NEWEST ARRIVALS
NEWEST ENTRIES 12 DECEMBER 2013
As a CATALOGUE formed partly BY CHANCE,  this does not represent ALL our strengths!

[ PART I — PART II ]

The Editio Regia — A Scholarly & TypographicMASTERPIECE of the Renaissance

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•  “Robert Estienne's 1550 edition, his third edition of the New Testament in Greek, established the textus receptus for subsequent editors. His documentation of collations of fifteen manuscripts (including the Codex Bezae) resulted in the first critical apparatus for an edition of the Bible” (Pelikan).

In addition to being a major scholarly achievement, Estienne's work is universally hailed for its typographic beauty: It is printed in the largest of the three fonts of Greek type that Claude Garamond designed, the famous Royal Greek type — the grecs du roi that Robert Estienne ordered on behalf of King Francis I of France. Their design was based on the handwriting of the Cretan copyist Angelo Vergecio. This is the very first use of this size of the Garamond Royal Greek type.

Adding to the visual beauty of the typography and aiding the reader in navigating the text is the printer's use of two sizes of foliated and grotesque Greek initials, headpieces of similar design, and a divisional title-page for the second section that begins with the Epistles of Paul.

As previously mentioned, the volume offers critical apparatus: This is printed in the inner margin of the text and gives variant readings and additions from manuscripts that Estienne had consulted for collating against the printed text; and the outer margin contains references and the ordinary chapter-numbers and division-letters, A, B, etc.

Two versions ofthe Estienne printer's device are used in the work: The coiling snake and vine (Schreiber B1) on the main and divisional title-pages and the man standing under an olive tree (Schreiber 10) on the verso of the colophon leaf.

Binding:  18th-century red crushed morocco, round spine, no raised bands, spine richly tooled with an overall, elaborate vine pattern “gilt-extra.” The covers have an outer border formed by a triple and single fillet, three of the four tooled in blind and one in gilt, and an inner frame also of a triple and single fillet, but with two in blind and two in gilt; the resulting panel is graced with gilt corner devices and a large gilt center device. All edges gilt and top edge with old ink lettering under the gilt (“Novum Testamentu[m]”).

Provenance:  The Howell Bible Collection, Pacific School of Religion (properly released).

•  Schreiber, Estiennes, 105; Adams B1661; Darlow & Moule 4622; Renouard, Estienne, 75, no. 1; Mortimer; French, 78; Rumball-Petre 228; Pelikan, Reformation of the Bible, I.18.   Binding as above, evidence of ties at top, bottom, and fore-edges of boards; a little rubbed. Text with red ruling through p. 43. Occasional light, small stain in upper margin and very occasionally some other spot; perhaps six leaves towards end with old light waterstain across lower outer corner. Very minor worming in some lower margins, not near text. Definitely a very good copy of a sumptuous book.  (33610)

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Women, Escape! “the Thralldom of Aches & Pains & 'Weaknesses'”
Explicit & “Anti-Corsetry” Plate Booklets PRESENT

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•  Famed for co-creating corn flakes breakfast cereal and for promoting vegetarianism, sexual abstinence, and the liberal use of enemas, the chief medical officer of the Battle Creek Sanitarium here offers a straightforward (for its era) and in some ways highly progressive (again, for its era) discussion of women's health at all stages of life, focusing on developing “a higher type of womanhood” (p. iii), one free from unnecessary invalidism and susceptibility to disease. Kellogg denounces corseting, unsurprisingly, and also condemns the extreme differences in treatment of little boys and girls, which resulted in the latter becoming both mentally and physically but poor shadows of the vibrant women they might have been. Although staunchly opposed to birth control and abortion, he also insists on married women's freedom from unwanted “marital excesses”: “Of all the rights to which a woman is entitled, that of the custody of her own body is the most indubitable” (p. 341).

This is an early edition, following the first of 1883. The volumeopens with an eye-catching, precisely layered, cut-away plate of “the dissected human body,” and is additionally illustrated with35 other plates, many color-printed and some double-sided.

Once contained in a rear pocket but now simply laid in areTWO stapled booklets containing “extra” plates, one offering 15 anatomically explicit, color-printed images intended to accompany the text, and another containing 10 plates illustrating “natural grace and symmetry unspoiled by the deforming influences of fashionable dress” via photographs of “Arabic girls” in dancing costume and women (some bare-breasted) from central Africa, Sudan, Congo, and Samoa.

Provenance:  Early inked ownership inscription to frontispiece recto of Mrs. W. M. Elton.

•  Not in Garrison & Morton.   Publisher's pebbled brown cloth, front cover with gilt-stamped decorative title and blind-stamped floral decorations, spine likewise; binding slightly shaken on this heavy volume and extremities a bit rubbed, front cover with small spot of flattened grain, front upper outer corner and back cover showing signs of damp exposure. All edges marbled. Back pastedown pocket (where plate pamphlet originally resided) with tears from outer edge; anatomical plate booklet with two plates separated, four leaves with small spot of staining. Inscription as above. An attractive production of an interesting work; in exceptional condition and with “extra bits.”  (33518)

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First Edition of a DICKENS CLASSIC, with Phiz Engravings

Little Dorrit.

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•  First edition: the original 19 monthly partsin wrappers, issued from December 1855 through 1857. Incorporating some of Dickens's own experiences as a child of an imprisoned debtor, this novel — his eleventh, and the best-selling of his works to that date — offers scathing mockery of bureaucracy's ill effects and of governmental incompetence, as well as introducing the epically self-sacrificing Little Dorrit herself.

Each installment features two illustrations by Hablot Knight Browne, a.k.a. “Phiz,” for a total of40 steel-engraved plates, including an illustrated title-page for the set. Vol. XVI includes the tipped-in errata slip regarding the confusion between Rigaud and Blandois, marking the first state. Extensive advertising material, including the “Little Dorrit Advertiser,” is present at the front and back of each part.

•  NCBEL, III, 803.   Publisher's printed blue paper wrappers, housed in green cloth-covered clamshell case; case with one corner discolored and cloth starting to split along spine extremities, still strong. Paper wrappers with expectable wear to edges and extremities, some minor spotting, generally clean and in good shape; front inside wrappers each with institutional sticker (three with sticker on first advertising page instead), these not unattractive and the only library indicia. Vol. IV with small 19th-century bookbinder's ticket on front wrapper; vols. XVII and XIX with early inked ownership inscription in upper outer portion. Occasional light foxing, including to some plates; two plates in vol. XIV/XX with small area of waterstaining to inner portions. Desirable Dickensiana.  (33605)

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The First Bible with aTitle-Page, a Famous INCUNABLE Bible

Bible.

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•  The first Bible with a “title-page,” leaf a1 having the words “Textus Biblie” in a large gothic font elegantly placed, highlighted with contemporary red inked tracery. The text is the standard Latin Vulgate, printed in double-column format in gothic type with guide letters, generally 48 lines per column, with a type area (with minor variations) of 21.7 x 13.8 cm. As is not usual, ALL of the volume's guide letters have been accomplished in red or blue or both, the neatly penned initials being all handsome and typically of 3 lines, sometimes rising to so many as 8 lines, in height. Some are embellished with tracery extending into margins, and ALL pages have their sentence-beginnings touched with red or, on a few occasions, blue. The thoroughness, the consistency of this adornment, is remarkable.

A much coveted incunable Bible, this is little held in U.S. libraries: Searches of NUC, WorldCat, Goff, and ISTC locate only 10 copies in the United States, no copies in Canada, one in Mexico. One of those 10 has been deaccessioned and is the present copy.

Provenance:  Bookseller's label of John Howell, Bookseller, San Francisco. Later in The Howell Bible Collection, Pacific School of Religion (properly released).

•  Goff B-583; Hain-Copinger 3093; BMC, I, pp. 119–20 (IB 1582); GKW 4260; ISTC ib00583000.   19th-century brown morocco over bevelled boards with raised bands; Victorian-style gothic gilt ruling in spine compartments and on boards, with gilt turn-ins; vellum pastedowns and free endpapers. Binding lightly rubbed in spots; old waterstaining from light to noticeable in margins throughout and sometimes into text, at times causing loss of some coloring of the initials. Very minor worming in a very few margins. NO library markings or bookplate, despite provenance; overall a good+, complete copy of a sought-after incunable.  (33652)

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A Landmark of Anglo-Judaica

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•  The Sephardic liturgy, translated by one of the great 19th-century defenders of Jewish faith and thought in England: Levi's work is widely acknowledged for its formative influence on later Jewish prayer books. Here the siddur is presented inHebrew and English on facing pages, with notes regarding the translation at the back of each volume. This is the second, corrected edition, following the first of 1789–93.

Binding: Contemporary red straight-grain morocco, covers framed in gilt roll, spine with gilt-stamped arabesque decorations, turn-ins with gilt roll. All edges gilt.

Provenance:  Each volume with Max Pollak-designed “Better burn out than rust out” bookplate of Irving Reichert, a prominent San Francisco rabbi; also with bookplate of the Charles Holbrook Library of the Pacific School of Religion (properly released), noting the gift by Reichert.

•  NSTC J636.   Bound as above, some spines slightly darkened and one with a scrape at its base; leather otherwise with the odd rub, scuff, or smudge only. English title-pages each with rubber-stamped numeral on back; bookplates as above. A significant work with interesting provenance; a set in attractive, evenbright condition.  (33621)

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One Classic NonfictionBIBLIO-Who-Dunnit

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•  The first edition of the book that destroyed Thomas Wise, England's doyen of bibliographers and biblio-forgers. “This book is a fully documented exposure of a group of more than fifty 'first editions' of such eminent authors as Wordsworth, Tennyson, Dickens, Thackeray, the Brownings, Swinburne, George Eliot, William Morris, R. L. Stevenson, and Rudyard Kipling. . . . The exposure of the real character of these books introduces scientific methods which have never before been applied to bibliographical problems of this period.”

•  Fine copy in a very good dust jacket, jacket with minor chipping to lower area of spine, one long split at spine repaired on verso, and lower corner of ifront flap cut off; volume very clean and nice, top edge gilt. In a green cloth chemise with red leather author, title, and date labels on the spine, in an open-back slipcase.  (33426)

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Martha Graham's Teacher's Autobiography;  A Gift fromSt. Denis to Lisan Kay
(A Significant Exchange of Letters Laid In)

St. Denis, Ruth.

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•  A much personalized copy of this modern dance pioneer's autobiography that Ms. St. Denis (1880–1968) signed with her name in full in 1939 and that she later inscribed to ballerina Lisan Kay Nimura (1903–2006) in 1955.

This first edition (correct code on the copyright page) has the following aspects of personalization by “Miss Ruth” as St. Denis was known among dancers, in addition to the signature: a photograph of St. Denis and her husband and fellow dancer Ted Shawn (taken by Williamina Parrish) is tipped to the verso of the dedication page; three related publicity blurbs and a biographical blurb from the dust jacket are pasted to the blank areas of pp. x and xi (with the d/j having been discarded as was typical!); a dramatic half-tone image of St. Denis on a red background is pasted on the leaf preceding p. 1; two half-tone photographs of St. Denis in dance poses are pasted below the text on p. 113; a typeset explanation of Tillers of the Soil is pasted lengthwise in the foremargin of p. 211; a newspaper photograph with caption is pasted below the text on p. 225; and a half-tone photograph of St. Denis with Rabindranath Tagore is pasted below the text on p. 357.

Also present and laid in is a typed letter signed (“Lisan”) to St. Denis dated “Sunday April 23, '61" in which she says that Miss Ruth has hurt her in unspecified ways but “terribly” on the occasion of Lisan's having treated her to a performance of “Clytemnestra” that Lisan thought had “obvious Denishawn influences.” “I don't hold it against you --- but for the moment, it does hurt terribly.” St. Denis wrote back immediately and her autograph letter signed, written in blue pencil, is also present: “Lysan Dear! Try to forgive me!! I am in the middle of one of those crises that come to us all at times. I must appear — Rude & ungratefull {sic] — it was not meant in that spirit at all. I am truly grateful that you went to the trouble of getting the tickets & I am sorry beyond words for my bungling.”

