WOMEN

Women as Writers, Editors, Translators, Illustrators, & Printers
Books By, For, & About Women
Love & Friendship
Artfully Preserved
Conradt,
Michael. Manuscript in German, Latin, French,
& Italian on paper. “Fautoribus ac amicis consecrat Mich. Conradt.”
No place [Germany or Austria]: 1769–72, & later. Oblong 8vo (12 cm,
4.75"). [120] ff. (48 filled, i.e., 96 pp.); illus.
$875.00
Click the images for enlargements.
Liber amicorum, cum scrapbook, cum pop art collection: Autograph and ephemera album opening with a charming watercolor title-page featuring a harper, labelled “Fautoribus ac amicis consecrat Mich. Conradt.” Conradt was apparently a student at Hermannstadt University; many of the inscriptions — which range from affectionate to academic — are from fellow students at Sibo (i.e., Sibiu, a.k.a. Hermannstadt), Jena, and Erlangen.
Those messages are largely found in the latter half of the volume, however;
earlier leaves hold a variety of sentimental remembrances: a drawing of a rose
with accompanying fond sentiment in French, pressed flowers, small sketches
and paintings (including one of a dog with a great deal of personality), an
entire gallery of
engraved
miniature portraits of ladies with accompanying verses
in fraktur (alphabetically arranged from Anna to Therese), three reverse silhouettes
of white paper cutouts mounted on black paper, a calendar wheel, and nine brightly
hand-colored printed pages, all of which seem to have been taken from the same
rebus book.
The students' messages are dated 1769 through 1772, while some of the artwork is of later origin; a cherub-and-cornucopia design labelled “Freuden - Blüthen” is marked 1821, while a sketch with German quotation is dated 1834. A preliminary leaf bears a difficult-to-decipher inscription signed 1887, regarding Michael Conradt von Sonnenstein.
Binding: Contemporary mottled sheep, covers elaborately framed in gilt rolls surrounding gilt-stamped medallions, spine with gilt-stamped decorations. Hand-painted endpapers; all edges gilt.
Binding as above: binding rubbed, covers acid-pitted, spine sueded, gilt mostly lost (with deeply impressed stamping still very visible and attractive). Preliminary leaf with inscription as above. A few leaves excised; some chipping.
Evocative and intriguing. (27304)

“I am anxious you should do a writing portrait . . . ”
Cook, Eliza. A.L.s. (“Eliza”) to “My dear Sec.” London: 6 June 1860. 12mo (7.25" x. 4.5"). 1 p.
$275.00
Click the image for an enlargement.
Cook (1818–89) was
a Chartist poet, author, and proponent of political and sexual freedom for women. She writes, “I am again here for a few days . . . and want to know if you can receive me on Friday about eleven. I am anxious you should do a writing portrait to see which will afford you most satisfaction. I will bring the proofs of the sonnet with me.”
Provenance: Residue of the stock of Seven Gables Bookshop (1930–79), via the son of Michael Papantonio (2009).
