Diary of Samuel Pepys M.A., F.R.S.; Clerk ofthe Acts and Secretary to the Admiralty. Transcribed by the Late Rev. Mynors Bright, M.A. from the Shorthand Manuscript in the Pepysian Library, Magdalene College, Cambridge. Edited with Additions by Henry B. Wheatley, F.S.A. London: George Bell and Sons, 1904-1905. Eight small octavo volumes (7 1/8 x 4 5/8 inches; 181 x 118 mm.). Photogravure frontispiece portrait in Volume I. Contains ìThe Life of Pepysî by Henry B. Wheatley, The Diary, from 1 January 1660-31 May 1669, and an index at the end of the last volume. Bound (by Rivière & Son) for J. & E. Bumpus Ltd. (stamp-signed on the front turn-in) in three-quarter light brown calf, double ruled in blind, over marbled boards. Spines ruled in blind and panelled and lettered in gilt in compartments with five gilt-dotted raised bands. All edges gilt. Marbled endpapers. A near fine set. Samuel Pepys (1633-1703) ìson of John Pepys, a London tailor, educated at St Paul's School, London, and at Magdalene College, CambridgeÖHe entered the household of Sir Edward Montagu (afterwards first earl of Sandwich), his father's first cousin, in 1656; and his subsequent successful career was largely due to Montagu's patronage. His famous Diary opens on 1 Jan. 1660, when Pepys was living in Axe Yard, Westminster, and was very poor. Soon after this he was appointed ëclerk of the King's shipsí and clerk of the privy seal, with a salary of £350 (supplemented by fees). In 1665 he became surveyor-general of the v