Provenance:  St. Denis' gift inscription on the half-title in green ink: “To Lisan Kay — with all delightfull [sic] memories — past present [and?] sure to come!” Dated, '[19]55"; signed, as the letter is, with the writer's initials.

•  Publisher's cloth, without the d/j. Small chip out of fore-edge of front free endpaper. Text block slightly skewed. A truly special copy.  (33446)

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The Second Edition, REVISED — Vervliet, 1608

  N.T. English. 1600. Rheims

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•  The second edition of the Roman Catholic new Testament in English. The translation is the work of a number of English Catholic priests, but principally of Gregory Martin, who fled to France in 1568 because of persecution in their native land, and, under the direction of Dr. (later, Cardinal) William Allen, founded the English College at Douai. (The college moved for a short time to Rheims, but subsequently returned, as the title-page here attests.)


The first edition of this translation was issued at Rheims in 1582, in over-sanguine hopes that its sale would be successful enough to underwrite the cost of a prompt production of the Old Testament. The two-volume O.T. did not appear, however, until 1609/1610.

The second edition of the Rheims N.T. is a revision of the first, not merely a reprinting of it, and contains a “Table of Heretical Corruptions” not found in the 1582 printing and a new preface. In an era of noticeable decline in the art of printing, this Testament enjoys far better than average typography.

•  Darlow & Moule 198; Herbert 258; STC 2989; ESTC S102510.   Late 17th-, early 18th-century English calf, with concentric blind panels on covers in contrasting tones of brown and tan, all edges deep red; covers with scrapes and bumps, rebacked with hinges (inside) strengthened, new endpapers with 1906 owner's inscription on front free one. Title-page dust-soiled and torn in upper margin with some loss of decorative border, page skillfully remargined with blank paper. Some foxing and age-soiling in early leaves; this similarly at rear (starting around p. 640 and most notable in Tables), with also some dust-soiling and with light waterstaining across a good number of upper outer corners. Overall a good to very good copy, sturdy and appealing.  (33612)

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Defoe'sLondon, Illustrated

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•  Handsome rendition of Defoe's text from the original edition (1724–1726), here edited and annotated by Sir Mayson M. Beeton and E. Beresford Chancellor. The volume is illustrated with a frontispiece portrait done after the 1706 engraving by Van der Gucht, a variety of maps “specially drawn to delineate the London of Defoe's time and his circuit thereof,” and “reproductions of drawings, maps, and prints mostly contemporary with the period of [Defoe's] life.” The letterpress was composed and printed at the Westminster Press, the photogravure plates engraved and hand-printed by A. Alexander & Sons Ltd., and the collotype plates printed at the Chiswick Press, on Basingwerk parchment paper.

This isone of 350 copies printed, of which only 300 were for sale.

Binding: Publisher's brown cloth in remarkably convincing (and therefore rather interesting) imitation of a Cambridge calf binding, covers framed and panelled in gilt double fillets with scalloped gilt roll and gilt-stamped corner fleurons. Spine with gilt-stamped leather title and author labels.

Provenance:  Front pastedown with skull and “What Do We Know” bookplate of Dr. Charles W. Burr, the first Chair of Mental Diseases at the University of Pennsylvania.

•  Bound as above, slipcase lacking; joints, extremities, and spine bands rubbed, spine slightly darkened. Pages and plates clean.  (33617)

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One of 2000 Printed — First British Edition

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•  First British edition of Lawrence's novella, also known as “The Escaped Cock.” Originally printed in Forum magazine in 1928, and then in its first book form by Black Sun Press in Paris in 1929, this is a quintessentially Lawrentian tale in which Jesus, having survived crucifixion, discovers his sexual potency and joy in earthly life with the aid of a priestess of Isis. (About the alternative title, here; yes, there is a real bird involved.)

The present example isone of 2000 copies printed, with the type afterwards distributed.

•  Jackson, D.H. Lawrence Handbook, 24; Roberts A50c.   Publisher's olive green cloth, front cover with gilt-stamped phoenix vignette, spine with gilt-stamped title; dust wrapper lacking, spine slightly sunned, spine extremities and lower corners rubbed. Free endpapers with offsetting(?) and front one with upper outer corner torn away; text gently age-toned, with small areas of staining to two pages. Showing signs of wear, this is yet a solid, attractive, and pleasing copy.  (33546)

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In theDayak Language of Borneo — Revised with Native Assistance

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•  The second printing of the New Testament in Ngaju (a.k.a. Bideyu, and sometimes identified as Land Dayak). This printing is a revision of the first N.T. in this language: That edition (printed in 1846) was translated from the Greek by J.F. Becker and A. Hardeland of the Rhenish Missionary Society, with references to Luther's version and Richter's “Hausbibel.” Hardeland revised this second printing of the Dayak New Testament with the assistance of two natives of Borneo, Timothy Marat and Nicodemus Tomogong. It is printed in roman type in double-column format.

In the same year, 1858, Hardeland published the first complete Bible in Dayak, the Old and New Testaments being issued as separate volumes. Searches of NUC and WorldCat locateonly two copies in the U.S. of the N.T. alone.

Provenance:  The Howell Bible Collection, Pacific School of Religion (properly released).

•  Darlow & Moule 3460; North & Nida, Book of a Thousand Tongues (1972), 311.   Publisher's brown textured cloth, all edges speckled blue; library bookplate, old library rubber-stamp on title and in margin of table of contents, charge pocket and date slip at rear. Most attractively clean, even bright, with a very occasional spot or bit of foxing only; a very nice copy.  (33606)

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Grabhorn Press Leaf Book — “The Bible of the Revolution”

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•  Edition limited to 580 copies, this copy 490 of the “Colonial Edition” of 515. Contains an original leaf (Acts XXV:22–XXVII:4) from the Aitken Bible, the first complete Bible in English printed in the U.S.

At the end is Edwin Grabhorn's essay on typography in America at the time of the Revolution.

Provenance:  The Howell Bible Collection, Pacific School of Religion (properly released).

•  Grabhorn Bibliography 131; Disbound and Dispersed 49.   Original quarter red morocco with two raised bands, spine slightly faded. Without the slipcase. Clean.  (33611)

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The Title Was Self-Deprecating But the Work Lives On . . .

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•  This 1888 printing of Whitman's classic of American literature is the 1881 seventh edition of Leaves of Grass with the first-time addition of “Sands at Seventy.” (There is another issue of this printing with the title-page dated 1884, but in fact both were printed in 1888. Whether there is priority between them has not been established.)

The fine, engraved portrait inserted before p. 28 by Samuel Hollyer is one of the most famous images of Whitman, being a restrike of the frontispiece (based on a Gabriel Harrison daguerreotype) from the first edition.

Provenance:  Small 20th-century booklabel (not really a bookplate) of William B. Gross.

•  Myerson A2.7.l, first issue; BAL 21433.   Publisher's mustard-yellow cloth, spine stamped in gilt with decorations and lettering, front cover with gilt-stamped facsimile of Whitman's signature, top edge gilt; hinges (inside) strengthened, lower board edges showing shelfwear, binding surprisingly little rubbed but with a bit of dust- and other soiling/spotting. Paper age-toned, but clean; indeed a very good copy of a book often found badly shaken and soiled.  (33585)

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A Very SlimALDINE, Slimly Represented in U.S. Libraries

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•  First edition in Italian of Pro T. Annio Milone, here in Giacomo Bonfadio's translation. The classic Aldine printer's device adorns the title-page and the verso of fol. 38. The type of the title and the preface is roman while that of the main text is italic with capital spaces and guide letters (unaccomplished). The prefatory matter is a letter from Bonfadio to Count Fortunato Martinengo (on sigs. A2r–A3r).

Searches of NUC and WorldCat locate only three copies in U.S. libraries.

Binding:  Contemporary limp vellum, being apalimpsest leaf.  Old text in narrow column with wide margin.

•  Ahmanson-Murphy (2001) 469; Renouard, Alde (3rd edition, 1834), 161:14; Adams C1893; Schweiger, II, 244; Index Aurel. 138.748; Edit16 CNCE 12321.   Binding as above, worming to small portions in gutter occasionally affecting inner margins of text pages; without final blank leaf. Upper outer corner of f. A2 torn away with loss of ends of seven lines on recto and beginning of eight lines on verso, old repair replacing this with blank paper. Library shelf label on front pastedown and accession number stamped on verso of title and in one lower margin; early inked ownership note on title-page later inked out; otherwise, generally clean, with one spot to midgutter of last few leaves and another to top inner portion of title-page. One early marginal note and very minor amount of early ink underlining or marks in margins. Less than perfect but also less than common.  (33411)

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As If You Had Walked Into the Printer's Shop in1771 to Get Your Copy

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•  AMAZING COPY: Uncut, never bound, never sewn; only folded as for shelf storage. The work, first printed in 1700, is composed of accounts of pious children who died young, a topic popular in New England as children's fare. The added work here, “A Token for the Children of New-England,” is by Cotton Mather. There were two issues of this double work in 1771, both in Boston, both with the same collation and pagination and contents, differing only in the imprint. The other issue reads: “Printed and sold by John Boyles, next door to the Three Doves in Marlborough-Street.”

It is one of a number of remainder copies, of which a few appear very occasionally in the market, the bulk having been acquired by America's libraries in the period 1920–80. As a remarkable copy of a pre-Revolution era American children's book, thus an artifact of American educational, religious, and social history, this is also in this state an illuminating relic ofprinting history.

•  Evans 12085; Welch 665.8; Rosenbach, Children, 67; Holmes, Cotton Mather, 403-F1; ESTC T59367 & W29553.   Condition as above. In a quarter green cloth open-back slipcase with an inner chemise. Extremely good condition — it can't be said too many times!  (33552)

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16 Color Plates — GorgeousTULIPS

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•  First Basilisk edition: A beautifully produced, limited, revised edition of a text originally published in 1950 as a King Penguin book under the title Tulipomania, appearing here with the author's corrections, additions, and a “tulips bibliography” as well as with16 gorgeously color-printed, mounted plates from paintings by Rory McEwen and a number of in-text illustrations. (The 1950 edition was illustrated by Alexander Marshal.)

This is numbered copy 88 of 515 printed (of which only 500 were for sale), signed by the author at the colophon. The volume was designed by John Miles of Banks and Miles, with the text and line illustrations printed by John Roberts Press and Stellar Press on Glastonbury Antique laid paper, the color plates lithographically printed by W.R. Royle & Son, and the binding done by W.T. Morell & Co.

•  Publisher's quarter morocco and floral-printed (tulip-printed!) cloth–covered boards, spine with gilt-stamped title, in paper-covered slipcase; one corner of slipcase slightly rubbed, otherwise a clean, crisp copy.  (33517)

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Yeats Explains A Vision & His Wife's Automatic Writing

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•  First edition: The thoughts that eventually became Yeats's introduction to A Vision, printed by the author's sister at theCuala Press. Here Yeats lays out the history of the writings done by his wife Georgie at the dictation of mysterious spiritual beings, along with his subsequent struggles in turning those messages into a coherent philosophy. Pound later complained bitterly that the included explication of the Cantos actually made it harder for readers to understand the work!

In this copy the date in roman numerals is the variant: MCMXXVIV.

This isone of 425 copies printed by Elizabeth Corbet Yeats on Irish-made paper. The colophon is printed in red, and the title-page bears the Press's “Candle in Waves” device, done by Thomas Sturge Moore.