Very good condition. Tipped onto a slightly larger sheet. With the integral blank. (25726)
Presentation Copy: Corson's Textbook of Economic Cookery
Corson, Juliet. Cooking school text book; and housekeeper's guide to cookery and kitchen management. New York: Orange Judd, 1879. 12mo. 240 pp.
[SOLD]
Click the image for an enlargement.
Third edition of a solidly practical manual from the superintendent of the New York Cooking School. Corson dedicated much of her life to teaching the poor how to cook well for less money, and published several books on the subject. The present cookbook, a public version of the curriculum as taught at the school, is one of her less commonly seen works.
Binding: This is in a simply elegant binding of publisher's brown cloth, front cover and spine each with decorative gilt-stamped title; front cover with author's facsimile signature in gilt, and publishing information.
Presentation copy: Front fly-leaf inscribed in pencil, “Compliments of Juliet Corson Apr. 1880.” The signature matches the facsimile signature on the front cover.
Not in Bitting; not in Brown, Culinary Americana; not in Cagle & Stafford. Extremities mildly rubbed (head of spine moreso), small spots of very faint discoloration to sides. Fly-leaf with inscription as above. Pages age-toned, otherwise clean. It's quite fair to call this “lovely.” (28479)
A
Woman Dead
Yet
“Living”
Cox, Samuel Hanson. The dead are the living. A sermon preached on Lord's day afternoon, October 1, 1843, on occasion of the funeral of Mrs. Mary L., the wife of the Rev. Ward Stafford, A.M.[,] of this city. New-York: John F. Trow & Co., Printers, 1843. 8vo. 30 pp., [1 (blank)] f.
$25.00
A sermon and eulogy on the death of Mary Stafford “but a few years a wife . . . a disciple of Jesus Christ . . . an instructoress of youth.”
Good. Ex-historical society copy (rubber-stamps, "New Jersey Historical Society," on front cover and title-page). Pencil marks to front cover. Some chipping to front cover and first page. (290)
San
Francisco Cookery in
a
High-Flying
Era
Craig, John C., ed. The recipe
book of
Lillie
Hitchcock Coit. Introduction by Carol Hart Field. Berkeley,
CA: The Friends of the Bancroft Library, University of California, Berkeley, 1998.
8vo. [2 (blank)], frontis., 5–65, [5 (3 blank)] pp.
$20.00
Number 44 in the Keepsakes series issued for its members by the Friends of the Bancroft Library. One of eighteen hundred copies in this edition. The original manuscript recipe book of Lillie Hitchcock Coit—whose life is recreated by Carol Hart Field in the introduction—was acquired by The Bancroft Library in 1995, and is here edited by John C. Craig and transcribed by Barbara Hoddy.
The recipes collected by Mrs. Coit reflect the “cosmopolitan character of San Francisco” during the 1870's and 1880's and show “the influence of the French, Spanish, Mexican, and English traditions in the cookery of the period.”
Illustrated with a frontispiece portrait and one additional illustration.
Paperback. Fine. (5461)