•  Wade 163.   Publisher's quarter off-white linen with blue-green paper sides in the Kelmscott style, spine with printed paper label and front cover with black-stamped title; spine and edges sunned with browning extending onto portions of back cover, extremities rubbed, and spine label chipped. Two leaves (only) opened a bit roughly, with upper edges slightly chipped. Pages age-toned, final four leaves foxed; read, but unmarked.  (33557)

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Grammars & Language Studies

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•  A marvelous volume containing studies or grammars of Hebrew, Arabic, Persian, Ethopic, and Samaritan languages: “Editio nona. Simili Institutionum Samaritanarum, Rabbinicarum, Arabicarum, Aethiopicarum et Persicarum synopsi, a Georgio Othone ... auctior.” The two authors, Atling (1618–1679) and Georg Otho (1634–1713), were respectively a Dutch philologist, theologian, and professor at the University of Groningen; and a German librarian and professor of oriental languages.

The volume has divisional title-pages for “Jacobi Altingi Synopsis institutionum Chaldaearum et Syrarcum” dated 1747; and “Georgii Othonis ... Synopsis institutionum Samaritanarum, Rabbinicarum, Arabicarum, Aethiopicarum et Persicarum,” dated 1735.

•  This edition not in VD18.   Modern light brown paper-covered boards with paper spine label. Ex-library with faint blind-pressure stamp on title- and one other leaf and librarian's pencil notations on verso of title-page. Scattered foxing, occasional stray stain. Overall a good, solid, clean copy.  (33597)

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Deluxe Signed Limited Edition PUBLISHER'S COPY:  Life of a Science Fiction Pioneer

BRADBURY: An illustrated life.

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•  First, limited edition thus of a visual record of the great Ray Bradbury's career in comics, movies, television, theatre, and literature. This profusely illustrated limited edition includes32 pages of material not present in the trade edition (incorporated here after the William Morrow title-page dated 2002, marked first edition): the volume opens with the previously unpublished “The Ghosts of Forever: A Film Fantasy,” illustrated by Joseph A. Mugnaini, and “Switch on the Night,” a reproduction of portions of Bradbury's original manuscript bearing his own illustrations. The foreword is by Donn Albright, and the introduction by Bradbury.

Binding:  Crimson “snakeskin” leatherette, front cover and spine with decorative gilt-stamped title and creature vignette, housed in matching clamshell case with front cover and spine similarly gilt-stamped.

A total of 26 lettered copies were issued in the binding described above. In addition to beingsigned by Bradbury and Weist on the title-page, the present example is anout-of-series copy marked (in red ink, on the title-page) as the publisher's copy.

•  Binding as above. A beautiful and unique copy of a striking tribute.  (33416)

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Signed by a ProminentSpanish Artist-Poet

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•  First edition of this entry in the “Amans Amens” series, illustrated with two original, tissue-guarded drypoint etchings done by Alberti. This handsome production was supervised by artist and engraver Jaume Pla, with the text printed in black and brown on wide-margined pages.

This is numbered copy 110 of 1000 printed, with one of the etchingssigned by Alberti.

•  Publisher's quarter vellum and textured tan cloth–covered sides, spine with gilt-stamped title. One preliminary leaf excised. A very nice copy.  (33507)

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Tice IllustratesVoltaire

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•  Sole edition illustrated by Clara Tice, the illustrations numbering ten, printed in color, and definitely of an erotic nature. This copy (no. 130) is one of 250 copies “on special deckle-edge Pannekoek paper.” The title-page, printed in black and red, announces this is an “Exact reprint of the earliest English text” and tells us that it was “printed in Holland by Joh. Enschede en Zonen for the Bennett Libraries, Inc.”

In the early decades of the 20th century, Tice was a sensation because of her provocative art and as the embodiment of bohemian Greenwich Village — gaining, indeed, the sobriquet “The Queen of Greenwich Village.”

Binding:  Publisher's black goat, round spine with raised bands lettered in gilt and with a gilt-stamped female nude figure in center area of spine; front cover with two gilt-stamped reclining female nude figures reminiscent of those on big-rig mud guards! Elegant gilt turn-ins, top edge gilt and other edges deckle. Housed in a brown paper–covered open-back case.

•  Case rubbed but sound; binding as above with spine a little pulled, corners a little bumped, and front joint (outside) a little abraded. First leaves separated and tipped in; possibly, cancels? All illustrations eye-popping in several senses; all tissue guards present.  (33447)

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Garrick, Cromwell, Addison, Locke, Raleigh, et al.

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•  Third edition, “revised, corrected, and considerably enlarged, by the Addition of New Lives”: great figures of U.K. history, from a variety of fields. The first volume's frontispiece was engraved by James Caldwall after William Hamilton.

Binding:  Contemporary cream-colored sheep, covers framed in gilt floral roll, spines with gilt compartment decorations and gilt-stamped leather title and volume labels; turn-ins with gilt roll of a vine design, blue endpapers, all edges gilt.

Provenance:  Front pastedowns each with rather attractive 19th-century institutional bookplate, rubber-stamped “withdrawn”; title-page rectos each with rubber-stamped numeral. The set isfrom the collection of noted historian and military critic John Watts de Peyster: the title-page versos (or, in two cases, the contents pages) bear his affixed printed curriculum vitae.

Evidence of Readership:  In vol. I, two (helpful!) inked notes or reminders of where to look for pages bound in out of order; vol. II's front pastedown with inked inscription from Petrarch, “Solo e pensoso i piú deserti campi,” and its back free endpaper with first four lines of Gaetana Passerini's “Genova mia.”

•  ESTC T107371.   Bound as above, spines rubbed and darkened with labels variably chipped and one compartment variably lightened from now-absent shelving label; sides scuffed, edges and extremities rubbed. Pastedowns and title-pages as above; some endpapers showing light waterstaining; back endpapers with old paper adhesions; age-toning throughout. Vol. I: one leaf with lower margin repaired, not affecting text; a number of leaves from pp. 100–20 bound in out of order (see above); final text page with lower margin neatly excised. Vol. II: Inscriptions as above, back pastedown with a pencil sketch. Vol. III: small area of worming to final portion of volume, obscuring a few letters on some pages. Vol. IV: title-page with old staining; small areas of worming to front endpapers and to inner and outer portions of some pages with loss of a few letters. Vol. VI: title-page with small area of offsetting from affixed slip on reverse. A respectably (even endearingly) aged, complete set of interesting provenance.  (33397)

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ALL the ACTUAL PRINTER'S BLOCKS for the *47* Illustrations
        of Zoeth Skinner Eldredge'sThe Beginnings of San Francisco

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•  A FULL SET of the printer's blocks prepared of the illustrations for Zoeth Skinner Eldredge's The Beginnings of San Francisco (1912), being 37 photographic half-tones on copper and 10 zinc cuts, all on wood blocks, ranging generally in size from approximately 2.5" square to 14" square, with oblong maps measuring up to 20" across. A number of the half-tones were done after drawings by Walter Francis, a California artist and illustrator who worked for the San Francisco Chronicle; a few blocks offer images of photographs, some identified as taken by W.C. Mendenhall of the U.S. Geological Survey or Captain D.D. Gaillard of the Boundary Commission; other images are said to be from paintings and a daguerrotype held privately, with another being the facsimile of a document in the John Carter Brown Library; and, indeed, some are simply “after” images in other books (e.g., The Annals of San Francisco and “Bartlett's Narrative”). The images include a dozen California maps and plans; photographic views of the Colorado Desert and an artistic sketch of “the Trail on the Gila”; portraits of prominent early Californians; several “military moments” and a plan of the Presidio in 1820; plus, notably, scenic and historic “views” including renderings of “the Palo Alto,” the ports of Monterey and San Diego, Yerba Buena, and a number of street and bay scenes depicting San Francisco proper.

Eldredge was a New York–born banker and amateur historian of California whose Beginnings of San Francisco, though possibly self-published, is listed in Cowan & Cowan and described there as “of great historical value.”

In addition to the 47 images/blocks from that work present here, we offer four others that seem to be “related” but which we have not identified beyond establishing that they do not seem to be from the same author's History of California (1915). We must wonder, were they images prepared for the Beginnings and not used? The additional zinc-cut image of a document signed by Gaspar de Portola and two of the three additional half-tones on copper (Portola sighting San Francisco bay and the Spaniards marching to Monterey) were found as online images without clear attribution as to their physical sources; and the last, a western scene not identified, has not yet been “matched” at all.

Most blocks from the Beginnings are still in or withwrappers showing the images printed from them, as would have been convenient for the printers — these marked (as the backs of the blocks themselves sometimes are) identifying the images and/or showing that the work was completed. (The additional blocks are unwrapped and unmarked.)

In sum, thiscomplete array of the blocks used for printing a substantial and well-regarded Titanic-era book looks like something that was put on a printing house shelf one afternoon in 1912 at the end of an ordinary project for the pressmen and simply stayed there. Seeing it in on its present PRB&M shelf, coherent and unmessed-with, is like walking up to that shelf just about precisely 100 years later.

•  On the Beginnings, see: Cowan & Cowan, Bibliography of the History of California, 193. For a list of all its images and notes on their origins, see: http://www.sfgenealogy.com/sf/history/hbbegidx.htm.   The paper wrappers present are variously just fine or age-toned or browned, chipped, torn along folds. ALL the blocks are in good condition; this is not a sort of thing easily damaged!  (29741)

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An Insider's Guide toBATH

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•  Tunstall was aBath booster big-time. A graduate of the University of Edinburgh, he was physician to the Eastern Dispensary of Bath and seven years resident medical officer of the Bath Hospital; his guide book to his city first appeared in 1847, with subsequent editions in 1848, 1851, 1856, 1876, 1888, 1889, and 1900. Besides the locale's follies, Roman ruins, chapels, farms, overlooks, etc., he offers considerable information on the hospitals, baths, and healing wells.

This would have beena definite must for hydrotherapy and other tourists. Nicely illustrated, it bears a great map.

Provenance:  Ownership signature of Mrs. Edward Brown, Belmont House, 1884. (This may well be the Mr. & Mrs. E. Brown whose “Belmont House” dates from ca. 1880 and is located in Browns Cove, Albemarle County, VA).

•  Publisher's green cloth, stamped in blind on covers and lettered in gilt on spine; text clean. A nice copy.  (33529)

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WithSigned Lithograph & Leather Portfolio

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•  Special limited edition of this exhibition catalogue: 10 crosshatched graphite drawings by Brach (1924–2007), founding dean of the School of Art at the California Institute of the Arts. The volume opens with introductions by Terry Melton and the artist; it was designed, composed, printed, and bound by Meriden-Stinehour Press in Vermont.

An original lithograph is laid into the back pastedown pocket: “Sky Horses,” numbered copy 5 out of 50, signed by Brach. The volume is housed in a leather portfolio blind-tooled with the artist's signature.

Provenance:  This copy is inscribed on the front free endpaper by the artist: “For Judith & Gus, Happy Trails,” bearing the date 10 March 1990.

•  Publisher's sand-colored variegated linen, front cover with artist's name stamped in black; boards very slightly cocked, leather portfolio showing minimal edge wear. A beautiful copy. The leather portfolio is often missing, but not here.  (33427)

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The Young Adventurer as an“Old Buffer” — Signed by Waugh

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•  Limited edition of Waugh's final piece of fiction, originally published in Esquire in 1962: a short story featuring a protagonist of several earlier novels, once an enfant terrible and now a fat, wealthy, complacent reactionary. The work is nicely printed on very heavy paper, with a tipped-in, color-printed frontispiece by Kathleen Hale.

This is the first American edition, using the English sheets; the present example is numbered copy 561 of 1000 for sale in the United States, and issigned on the limitation leaf by the author.

•  Publisher's blue cloth, front cover with gilt-stamped Pegasus and rider vignette, spine with gilt-stamped title; spine slightly sunned, acetate wrapper not present. Pages clean and crisp. All in allQUITE! JOLLY!?!   (33505)

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Managing the Empire

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•  Spain's empire in the 16th and the first half of the 17th centuries included not only the bulk of the New World, island nations of the Pacific, and entrepots in Africa and Asia, but also the Netherlands, Luxembourg, Belgium, parts of Germany and France, and most of Italy including Naples. In this work Carleval (1576–1645) studies the administration of justice, judges, civil procedure, canon law, Spanish law and law in general in the Spanish kingdom of Naples.