Full Set of Her Works, Including
Villancicos in Nahuatl & an African Language
Cruz, Juana Inés de la, Sister. Poemas de la unica poetisa americana, musa dezima, Soror Juana Ines de la Cruz ... Tercera edicion, corregida, y añadida por su authora. [with others, as below]. Barcelona: por Joeph Llopis, 1691. 4to (21 cm; 8.25"). [8] ff., 426 pp., [5] ff. [with the same author's] Segundo tomo de las obras de Soror Juana Ines de la Cruz. Madrid: Impr. de Angel Pasqual Rubio, 1725. 4to (20 cm; 8"). [4] ff., 438 pp., [3] ff. [with the same author's] Fama, y obras posthumas del fenix de Mexico, dezima musa, poetisa americana. Madrid: Impr. de Angel Pasqual Rubio, 1725. 4to (20 cm; 8"). [10] ff., 352 pp., [2] ff.
[SOLD]
Click the images for enlargements.
“The Tenth Muse” to the Anglo-American audience is Anne Bradstreet, but throughout Spanish America and Spain, and in goodly parts of Europe, that sobriquet is associated only with Sor Juana Inés de la Cruz. Born in a small town in Mexico in 1651, she learned to read Latin before she was six. Denied admission to the Royal University in Mexico, she was to enter conventual life instead, develop a close friendship with the great colonial Mexican polymath Sigüenza y Góngora (the Cosmographer of New Spain), and write and publish the finest known poetry of the Spanish colonial empire in the period to 1821, as well as some plays and “Christmas carols.”
Uncontestedly she was the major New World lyric poet of the colonial era and she excelled in both spiritual and profane subjects.
For a sense of her range of subjects, click to enlarge our images. She invented a decasyllabic meter and cultivated dramatic poetry: Among her works are sonnets, redondillas, décimas, villancicos, and plays, as well as prose works, including the famous Carta athenagorica in which she criticizes the great Luso-Brazilian preacher and defender of the Brazilian Indians, Antônio Vieira. The contents here are mostly Spanish-language, but some portions are in Latin — and a few, as is seldom recognized, are in the black language of “Guinea” (e.g., Villancico VIII of the “Villancicos que se cantaron en la Sta. Iglesia Metropolitana de Mexico en honor de Maria Santissima Madre de Dios . . . y se imprimieron año de 1679") or in Nahuatl (e.g., Villancico V of the “Villancicos que se cantaron en la Santa Iglesia Metropolitana de Mexico, en honor de Maria Santissima Madre de Dios . . . año de 1687, en que se imprimieron”).
Sor Juana's individual works began to be printed in Mexico as early as 1677. Her “works” were soon gathered together, and in 1689 in Madrid there appeared Inundacion castalida de la unica poetica, musa decima (the title was changed the next year to Poemas de la unica poetisa americana, musa dezima, which it has remained ever since): This is now considered vol. I of her works. Vol. II (Tomo segundo de la obras de Soror Juana Ines de la Cruz) appeared in 1692 and the final volume (Fama y obras posthumas) in 1700. The issuance by one printer of all three volumes as a definite “set” seems not to have occurred until 1725; prior to that, printers issued individual volumes, or sometimes, vols. I and II alone.
In the offering here, vol. I was printed during the great poet's lifetime, and is one of the last to hold that distinction.
I: Palau 65222; Medina, BHA, 1870; Alden & Landis, European Americana, 691/74; Sabin 17735; this edition not in León-Portilla, Tepuztlahcuilolli. II: Palau 65237; Medina, BHA, 2540; Alden & Landis, European Americana, 725/111. III: Palau 65233; Medina, BHA, 2541; Alden & Landis, European Americana, 725/110. Vols. I and II in original limp vellum; III in modern red morocco, gilt extra. Some age-toning and foxing in vol. II; same volume with light worming, at times in text, at rear, costing letters but not words.
With slight faults only, this is a handsome set of this major writer's works. (26753)
Cruz,
Juana Inés de la, Sister.
Manuscript
Document Signed. In Spanish, on paper. Mexico City, 21 November
1692. Folio (31.3cm; 12.25"), 1 p. (in a larger document extending to 4 pp.)
$17,500.00
"The Tenth Muse" to the Anglo-American
audience is Anne Bradstreet, but throughout Spanish America and Spain, and in
goodly parts of Europe, that sobriquet is associated only with Sor Juana Inés
de la Cruz. Born in a small town in Mexico in 1651, she
learned to read Latin before she was six. Denied admission to the Royal University
in Mexico, she was to enter conventual life instead, develop a close friendship
with the great colonial Mexican polymath Sigüenza y Góngora (the
Cosmographer of New Spain), and write and publish the finest known poetry of
the Spanish colonial empire in the period to 1821, as well as some plays and
"Christmas carols."