Includes decisions of the Sacro Regio Consiglio and an index. Title-page in black and red; text printed in double-column format in roman and italic.

•  Palau 44244.   Contemporary vellum over paste boards with remnants of ties; vellum of the back cover of vol. I and front cover of vol. II rodent-gnawed along fore-edge with loss of vellum exposing the boards. Front hinges (inside) of of both volumes mostly open but text blocks still adhering nicely to binding. Occasional age-toning. Good++.  (29363)

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An Appreciation of GOUDY fromTypophilic WOMEN

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•  Sole edition: A tribute to the great type designer by way of a variety of short pieces, many highly decorative, from a group of women dedicated to fine printing. The volume opens with a fold-out “Happy birthday to our Valentine” plate printed in red, drawn by Susanne Suba; it also features a hand-colored floral bouquet plate designed and stenciled by Lucina Wakefield; a statement from the president of the American Institute of Graphic Arts, printed by Helen Olson; a poem by Edna Beilenson; an entertainingly Twain-esque greeting written and printed by Madeline Forgue; a poem written by Edwina Peale, illustrated by Maude Langtree, and printed by Elizabeth Wood; a reprinting of D.B. Updike's “The Black Art,” printed by the Press of the Woolly Whale; and a wide variety of other typographic and literary accomplishments. Many of the leaves are French-folded, and an impressive range of types, paper colors, and illustration techniques are represented.

This isnumbered copy 36 of 195 printed.

•  Original quarter tan buckram with marbled paper–covered sides, spine with title stamped in blue; edges and extremities rubbed, spine slightly darkened. Frontispiece with small tear at central folding point. Some pages slightly age-toned, otherwise clean. Simply, a JOY.  (33512)

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Celebrating250 Fine Books

Limited Editions Club.

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•  First edition of a marvelous tribute to the accomplishments of the Limited Editions Club, including a bibliography and essays by Paul Beaujon, Paul A. Bennett, Edward Alden Jewell, James Laver, Thomas Craven, and John T. Wenterich. The rest of the volume is dedicated to reproductions of various title-pages, text pages, illustrated pages, full-page illustrations, and bindings, showcasing the wide range of techniques and aesthetics used by the artisans who produced the Club's publications.

Robert L. Dothard designed the volume, which was printed on specially made Curtis Archer white paper and bound by Frank D. Fortney of the Russell-Rutter Co. This is numbered copy 1557 of 2250 printed, one of the 750 copies intended for institutional and professional distribution outside the Club.

Provenance:  Laid in is a promotional letter from the Club addressed to Leonard F. Bahr, proprietor of the Adagio Press; the original, unused subscription form and envelope are also present.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 294.   Publisher's quarter black morocco with red cloth sides, front cover with embossed leather medallion, spine with gilt-stamped leather title-label; spine sunned and label with scuff, front joint gently refurbished, slipcase worn with one joint broken. Cover and contents bright and clean.  (33425)

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“This King Midas Was Fonder ofGold than Anything Else in the World”

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•  First published in Hawthorne's Wonder Book for Boys and Girls (1852), this is his retelling of the Midas story.

During the heyday of the fine press movement in America, theGrabhorns printed this handsome edition in 240 copies with illustration and title-page vignette drawn and then hand-colored by the indefatigableValenti Angelo.

•  Heller & Magee, Grabhorn, 93; BAL 7720; Clark A18.31.   Publisher's quarter vellum with gold and blue patterned paper sides. In its slipcase, a bit darkened at edges. Unopened copy save one fold to show illustration; a fine copy.  (33532)

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One Side (Entire) of anEnlightenment Debate

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•  Lessing was one of the fathers of German Idealism during the Enlightenment and among other things is remembered for having provided “the foundation of a modern philosophy of religion” (Yasukata, Lessing's Philosophy of Religion and the German Enlightenment, p. 89). Johann Melchior Goeze (1717–86), a contemporary of Lessing, was a spiritual leader of the Lutheran Church in Germany and familiar with literature; he took up writing histories and apologetics and, because of their differing views on religion and ideals of the Enlightenment, he and Lessing entered into a debate.

While the two are said to have remained cordial, the debate was so “bitter” that the Duke of Brunswick (Lessing's supporter) “intervened, silencing Lessing” (Oxford Companion to German Literature, 2nd ed., p. 554)!

Printed here are Lessing's portions of the eleven exchanges in that debate.

•  Goedeke, IV, 447; Holzmann 2383.   Recent boards covered in brown paper specked with black in the style of the era; age-toning and some dampstaining, not beyond “typical.” Overall, a good copy of a complete set of Lessing's eleven arguments.  (33323)

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Chinese Ideograms & Poetry

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•  First edition in English of Michaux's Idéogrammes en Chine, translated by American poet Gustaf Sobin. This long, illustrated and annotated prose poem was originally written as an introduction to Leon Chang's La calligraphie chinoise (1971), a work that is an important complement to Ezra Pound and Ernest Fenollosa's classic study, The Chinese Written Character as a Medium for Poetry.

Limited edition of 150 copies, signed by author and translator. This is copy 40.

•  Publisher's off-white linen binding with turquoise spine and cover labels printed in white, in a matching open-back slipcase. Fine copy.  (33520)

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One of Blockson's101 Influential Books

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•  The first book that Miguel Covarrubias illustrated for the Limited Editions Club, this is one of an edition limited to 1500 copies and issigned in full by Covarrubias in sepia ink. Its illustrations are both in color and line.

Alvah Bessie translated the novel from the original French and its publication precedes his first original book. Set in “Ubangi-Shari,” a former colony of French Equatorial Africa, Batouala was so realistic in its portrayal of colonial life as experienced by blacks that it was banned in all of France's colonial holdings. Charles Blockson ranks it among his 101 most influential books.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 35; Blockson, A Commented Bibliography of One Hundred and One Books by and About People of African Descent, 6.   Full natural leather, blind-stamped; spine darkened and slightly damaged at extremities. A good-only copy, without the slipcase and with a little light thumb-smudging to interior; yet in conception and artwork as fresh as ever.  (33382)

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“To Counterfeit isDEATH”

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•  Multi-element woodcut borders appear on both sides of this small, almost square bill printed by famed colonial printer John Dunlap of Philadelphia; the recto incorporates the woodcut vignette of a ship and a plow. “To Counterfeit is DEATH” appears on the obverse, along with Dunlap's name in good-sized type.

Provenance:  Ex–Allyn K. Ford Collection, Minnesota Historical Society, recently deaccessioned.

•  Very good condition; age-toned, with the sorts of creasing, soiling, and abrasions that come with being carried in a pocket or purse and used as tender. Authentication signature and sequence number faded.  (33359)

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A Noble Book for Your House in Tuscany?
      (Smith's Patron Was the Second Earl of Warwick)

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•  Smith is remembered in art circles as a very accomplished water color artist and it was that work that attracted the attention of George Greville, second earl of Warwick. The earl became Smith's patron and sent him Italy where he produced such works as “Outside Porta Pia, Rome” (now in the Tate collection) and “Interior of the Coliseum” (now in the British Museum); “his Italian pictures . . . are considered Smith's best” (ODNB).

Toward the end of the 18th century (1792–1799), Smith produced the first edition of this work, laden with72 engravings (by various artisans) after his original watercolors. This second edition of his Select Views in Italy was not issued with a title-page, although some copies have a copy (reprinting?, remainder sheet?) of the first edition's; it begins instead with a splendidly calligraphicengraved dedication leaf reading, “Italian scenery. To the Queen's most Excellent Majesty this Collection of Select Views in italy is with Her Majesty's gracious permission Humbly dedicated by Her most obedient and devoted Servant, John Smith.” Dated in text 18 January 1817, the leaf was designed by Tomkins and engraved by Ashby; at its bottom, as on a title-page, is “London[,] J. Smith, W. Byrne, & J. Edwards.”

The text in this edition, bilingual inEnglish and French, is the same as that of the first edition; but it was entirely reset and the plates are restrikes of those of the first edition, with the original imprints removed and the numeration moved to the top of the plates. This is, therefore, a particularly interesting object toset beside an example of its first edition!

Provenance:  No bookplates or inscriptions, but spine with initials “G.O.B.” tooled at base.

•  20th-century cordovan-color calf, modestly tooled in blind, spine sunned and lightened with darker streaks and patches evident; joints (outside) with excellent repairs. Text with only an occasional age-stain or instance of foxing; plates remarkably unblemished. Blue silk placemarker. OVERALL A VERY NICE COPY.   (33233)

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Abbott'sIllustrated Biographies

Abbott, Jacob, & John S.C. Abbott. 

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•  20-volume set: Accounts of some of the greatest names of history, written primarily by Jacob Abbott, a clergyman and educator as well as a prolific children's author, with Abbott's brother John Stevens Cabot Abbott contributing four of the 20 lives. The series was aimed primarily at readers aged 15 to 25 and originally published in 1848 under the title Illustrated History, becoming a great and oft-reprinted hit in its day. This is the first Superior Printing Company edition; represented here are Romulus, Alfred the Great, Cyrus the Great, Darius the Great, Xerxes, Alexander the Great, Pyrrhus, Cleopatra, Hannibal, Julius Caesar, Nero, William the Conqueror, Genghis Khan, Henry IV, Hernando Cortez, Queen Elizabeth, Mary Queen of Scots, Peter the Great, Marie Antoinette, and Josephine.

Each volume opens with a frontispiece portrait, most volumes having three additional plates with a few offering two or four instead.

•  Publisher's cream paper–covered boards, spines with stamped titles and heraldic rampant lion decorations; spines darkened (uniformly so), some spines chipped or scuffed. Preface and last text page of each volume with pencilled ownership inscription of J.C.B., dated 1923, except vol XV, marked as read in 1959 by J.D. Bowman. Vol. VI with newspaper clippings affixed to free endpapers, offset onto pastedowns. Vol. VIII with frontispiece separated and laid in, first few lower outer corners bumped, small pencilled marks of emphasis. Vol. IX with small scuff to front cover, small pencilled marks of emphasis, newspaper clipping affixed to back pastedown. Vol. XI with lower portion of one leaf torn away, with loss of portions of eight lines. Vol. XIII with front joint cracked and spine paper partially detached, reinforced some time ago with cellophane tape. Vols. XIV and XIX with back endpapers bearing inked and pencilled annotations. An enjoyably readable tour of famous lives in a “period” edition.  (33428)

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Signed Limited Edition: Noir Fiction

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•  First edition, preceding the story's republication in The Best American Mystery Stories 2001: a tale of two brothers and a rash of bank robberies in Southern California. Elizabeth George provided the thoughtful introduction, Robert Crais the enthusiastic afterword, and Phil Parks the mounted, color-printed illustrations. This islettered copy N of 26 collector's copies, out of 250 total, signed by Parker, George, Crais, and Parks on the limitation page.

Binding:  Publisher's grey silk, front cover with affixed color-printed illustration, spine with title stamped in black, in a striking lucite slipcase.

•  Binding as above, lucite showing predictable minor shelfwear, overall a beautiful copy. An uncommon printing of work by one of the most popular contemporary crime writers; actually, ofan all-star trio of writers.  (33332)

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A CENTRAL Chapter fromThe Aeneid

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•  Lines 637–901 from the darkly atmospheric and prophetic Book VI of Virgil's Aeneid, this poetic English prose version was translated from the Latin by Sir G.K. Reynolds, who keeps the language “dignified without being dead,” according to the prefatory note by English poet Sir George Rostrevor Hamilton (1888–1967).

Printed in black, flanked bythe original Latin in red italic at the outer margin of each page, this edition numbers one hundred copies “from Adobe Garamond type generated directly onto film from a Macintosh file.” The colophon specially thanks designer Janet M. Tingey of New York.

•  Deep red silk by Moroquain, Inc., with chapter and verse gilt-stamped on front cover. Protective mylar wrapper. Fresh.  (33336)

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Printed on “Rice Paper” on theArchbishop's Press, the Ex-Jesuit Press

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•  After consecration and service in Spain, Sancho de Santa Justa arrived in Manila in 1767 to take up his duties as archbishop, which includedoverseeing the expulsion of the Jesuits. He was a native of Aragon and a member of the Society of Scholarum Piarum. In this address on the occasion of Charles III's 67th birthday, he expresses himself no friend of many of the Enlightment's ideas but a staunch supporter of the King, his economic policies, and especially of the newly instituted practice of free commerce in the Spanish empire. On the other hand, he rails against England, its foreign commercial practices, and its ascension as a maritime powerhouse.

As the title states, this was pronounced before “la Real Sociedad Patriotica de Manila.” That august body was “congregada por estatuto en el salon del Real Palacio, y presidida de su protector el muy ilustre señor D. Joseph Basco, y Bargas, Balderrama y Rivera cavallero del Orden de Santiago, capitan de navio de la real armada, gobernador, y capitan general de estas Islas Filipinas, y presidente de su real audiencia, y chancilleria, director g[ene]r[a]l de las tropas de S.M. en estos dominios, superintendente general de la Real Hacienda, y Renta de Tabaco, y subdelegado de la de Correos &c. &c.”

The work is printed on “rice paper” (i.e., Asian paper probably from the mulberry tree) as was common in Manila during the period to ca. 1820. The typography is definitely provincial and plain, using only one decorative woodcut initial and no ornamentation on the title-page. The type is roman in a variety of sizes with a practice of using all capitals for emphasis.

The press on which this work was printed had been that of the Jesuits until Archbishop Sancho de Santa Justa carried out the king's order and expelled them; he then appropriated the press for his private use, as here. What had been only the fourth press to operate in the Islands, now with a new name, became the fifth.

Searches of NUC, WorldCat, and COPAC locate only five copies worldwide (three in the U.S., one in the U.K., one in Spain).

•  Medina, Manila, 317; Retana, Aparato bibliográfico, 379.   Recent marbled paper–covered boards (green and mauve stone pattern); red leather label on front cover. A few minor paper repairs to edges of a few leaves; a very few small pinhole type wormholes, not costing any letters; the brown spotting and staining peculiar to rice paper. Old, brief note lightly red-inked to title-page. Over all a very good copy.  (33130)

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The YANKEE Who Commanded theMexican Navy

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•  After a colorful U.S. naval career that unfortunately ended in a court martial for an unsanctioned action in Puerto Rico, Porter (1780–1843) went on to head the Mexican Navy and later still to be appointed the U.S. ambaasador to Turkey. It is in that later role that he writes this letter inviting his old friend and fellow shipmate to his house at Kadi King, with directions how to get to it, and hints as to the magnificence of the area. When he arrives, Porter will explain why he can’t ask permission for Read’s ship to come up. Read was commanding the Constellation in the Mediterranean at that time.

Provenance:  Ex–Allyn K. Ford Collection, Minnesota Historical Society, recently deaccessioned.

•  Very good condition. Light stain in upper margin of first page. Inlaid to a larger sheet.  (33363)

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Lily's First Appearance

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•  First edition of Wharton's first significant novel, illustrated with eight plates done by A.B. Wenzell. This is the third state of the first edition, on wove paper with advertisements at the back.

•  Garrison A12.1.c.   Publisher's red cloth, front cover and spine with gilt-stamped title and author; without the dust jacket. Top edge gilt. One leaf with short tear from lower margin, extending into text without loss; one page with a streak of discoloration along gutter (associated with bindery glue?). A very nice, clean, crisp copy.  (33105)

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Starting with, “How First Love May Interrupt Breakfast”

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•  First number of the first U.S. edition of this charming, humorous Bildungsroman, here in the publisher's original wrappers. 16 in-text wood engravings adorn the text; like the illustration on the front wrapper here, they are based on theoriginals done by Thackeray himself. The front wrapper states “To be completed in seven numbers,” although in actuality it took eight. A nice example of a “part” of a book issued in parts.

•  Publisher's printed paper wrappers; wrappers darkened with corners bumped, front wrapper with small ink spots, short edge tears, and faint rings of discoloration. Faint intermittent foxing with one signature (only) more notably age-toned.; final leaf with portion torn out of outer margin, not touching text. A pleasing touchstone for Victorian literature and its “production.”  (33259)

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“The True Economy ofHousekeeping is . . . ”

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•  First printed in 1829 under the title The Frugal Housewife, this work received its added national designation in order to distinguish it from Susannah Carter's earlier work by that name.

This is afine facsimile of the 1833, twelfth edition, and is, in fact, a reprinting of the 1963 facsimile edition issued by the Worthington, OH, Historical Society. Present here is much information on domestic thrift, mixed with some recipes.

•  Very good+ condition. Printed paper over boards.  (33309)

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“Just 25 Yards of Sail toCarry TWO People Across the ATLANTIC OCEAN!”

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•  Awhaler's account of his life and times, culminating with the voyage he and his wife made from New Bedford, MA, to Penzance, England. Joanna Crapo was the first woman to cross the Atlantic in a dory boat, according to the Guinness Book of World Records. This is a reissue of the first edition, with a postscript written by Mrs. Crapo sometime after the captain's death in 1899.

•  Forster 32; Toy 156.   Publisher's brown cloth, covers stamped in blind, spine with gilt-stamped title; edges and extremities slightly rubbed, spine with small spots of discoloration. Pages faintly age-toned, otherwise clean; a nice copy.  (33301)

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Yeats' Selection ofIrish Fables — LEC

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•  William Butler Yeats collected and edited this selection of Irish folk tales, here set in linotype Caledonia and Bulmer on ecru-colored Kilmory paper and bound by the Tapley-Rutter Company in full dark green buckram with a gilt-stamped drawing by illustrator Rowel Friers and gilt lettering by designer Ted Gensamer. Hand numbered andsigned by Gensamer below the colophon, this is copy number 538 of 2000 thousand printed in Bloomfield by the Connecticut Printers, with multiple line drawings by illustrator Friers andtwelve color plates printed from his original paintings by Holyoke Lithograph Company.

With the monthly newsletter and mailing notice.

•  Bibliography of the Fine Books Published by the Limited Editions Club, 467.   Bound as above, in original glassine dust wrapper and with dark green paper–covered slipcase with printed spine label. Minor chips at edges of wrapper; paper on one edge of box very slightly peeling, else fine.  (33183)

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Slavery of Indians as Well as of Blacks — Facts Often Now Forgotten

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•  Moore apprenticed as a librarian under his father, Jacob Bailey Moore, the librarian of the New-York Historical Society, and succeeded him in that position in 1849. His tenure as such ended in 1872 when he became the Society's first superintendent of the Lenox Library (now part of the New York Public Library).

His Notes covers slavery of both Indians and blacks, the laws allowing and regulating it, the practices, movements against it, and other institutional and social aspects. It is most occupied with the colonial period to 1775.

•  Sabin 50381; Library Company, Afro-Americana (rev. ed.), 6776.   Uncut copy and mostly unopened. Publisher's dark red cloth, covers embossed in blind and spine lettered in gilt; joints (outside) slightly rubbed. Slim crescent of light amber–colored stain to outer margin of first few leaves only. An excellent copy.  (33285)

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“The Sitting Bull Legends . . . Have No Relation to the Facts at ALL”

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•  First edition of this classic, sympathetic biography: “a fresh attempt at a portrait of Sitting Bull” (p. viii).

•  Luther 92; Howes V82; Rader 3534; Smith 10543.   Publisher's maroon cloth, front cover with gilt-stamped bull vignette, spine with gilt-stamped title, dust jacket lacking; spine with gilt dimmed and extremities a bit rubbed. Fore-edges of closed book with staining that occasionally encroaches on the outer edge of a margin and on a few leaves appears at “light to moderate” level farther inward; otherwise, expectable age-toning only with the occasional spot. A solid, good copy.  (33168)

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A Short Line RAILROAD IsProposed

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•  On the desirability of a railroad up the Ousatonic River Valley from Bridgeport, this is an invitation to a meeting on the subject. This copy was sent to “To the Hon. Judge [Samuel] Church, Salisbury, Conn.” as addressed and postal stamped on the verso (“p. 2"); a manuscript note at the bottom requests that he “Please communicate with neighbors . . .  ”

Provenance:  Ex–Allyn K. Ford Collection, Minnesota Historical Society, recently deaccessioned.

•  Very good condition. Slightly irregular along the left margin; hole in right margin (not touching text) where the wax seal for mailing adhered to the blank area during opening.  (33388)

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Procedure & Parties

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•  Olea saw the first edition of his work on European legal procedure, parties, substitution of parties, and assignment under Roman law published for the first time in 1601; subsequent editions, like this one still of the 17th century, followed. A final section with its pagination is the decisions of the Roman Rota (“Decisiones Sacrae rotae romanae, recentissimè recollectae per ... Io. Dominicvm Fantini”).

Title-page printed in black and red, text in double-column format.

•  Palau 200148.   Contemporary limp vellum with ties; a browned copy. Half-title cut down and mounted; title-leaf remargined. Worming in margins and in text, with loss of words and letters; occasionally a tear, occasionally an old marginal note.  (31655)

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The Handy Hand-Held Format — Hammering Witches

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•  Composed by Dominican inquisitors as a manual for prosecuting evil-doers in court, theHammer of Witches was first published in 1487 and reprinted in every subsequent century except, curiously, the 18th, as a popular description of witchcraft and demonology that “exercised a long and marked influence on forensic practice” (NCE). Divided into three parts in two volumes bound together, the text treats the history and forms of witchcraft in the first two parts, then givestrial procedures in the final section.

This trim edition was published during the peak period of European witch trials (1580–1630) and just after more than 200 people were executed in Labourt, France, for witchcraft in 1619. It is in Latin printed in roman and italic type, with woodcut initials in various sizes and styles (historiated, floriated, factotum), headpieces, and sidenotes. Each of the two volumes has a separate title-page printed in red and black and featuring the printer's large woodcut device.

Provenance:  Initials in ink of early owner, “JB,” on title-page; 19th-century stamp of the Redemptorist House in Philadelphia; 20th-century stamp of the Redemptorist Library in New York State.

•  Coumont, Demonology and Witchcraft, I4.33; Cornell, Witchraft, p. 305; NCE, XIV, 978.   Recent black full calf old-style, handsome and suitable: Round spine with raised bands, accented in gilt and with blind-tooled devices in compartments, with black morocco label, gilt-lettered; fillets extending onto covers from each band to terminate in trefoils and covers framed in blind double fillets; red edges, now faded. Redemptorist library stamps as above on first title-page, with also another and a sticker. Trimmed close at top in some sections, grazing at least one headline; small hole from natural paper flaw on two leaves affecting a few words of text only; a track of slim worming from upper gutter to perhaps 15 central leaves, meandering into text not costing words. Browning and age-toning but very little spotting; a group of leaves missigned but bound correctly. Solid, attractive, and about witchcraft; an edition but lightly held in libraries; why hesitate?  (33145)

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The New French Classicism — Le nouveau classicisme français

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•  First edition of this influential treatise on the five orders of classical architecture, written by the physician and scientist generally credited with the design of the eastern façade of the Louvre. Perrault's theory of proportion introduced a lasting debate over ideas of positive and arbitrary beauty.

In addition to thesix leaves of plates done by Pierre Le Pautre, Louis de Chastillon, and Sebastien Le Clerc, the work is illustrated with several in-text uses of a woodcut diagram comparing the five types, as well as a title-page vignette of the arms of Louis XIV and a distinctively rendered headpiece (signed by Chastillon) of the Colbert serpent coat of arms supported by a dog and a unicorn.

And yes, Claude was related to (brother, in fact, of) Charles Perrault, the fabulist and reteller of the Cinderella story and other tales.

•  Brunet, IV, 507; Graesse, V, 207; Cicognara, I, 607.   Contemporary speckled calf, spine with gilt-stamped title and compartment decorations, board edges with gilt roll; joints and extremities carefully and unobtrusively repaired and refurbished, edge gilt rubbed. Pages slightly age-toned, with scattered spots; last few leaves with margins a bit darkened. Small area of pinhole worming to outer margins, not touching text (three plates each with tiny portion of one line touched); some instances nicely refurbished with long-fiber tissue. A clean, wide-margined, attractive copy of an attractive book.  (33221)

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For “Workmen & Laborers” & Including Ruskin'sAttack on Whistler

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•  Facsimile printing of the 1886 Frank F. Lovell & Co. edition: pamphlets presenting Ruskin's perspective on contemporary moral and social issues.

•  Publisher's teal cloth, spines with gilt-stamped title; spines with gilt slightly dimmed and minor extremity wear, front cover of vol. II with a small light smudge. A solid and pleasant set, with its pages very crisp and clean.  (33164)

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A Colonial-Era Summons

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•  Byfield Lyde, clerk of the court, issues a summons for Jacob Sheaf, a Boston brewer, to appear in court on a charge of trespass (theft?) brought by John Jekyl of Cambridge. A printed form completed in manuscript.

Provenance:  Ex–Allyn K. Ford Collection, Minnesota Historical Society, recently deaccessioned.

•  Good condition. Overall age-toning with greater darkening along folds and small tears at some folds' intersections; verso (“p. 2") with a variety of docketings.  (33368)

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Light-Hearted Reading — Bright Shiny Binding

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•  1834 volume of a popular humor annual, intended for genteel audiences, that ran from 1830 through 1842. Hood, an editor, author, and poet, endeavored for this series to “conciliate the utilitarians, by mingling a little instruction with amusement”; the pieces include stories, poems, and puns galore, and are illustrated with a number of in-text engravings in addition to the48 plates — almost all of which were drawn by Hood himself.

Binding:  Later 19th-century half blue calf and marbled paper–covered boards, gilt spine extra; gilt-stamped dark red leather title and year labels. All edges gilt.

•  NSTC 2H28799.   Binding as above, edges rubbed, front board once loose and now expertly reattached; gilt bright, bright, bright. Front free endpaper with small stamp of Bartlett & Co., Boston. Pages slightly age-toned, one with one upper corner noticeably so, and a very occasional spot; clean. (33102)

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The Go-To Dictionary forMany Generations

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•  First edition of Golius' massive Arabic to Latin lexicon; it was based on the Sihah of Al-Jauhari and remained the standard work until Freytag published his lexicon in four volumes from 1830 to 1837. Golius (1596–1667) first studied medicine and mathematics at the University of Leiden and later studied Arabic and Oriental languages under Erpinius.

There were four different imprints on the title-pages of this Elzevir edition, depending on who was actually selling the book: Revesteyn, Laers, Jansson, or the Elzevirs themselves. All copies are printed infolio in double-column format, title-page in black and red, and with the printer's device on the title-page.

•  Willems 723; Scnurrer 79; Brunet, III, 652; Vancil Cordell Collection, 99.   Contemporary vellum over paste boards; spine expertly repaired, new spine label added, no pastedowns, new front endpapers. Light dust-soiling and bug specks on title-page, with repair to one corner; age-toning and occasional spotting only as might be expected. A very good copy.  (33163)

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A Healthy Climate for aHealthy Recovery

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•  Sole edition. Tunstall is credited with an “M.D.” on the title-page and his credentials there are “Senior Physical to the Eastern Dispensary; Physician to the Institution for Diseases of the Chest; and formerly Resident Medical Officer of the Bath General Hospital.”

The frontispiece is adetailed wood engraving of Bath from Beechen Cliff as drawn by J. Syer.

Searches of NUC and WorldCat locate only the copy at Duke University as far as U.S. library holdings.

•  Publisher's dark brown textured cloth, stamped in blind and lettered in gilt, top edges bumped; a narrow scalloped border of quite-light waterstaining to top and fore-edges of frontispiece. Very good copy.  (33468)

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Illustrated & with Music — NONESUCH

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•  Milton's masque in honor of chastity, here accompanied by facsimile versions of the original five songs by Henry Lawes (edited by Hubert J. Foss) and six color-printed illustrations by Mildred R.H. Farrar: a frontispiece, a title-page vignette, and four plates. The Earl of Ellesmere supplied the foreword.

The text was printed in Fell types, with the music in Walpergen type, by John Johnson at the University Press of Oxford; the illustrations were printed from the artist's linoleum cuts by the Curwen Press; and the binding was done by the Leighton-Straker Company. This isnumbered copy 505 of 950 printed.

Provenance:  Front pastedown with calligraphic bookplate of Norman J. Sondheim, American collector of fine press books.

•  Dreyfus, History of the Nonesuch Press, 109.   Publisher's faux vellum with yapp edges, blind-tooled with rules and arabesque decorations, spine with gilt-stamped title; spine darkened, extremities rubbed, minor dust-soiling more pronounced to back cover, small area of light staining to lower front joint and adjacent cover. Slipcase lacking. Pages very slightly age-toned, all edges deckle. A good solid copy of a beautifully produced work.  (33370)

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One of theGreat EARLY Chaucerian Collections

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•  Early edition of the first comprehensive collection of Chaucer's works — along with several spurious pieces. This is the fourth edition of the Workes, following the first of 1532, which included the first printed appearances of a number of Chaucer's verse and prose pieces, among them the Book of the Duchess and the Legend of Good Women. Editor William Thynne examined a number of manuscripts and printed versions in order to provide what he considered the most accurate renditions possible of the texts; his work helped to shape and direct the Renaissance perspective on Chaucer and his canon.

That the text is printed in double columns ofblack-letter — this being late for that, except in realms of serious law or theology — will have lent it an air of “auctorite” and, perhaps, of pleasantly suitable archaism for its original readers; the printer has also supplieddecorative woodcut initials in a variety of sizes, some historiated, some signed “I.R.,” and one with a backwards “N,” while the “Knight's Tale” opens witha large woodcut of the armored knight, mounted and with jousting lance in hand. The Romaunt of the Rose is marked by a separate title-page with an elaborate border depicting the genealogy of Henry VIII using the tree motif. As the title-page and prologue are not present in this copy, it is difficult to ascertain which of the two variant states of this edition is represented here.

•  ESTC S107207; STC (2nd ed.) 5076.   Period-style mottled calf framed in double blind fillets, spine with raised bands and gilt-stamped author and date; front free endpaper with recent pencilled annotations. 6 preliminary leaves (including title-page), first part of text through “General Prologue,” and final leaf (CCCLXXVIII) lacking, the latter supplied both in facsimile of original printing and in 18th-century inked manuscript! First four leaves with upper portions repaired, with loss of two paragraphs of “Eight Goodly Questions” (which is bound in between two leaves of the preface), two and a half paragraphs of Hoccleve's “To the Kings Most Noble Grace,” about 14 lines of Thynne's dedication to Henry VIII, and upper portions of the table of contents; tear to first page of the “Knight's Tale” neatly repaired from rear. Pages age-toned, some from the midpoint onwards with waterstaining across text, noticeable but never dark nor obscuring; otherwise the mostly marginal inksmear, chip/tear at an edge, or expectable soiling only. Several paper flaws, one significant and with the printing accomplished over it in instructive fashion; in some sections, apparent bad inking for the press with light spots and dark ones scattered; pagination notably erratic, with some numerals skipped and some repeated. Occasional instances of early inked annotations and marks of emphasis, particularly in the Romaunt, including long lines drawn marginally and across text. Imperfect (“read hard,” when young?) and priced to reflect that; but still a Chaucerian high spot featuring all the tales of the Canterbury Tales and many other important pieces, withthe array set forth in the 16th century's “antique” style.  (32721)

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An Amazing Tale — A FamousMEXICAN Artist's Interpretive Illustrations

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•  This fine edition of this classic text was limited to 1500 copies printed by Loera y Chávez, edited by Harry Block andillustrated by Miguel Covarrubias; it is signed on the colophon page by all three. The text is an abridgment of Maudsley's 1908 translation, which in turn is based on Genaro García's 1904 publication of the text from the original manuscript.

Printed in double-column format, this very handsome and coveted edition bears 6 full-page, 12 half-page, and 28 in-text color illustrations, plus one double-page color map, all by Covarrubias.

•  Limited Editions Club, Bibliography of the Fine Books Published by The Limited Editions Club, 1929–1985, 207.   Contemporary Spanish-style sheep (pasta española) with red spine labels (labels lightly rubbed). In the slipcase, as issued; case rubbed at some points with loss of paper, as common. A clean and unfoxed copy of the text and illustrations.  (33380)

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The Feast of a MARTYREDSoldier & Patron of Hunters

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•  Handsome manuscript rendition of the Proper for the festival of St. Eustachius or Eustace — who converted after seeing a vision of the crucifix between a stag's antlers, and was eventually roasted alive along with his family — and his companion martyrs. Possibly commissioned for the Church of St. Eustache in Paris, this manuscript offersFrench and Latin parallel texts nicely accomplished in double columns of neat text in brown withred and blue accents, ruled in blue and red with some inked flourishes; one column (along with a scattered handful of words elsewhere) is done in oblique script, while all others are upright roman.

•  Contemporary mottled sheep, spine compartments with gilt-stamped floral decorations; binding scuffed with small areas of insect damage, spine with label now absent and leather lost at foot. Preliminary leaves with pinhole worming; pages slightly age-toned, with scattered mild spotting and some small smudges to letters and lines. All edges red. AN ENGAGING THING.  (32913)

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Lowell's Letters, Edited by a Friend

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•  First U.S. edition (per the Bibliography of American Literature) of this extensive collection of the poet's correspondence.

•  BAL 13228.   Contemporary half calf with marbled paper–covered sides, leather edges with single gilt fillet, spines gilt extra with gilt-stamped leather title and volume labels; spines and extremities rubbed, spine labels chipped, leather with minor discoloration, joints starting from heads. A few signatures opened roughly, some unopened (most in vol. II). A worn but still distinctive set.  (33162)

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The Last of the 17th-Century Editions ofSIDNEY

•  Handsome folio printing of the Arcadia, opening with a strongly impressed copper-engraved portrait of Sidney done after Elstrack, and accompanied by a “Life and Death; a brief Table of the principal Heads, and some other new Additions.” Along with the title work, this stated 13th edition contains Sidney's sonnets, “The defence of poesie,” “Astrophel and Stella,” “Her Most Excellent Majestie walking in Wanstead Garden,” “A supplement [not by Sidney] to the third book of Arcadia,” and “A remedie for love.” Richard Bellings's sixth book of the Arcadia, originally published separately in 1624, here appears with a separate title-page, also dated 1674; the pagination and register are continuous.

Provenance:  “Judith Tichborn her book given me by my most renowned and beloved knight Stephen de la Stanly 1713.”

•  ESTC R21446; Wing (rev. ed.) S3770.   Period-style mottled calf, covers framed and panelled in blind fillets with blind-tooled corner fleurons, spine with raised bands and gilt-stamped title. Pages age-toned and foxed with occasional small inkspots; some paginations trimmed and frontispiece edges slightly ragged. One early leaf with tear in lower margin, extending into text, repaired with two words from opposing page partially lifted by adhesion; one leaf with small hole affecting about eight words; one leaf with tear in outer margin touching final letters of seven lines; occasional edge chips, one upper outer corner torn away. A very readable copy in a dignified binding; a romantic tale with a romantic inscription.  (33123)

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“Eustacia Vye Was the Raw Material of a Divinity”

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•  First edition illustrated by Leighton of Hardy's Wessex tale of mothers and sons, adultery, and ruined lives. Leighton's woodcuts aretwelve tipped-in cuts and numerous in-text head- and tail-pieces.

The edition was limited to 1500 copies, of which 500 were for sale in England and 1000 in the U.S. This is one of the 500 copies for England.  Autographed by Leighton on the limitation page.

•  Publisher's quarter vellum with brown patterned paper sides. Top edge gilt; deckled edges. Without the d/j. Vellum lightly discolored. Very good.  (33480)

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What Gown to Wear?

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•  Mitchell (1829–1914), a physician, neurologist, poet, and novelist (Hugh Wynne, Free Quaker [1897], The Adventures of François [1898], and The Red City [1909]), received an honorary degree fromPrinceton in 1906. In this missive he asks his Princeton correspondent, “Do your givers expect the new L.L.D’s to wear the Princeton gown on receiving degrees or will it be fit that they wear some gown to which they are already entitled? I would wear my Edinburgh gown for example.”

Provenance: Ex–Allyn K. Ford Collection, Minnesota Historical Society, recently deaccessioned.

•  Very good condition. Written in a pale sepia ink. Without the envelope.  (33364)

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Her Affair with George Dillon in52 Sonnets

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•  First edition, fourth printing: a cycle of 52 sonnets tracing a passionate but doomed affair.

•  Quarter black cloth with gray-brown paper–covered boards, spine with printed paper label; dust jacket lacking, paper edges slightly sunned, spine label darkened and stained (not fatally). Pages gently age-toned. A good, solid copy.  (33131)

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CRIMINAL LAW — An Italian “Take”

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•  Caballo (d. 1616) was a Florentine judge and legal writer who saw his “Resolutionum criminalium” achieve great acceptance upon publication in 1606 and as attested to by the several later editions in the 17th century. This dense work on criminal law begins with a title-page in red and black with type in a great variety of point sizes of roman and italic. The text is printed in double-column format and each “century” begins with a large woodcut headpiece and ends with a small woodcut tailpiece.

This edition, “Hac quarta editione pluribus mendis expurgatae,” has several very good indices of “arguments,” words, and “things.”

•  Later limp, but rather stiff, vellum. Inkstains on bottom edge of closed volume; some captions a little shaved, half-title a little tattered. Remarkably solid andclean.  (31616)

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All the News THAT FITSWe Print

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•  Messrelationen were published beginning in the 16th century in conjunction with the Leipzig and Frankfurt bookfairs: They recount the political and military events since the last fair. Present here is the issue for “Herbstmesse” (i.e., Autumn) 1790. The frontispiece is an engraving of Gustavus III of Sweden. The title-page is in black and red.

WorldCat reportsprecious few holdings of any issues of the Frankfurter Mess-Relationen for the 1790s.

•  Never bound; spine with faded marbled paper as shelfback. Dust-soiling, dog-earing, light spotting to last leaves; last leaf with a short tear (repaired) in foremargin.  (33124)

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“Truth & Virtue Shall at Last Succeed”?!?

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•  Nahum Tate's infamous revised version of Lear, in which Cordelia survives to marry Edgar and become queen with her father's blessing. In fact, in this version, no one dies except for the bad guys — all of them, at that! This is the fourth edition, following the first of 1681, of this much-debated piece of work from the poet laureate otherwise remembered for his collaboration with Brady on the revised Psalms.

Binding:  Period-style calf, covers panelled in blind with a wide and elegant gilt lace roll defining the central rectangle; this central portion “quilted” with blind rolls. Spine with gilt-stamped red leather title-label, longitudinally; turn-ins with blind roll.

•  ESTC T36412; Wing (rev. ed.) S2920.   Binding as above; housed in a clamshell case of brown morocco and brown cloth, case spine with gilt-stamped burgundy leather title-label and gilt-stamped publication information. Pp. 6 and 7 mispaginated as 56 and 57. Some page edges darkened; occasional mild foxing and offsetting, a few headers cropped (none badly). An uncommon early edition of a script that is actually quite interesting (i.e.,not just an epitome of presumption and misunderstanding), in a truly lovely binding.  (32781)

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“The Modern Reader's Chaucer”

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•  First edition of this beautiful production, illustrated with32 color-printed plates by Warwick Goble. The texts (slightly expurgated) were put into modern English prose, with occasional verse interludes, by medievalist John S.P. Tatlock and poet-playwright Percy MacKaye.

Binding:  Publisher's navy cloth, front cover ornately gilt-stamped with wide vinous floral border and ship-at-sea vignette, spine with gilt-stamped title and coordinated vine-and-flower motifs; top edge gilt.

•  Bound as above, spine slightly dimmed and rubbed, back cover with one wrinkle in cloth in upper outer corner, one corner bumped. One page with small scuff where top of page was adhered to previous plate; a few signatures not entirely cut. Lovely front cover bright and beautiful, pages clean: a very nice copy.  (33110)

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EntirelyENGRAVED 18th-Century LYRICAL DIALOGUE

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•  The first edition of thefirst work published by M. Arnaud Berquin (1747–91), thisentirely engraved dialogue between Lamon, Lysis, and “La femme” was issued together with the Pygmalion, scène lyrique, which Berquin translated into verse from the original by Jean-Jacques Rousseau. As in the instance of a copy at Texas A&M University, the Idylle in hand has been separately bound — in our copy's case finely bound, well highlighting the vignette and tailpiece engraved by Charles-Étienne Gaucher (1740–1804) after Clément Pierre Marillier (1740–1808), and the text engraved in an attractive italic “hand” by Droüet.

The two-part text was not reprinted until 1883, by J. Lemonnyer in an edition of 525 copies.

Binding:  Fine olive brown morocco gilt, ca. 1910 and very much expressing that era's style. Each board double-ruled in gilt and finely framed with a canopy of elegant gilt garlands, title gilt at center of front cover. Spine gilt extra from top to bottom in a leafy vine pattern. Board edges single-ruled in gilt, turn-ins double-ruled in gilt with a rule of delicate gilt beads between, french combed marbled endpapers in an exceptionally pretty and precise pattern.

•  Cioranescu 11517.   Bound as above, second part only of two; binding a little rubbed (only) at joints, edges, and one corner of front cover. Paper chosen for blank endpapers unevenly bleached, in production, to now-spotty but not unpleasant effect; text with a little age-toning at upper edges and some light dust-soiling at deckle edges.  (32768)

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Appointing a New Judge

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•  Juan Carlos de Benavides y Mesia, a citizen of Baeza and a familiar of the Holy Office, is appointed to the post of alguacil mayor (“chief justice”) of the Inquisition. The appointment was made on 13 May and carried with it not only the power and responsibilities of the office but considerable privileges and exemptions. It was a much coveted position.

Written in sepia ink in a clear italic hand surrounded by a calligraphic border accomplished in red and green, this has the symbol of the Inquisition at the center top in green and yellow with the symbol of the Dominican Order to its left and right in brown ink. The signatures of three Inquisitors and an Inquisition notary appear large and clear, and the paper and wax seal is present.

The verso of the document has, in a clear notarial hand in black ink, the registration of the appointment; this, too, isimpressive to look at.

•  Very good condition.  (33157)

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A Sorrowful Reader?

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•  First and only U.S. edition of this English translation: Romantic fiction about Joachim Murat, King of Naples; a noble Arab character features prominently.

Evidence of Readership: Title-page with early, rather elegantly inked comment, “with a Sorrowful ending.”

•  Contemporary quarter morocco and marbled paper sides, worn and abraded; front and back covers pressure-stamped by a now-defunct library, spine rubbed and with paper shelving label. Title-page and several others stamped; title-page with comment as above; stray pencil marks to a handful of pages.  (4364)

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Roman Poets, Orators, Rhetoricians, &c. (but No Nudity, Please)
for 16th-Century Students

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•  As Hadrian's private secretary, Suetonius was intimately familiar with then-current events and with the historical record; he made use of the imperial archives as well as contemporary gossip to write his biographies and histories, particularly his best known work, the De Vita Caesarum (known in English as the Twelve Caesars). The Illustrium Virorum (a.k.a. On Famous Men), accounts of prominent men of letters, provide much of what is known about Roman authors of the period and were consulted by many subsequent biographers — despite having survived in only partial form. Also known as De viris illustribus urbis Romae, the work has in the past been attributed to Aurelius Victor, Cornelius Nepos, and Pliny the Younger as well as Suetonius.

The present copy is a very uncommonschoolbook edition. The main text is printed in roman and surrounding additions in gothic type; the title-page is printed in red and black within a woodcut framework of allegorical figures.

Evidence of readership: In the present copy, the first five lives were extensively annotated in Latin by an early hand, with both interlinear and shouldernotes. Evidence of something else: In the present copy, inkblots cover significant portions of three nude figures in the title-page frame!

Provenance:  19th-century ownership stamp of the Redemptorist house in Ilchester, Maryland; later 19th-century stamp and label of the Redemptorists' provincial library of Baltimore; 20th-century stamps of the Redemptorists' library at Mount St. Alphonsus.

WorldCat and NUC Pre-1956 do not locateany U.S. institutional holdings of this edition.

•  VD16 P3514; Schweiger, II, 1140 (under Victor); Index Aurel. 110.780. Not in Adams.   Early 19th-century half roan and marbled paper–covered sides, spine with gilt-stamped title-label; three corners lacking leather, binding scuffed overall, spine leather rubbed, hinges (inside) tender. Title-page darkened with edges somewhat tattered, early inked ownership inscription (faint), two closed tears, two institutional rubber-stamps, and paper shelving label affixed in lower portion of woodcut title-page border; “censoring” inkblots as above with some bleeding to subsequent two leaves. Back pastedown with pocket and slip, one endpaper rubber-stamped. Pages age-toned; some shouldernotes, running headers, and pagination shaved. A nice example of a surviving, utilized, classroom copy of a classic Classical work.  (32635)

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Five Icelandic Stories — A Handsome & Thoughtful Production from thePENMAEN PRESS

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•  First edition, and the first appearance in English of two of these tales: Five stories translated from the Icelandic by Pardee Lowe, Jr., and illustrated with wood engravings by Michael McCurdy, who was also responsible for the typography. The text was set in Palatino and printed on Mohawk Superfine paper by McCurdy and Penelope Reid; the binding was designed by Robert Hauser.

The tales are: “The story of Brand the Generous,” “Authuns's story,” “Stump's story,” “The story of Thorsteinn Sagawise,” and “The story of Odd Ofeigsson.”

This is numbered copy 28 out of the 100-copydeluxe edition, signed at the colophon by the translator and artist.

•  Publisher's half cream paper with red and cream printed paper–covered sides, spine with gilt-stamped title. A crisp, clean copy.  (33349)

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The Collected Works of Erasmus, IncludingHis Greek New Testament

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•  Before his death, Erasmus (1466–1536) divided his writings into nine ordines (categories) for posthumous publication. This is the second edition of his collected works, first published in nine volumes by Froben in 1540. Like the original, this set includes additions by authors from the Dutch humanist's international circle and portraits of the same, as well as myriad engravings after Holbein. The printer, Pieter van der Aa (1659–1733), was an apprentice of Daniel van Gaasbeeck (fl. 1655–92) and primarily known for maps and travel books.

The text in all volumes is in Latin with some Greek, printed in roman and italic, mostly double-column with sidenotes and many large woodcut initials and tailpieces, as well as some engraved headpieces. Vol. I has both a general title-page and a volume title-page; each of the volume title-pages is printed in red and black and features a large engraved vignette signed by the illustrator J. Goeree and the engraver J. Baptist; some volumes also have sectional title-pages. There are many engraved plates: vol. I features an added engraved title-page, a double-page plate, and one full-page plate; in vol. III, part one, there are18 full-page engraved portraits of contemporaries of Erasmus including Melanchthon, Alciatus, Charles V, and Bembo, as well as two more full-page portraits in vol. III, part two. In Praise of Folly, in vol. IV, is illustrated with75 single-column-width engraved vignettes (3.5" sq.) and six double-column-width engravings (4.25" x 7.25") after the famous Holbein originals, and a full-page engraved portrait of the artist. Vol. IX has one large engraved fold-out plate signed by van der Aa at Leiden, engraved by D. Stoopendael, as well as one full-page engraved plate, unsigned, of medallions against a drapery backdrop.

A handsome, BIG/TALL folio set.

Provenance:  Most volumes have a large stamped “Y” on the front pastedown, and a faded18th-century ink inscription by a monk on the title-page.

•  All volumes in contemporary sheep recently rebacked and repaired using brown calf, spine with raised bands accented by gilt ruling with a blind ornament in each compartment, title and tome number gilt on green leather spine labels and date gilt collector-style on red leather labels at bases; marbled endpapers and red edges. Boards scuffed and chipped in places; all hinges (inside) repaired with later marbled paper. Ex- library: most volumes with bookplate and old-fashioned oval stamp on front pastedown, stamps on bottom edge and multiple leaves of text, early accession number to front free endpaper verso and bottom margin of first text leaf. In all volumes, some leaves very browned; occasional dampstaining, foxing, or other small stains from chemical reactions in paper; small natural paper flaws, short closed tears, and a few corners torn away not affecting text. One small tear in vol. IV repaired with monogrammed sticker!Tout entière, a nice set.  (31801)

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Achieving a State ofFeeling No Pain

United States.

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•  William Thomas Green Morton (1819–68) sent Congress a “memorial asking remuneration from Congress for the discovery of the anaesthetic or pain-subduing properties of sulphuric ether,” a compound of which he had learned while studying with Prof. Charles T. Jackson of the Harvard Medical School. Leaving Harvard after significant coursework but without a degree and entering upon dental practice, he on 30 September 1846 publicly performed a painless tooth extraction after administering ether to a patient. This wasthe first public demonstration of the effectiveness of the anesthetic and Morton obtained a patent on 12 November 1846.

It was not uncommon for Congress in this era to buy important or sensitive patents, whether for security reasons, to prevent their antisocial use, or to promote the common good; and although Morton's “discovery” claim was disputed by Prof. Jackson and a thorough investigation was pursued with much testimony taken from a wide variety of witnesses and “experts,” the Select Committee reporting here, the Army, Navy, and Treasury departments, and virtually all other deciding parties concurred that remuneration should be awarded in the huge sum of $100,000. The record of the discussion, both colorfully narrative and cooly documentary, is here at great length, including the Committee's sweeping yet detailed historical account from the Greek era forward and encompassing Chinese medicine as well, of various herbs and plants — including cannabis — that have been used to alleviate pain or to approximate a true anesthetic quality.

Congress refused to pay, apparently for reasons partly based in a point of procedure; but the argument produceda great, early account of the discovery and use of anesthetics both historically and in the U.S.

•  Removed from a nonce volume, scattered foxing; very good condition and, frankly, utterlyabsorbing reading.  (32215)

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The Inquisition's Top Guidebook — Big & Thorough & Handsome for Use

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•  Compiled as early as 1376 and first printed at Barcelona in 1503, this is the influentialguide for inquisitors composed by Spanish Dominican theologian Nicolas Eymeric (Aymerich, ca. 1320–99), elected thegrand inquisitor of Aragon in 1357. The second Italian printing and third edition overall, it includesextensive commentary by Francesco Pegna (Peña, ca. 1540–1612), an Aragonese canonist with strong ties to the Roman Curia.

Enumerating hundreds of heresies and prosecution procedures, Eymeric outlines the belief system of the Inquisition and defines categories of offenses includingsorcery and witchcraft, paving the way for later texts like the famous Malleus maleficarum (Hammer of Witches, 1486).

The Latin text is printed in roman and italic, mainly double-column with sidenotes and with various, numerous, at timesvery large and always interesting woodcut initials throughout; some sections are framed by a single-rule border. Copious indices accompany each of the three parts; and both the title-page and the final verso feature the printer's large device employing elements of Roman iconography. There is a separate title-page to the third part, Pegna's Literae apostolicae diversorum romanorum pontificum (Rome, 1579), which was also issued independently of Eymeric's text.

As ahandbook of the Inquisition, this remained influential well into the 17th century.

•  Palau 20871 (Aymerich); Vekene, Bib. bibliographica ... inquisitionis, I, no. 109; id., Bib. der Inquisition, 79; id., “Die gedruckten Ausgaben ... des Nicolaus Eymerich,” in Gutenberg-Jahrbuch 1973, 3; Index Aurel. *167.023; Brunet, II, 1142n; Edit16 CNCE 18448. This ed. not in Adams. On Eymeric, see: New Catholic Encyclopedia online.   Recent full dark brown morocco blind-ruled, old style; spine with raised bands, author/title gilt on a red leather compartment label, and date gilt collector-style at base; bottom edge with title elegantly inked on, early. Ex-library: stamps on bottom edge, old pressure-stamp on first, last, and one other leaf, and acquisition number in ink on second leaf. Title-page repaired at inner margin, with short closed internal tear near device and canceled ink inscription at bottom; first and last leaves (only) dust-soiled and waterstaining in some lower margins (only); an early ink marking or two (only); a handful of quires very foxed, others unevenly browned. Occasional instances of very minor wormwork, typically almost unnoticeable and in gutters, with more noticeable but still minor tracks in lower margins of some quires. A volume satisfying and impressive physically, and textually important.  (31327)

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Dressed-Up Denizens ofthe Netherlands

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•  This captivating souvenir, rather large of its kind, illustrates thedress of Dutch men and women in various provinces, shown in16 brightly colored chromolithographic plates, all with short captions in Dutch. While most of the plates show individual women with fancy headresses, four depict couples; one plate depicts a couple riding in a horse-drawn carriage, two show couples strolling, and a fourth is of two women with a dogcart. Finally, one plate shows a man alone leaning against the prow of a beached dory, pipe jauntily in mouth, waders up over his thighs, wearing a red tee shirt that is asred as a Dutch tulip.

The contents unfold accordion-style in one long strip comprised of four pieces neatly joined together in a leporello binding. Fully extended, the images “spread”almost six feet.

•  Lipperheide 969; Colas 1618; Hiler, p. 501; Landwehr, Studies in Dutch Books With Colored Plates, 333–4.   Publisher's yellow paper over boards with red lettering and decoration incorporating the arms of Amsterdam on front cover, yellow-tan calf spine; boards lightly soiled/stained, extremities lightly rubbed, remnants of red sticker partially removed with loss to underlying imprint formation on front cover, and pencil-doodled tassel(?) to cap of woman on rear cover. Plates vivid and fresh, detailed and ELEGANT.  (31429)

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An Ohio Women's College'sFirst “Annual”

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•  This school advertised itself as “the oldest university chartered college for women in the world” in the American College and Public School Directory, 1890; it was founded as the Cincinnati Wesleyan College for Young Women in 1842, so, though it was indeed early in the field, and depending on the exact implications of “university chartered college,” that was perhaps just a little over-excited!

This lovely book hopefully, lovingly announces itself asthe first issue of what is hoped to be an annual publication by the school, containing salutatories, memoirs, reports, and programs for commencements from the inaugural class to that of 1859. Later issues did appear but “annualness” was never actually achieved; vol. 10 appeared 1890–1900.

Laid in are two programs for commencement exercises on June 18th and 19th of 1856, one of which has an advertisement for New Market Seminary (N.J., and run by a woman “late of Wesleyan”) pinned to the front.

Binding:  Original deep purple morocco single-ruled in blind and double-ruled in gilt with title gilt at center of each cover, symmetrically framed above and below by floral and linear ornaments in the English style; gilt board edges and turn-ins and multi-colored marbled endpapers. Spine with raised bands, compartments accented by gilt tooling sympathetic to the covers.

Provenance:  Ink ownership signature of Addie G. Marlay on front free endpaper and pencil note of sale to Marlay on title-page.

•  Binding as above; joints worn and starting but holding well, light offsetting from binding onto pastedowns. Mild foxing on some leaves mostly at end. Advertisement for “Demorset's Family Magazine” inserted between two leaves. An early, proud, and significant record of women's education in the U.S.  (31532)

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Pay Up, or It's Jail for You! — Boston, 1691

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•  Henry Smeath (or Smith) “bot oak plank” from Thomas Doughty and was sued in 1689 for breach of their contract dated 18 March 1688–89; this warrant dated 26 March 1691, at Boston, orders the county “Marshall General or his Lawfull Deputy” to arrest Smeath (or Smith), a shipwright, who still owes Doughty, late of Saco, 14 pounds, 11 shillings, and 6 pence according to their court settlement of August 1690, plus two shillings for execution of this order.

Smeath (or Smith) is to pay the marshal immediately orbe arrested and jailed in Boston until he makes payment; the authorities responsible “may not faill” to deliver him and will “answer the contrary at [their] peril.”

The document is written in a neat secretary hand in ink on one side only andsigned by clerk Joseph Webb (1640–98), the Suffolk County recorder from 1690 to 1698, according to Proceedings of the Massachusetts Historical Society for 1899. He here signs himself, “cler[k].”

•  On the contretemps, see: Genealogical Dictionary of Maine and New Hampshire, p. 1096, no. 13. Sheet previously folded twice and paper weak along creases but holding, with small hole at center of sheet and small chip at crease on each edge; symmetrical old (light) dampstaining in same pattern on each half of sheet not at all affecting ink.  (31445)

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THREE Classics with Commentary, in aPRIZE BINDING

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•  The works of Catullus, Tibullus, and Propertius were first published together in 1472. The first part here contains a section for each of these Roman poets, each with copious notes by Joseph Justus Scaliger (1540–1609); the second part is divided into14 chapters of commentary by Muretus, Statius, and others as per the title-page. The volume's text is in Latin with some Greek, printed in roman, italic, and capital letters, with the main text single-column above Scaliger's notes, printed smaller and in double columns; the separate commentaries, paginated continuously but quite erratically, are also in double-column. Dotted throughout are attractive woodcut initials of floral, historiated, and factotum designs; ornaments and head- and tailpieces; a small woodcut diagram; and a few inscriptions printed in capitals, including one set lengthwise on a full page. The title-page features the printer's large device and is preceded by an added engraved title-page.

Binding: Contemporary vellumprize binding paneled in gilt on each cover with fleurons at corners, this surrounding thecoat of arms of Rotterdam, i.e., two gilt lions supporting a shield of four lions passant above a pale charge, crowned by a ducal coronet with a fleur-de-lis at the helm. Spine blind-ruled with a single floral ornament blind-stamped in each compartment, title written in early ink (now faded).

Provenance:  Two different bookplates of Lebanese lawyer, writer, and translator Camille Aboussouan (b. 1919), former UNESCO ambassador to Lebanon who founded the cultural review Les Cahiers de l'Est. Pressure-stamp of Jean-François Jolibois (1794–1879), a priest at Trévoux, France, who was a member of the légion d'honneur and various literary societies. Ink inscription in French dated 25 February 1863 at Lyon, shelf number in same hand on front pastedown, and price in ink on front free endpaper.

•  Schweiger, II, 81; Dibdin, I, 377; Graesse, II, 87 (“fort rare”).   Binding as above, with four green ribbon ties; prize assignment lacking and engraved title-page reattached; lightly soiled, gilt rubbed in places, some staining to edges of text block. Mild to moderate foxing, occasionally; a few inkstains or smudges and small dampstains; two small holes from natural paper flaws not affecting text and one sectional title-page with same taking “A” from CATULLUS; two short marginal tears. Overall, indeed, clean and crisp and pleasing.  (31362)