In the year before her pen is silenced and less than three before she falls
victim to the plague while caring for her sick Sisters, Sor Juana
attests to a legal document concerning her convent’s economic investments.
She was the nunnery’s contadora (bookkeeper). By way of horribly
evocative contrast, opposite her signature on the facing page is that of Francisco
Aguiar y Seijas, Archbishop of Mexico, the misogynist who caused her to give
up her writing and quasi-secular ways.
Able to bully the most gifted member of his religious community only following
the return to Spain of her last viceregal patron and protector, the Marquis
de la Laguna, Aguiar y Seijas applied increasing pressure to Sor Juana and
the prioress of her Hieronymite convent. It took him from 1688 until 1693
to put “la decima Musa” “in her place.”
Documents signed by the polymath Sor Juana are very rare and highly sought
after; this one desirably shows the trust her Sisters placed in her.
The
pairing of her signature with her arch enemy's is chilling and visually impactful.
In very good condition.

A Triumph of 19th-Century MEXICAN Literature,
TYPOGRAPHY, ILLUSTRATION,
& BINDING
Cumplido,
Ignacio, ed. Presente amistoso
dedicado a las senoritas Mexicanas. [Mexico]: Ignacio Cumplido, [1850]. 8vo
(26.5 cm, 10.45"). Col. t.-p., iv, 435, [1] pp.; 20 plts.
$3000.00
Click the images for enlargements.
Mexican women's annual
for the year 1851, edited and published by one of the most noted Mexican publishers
of the 19th century: Ignacio Cumplido, a successful editor, printer, and typographer
known both for his collaborations with the major writers of the day and for
introducing new typefaces and techniques that he had gathered in his travels
in the U.S. and Europe. This attractive volume, an excellent example of Cumplido's
work as well as of the unidentified Mexican binder's, is additionally significant
for its intended female audience — something of a novelty for Mexican
publications at that time.
Sabin, while not listing the 1851 Presente, calls the 1847 issue (the
first appearance of the series) a “fine specimen of Mexican typography,”
and this example is most certainly likewise. Each page of text is contained
within an ornate border printed in blue, green, red, yellow, brown, or violet;
many pages have wood-engraved decorative initials or culs de lampe. The
edifying, morally uplifting stories and poems (with contributions from prominent
Mexican authors Félix María Escalante, Manuel Carpio, Francisco
Zarco, Marcos Arróniz, and others) are illustrated with a gallery of
daintily pretty girls in fashionable or archaic dress, stipple-engraved by various
hands (almost entirely British) and taken from previously printed British sources:
W.H. Mote after G. Brown, J. Thomson after F. Corbeaux, H.T. Ryall after F.
Stone, etc. The volume opens with an illuminated title-page incorporating the
names of the previously mentioned plate subjects, chromolithographed by Decaen.
Binding:
Contemporary deep reddish-brown sheep in imitation of morocco, exuberantly
flourished in gilt both as to both covers and the spine; front cover gilt
extra with arabesque and floral designs surrounding a vignette of a girl bearing
a basket of flowers on her head, spine with gilt-stamped title and similar
motifs, back cover with blind-tooled foliate decorations and gilt-stamped
arabesque motifs. All edges gilt.
This
binding is illustrated as “lamina XXVIII” in Manuel Romero de
Terreros' Encuadernaciones artisticas mexicanas, siglos XVI al XIX.
Palau 66293; Sabin 65337 (for 1847 & 1852 eds.).
Binding as above, mild rubbing overall, especially to spine; front joint just
starting from head. Hinges (inside) cracked across paper, with text block
starting to pull away. Pages gently age-toned, with some light foxing generally
to or around plates and a few corners crumpled. One plate with ragged outer
edge, not touching image. Silk bookmarker laid in; many guard leaves still
present. More solid than description might imply, and an all-around
remarkable, beautiful volume. (29091)

Brave Enough to Tell?
Deland, Margaret. The hands of Esau. New York & London: Harper & Brothers, 1914. 8vo. 85, [1] pp.; 2 plts.
$47.50
Click the images for enlargements.
First book-form edition: A budding romance is threatened by the young man's possibly tainted heredity, and whether or not the secret will be kept. A contemporary critic called this “a volume small in size but large in thought-provoking qualities” (Boston Transcript). Originally serialized in Woman's Home Companion, the work is here illustrated with two black-and-white plates featuring the very modish heroine, by an unknown hand.
Binding: Publisher's green cloth, front cover pictorially stamped in white, red, and gilt; spine with gilt-stamped title.
Binding as above; dust jacket lacking, minor rubbing to extremities, back cover with crease in cloth (not board). Front pastedown with private collector's bookplate dated [19]15. A nice copy! (28612)

Illustrated Explorations of the
Countryside
Dibdin, Charles. Observations on a tour through almost the whole of England, and a considerable part of Scotland, in a series of letters, addressed to a large number of intelligent and respectable friends. London: G. Goulding & John Walker (pr. by T. Woodfall), [1801–02]. 4to (28.9 cm, 11.4"). 2 vols. I: 404 pp.; 27 plts. II: [2], 406, [2] pp.; 33 plts., 1 fold. map, 1 fold. chart.
[SOLD]
Click the images for enlargements.
First edition, published in parts, of Dibdin's epistolary account of his travels as a performer in the provinces. Charles Dibdin the elder was a famed but controversial singer, songwriter, and actor who spent a significant amount of time touring the countryside in an attempt to improve both his reputation and his income; in these Observations he includes remarks on the history, natural history, geography, famous natives, trade and manufacture, and customs of the towns and villages he passed through, as well as on various theatrical, literary, and cultural topics near and dear to his heart. He also denounces circulating libraries, watering places, and female boarding schools (in all three cases due to their detrimental effects on morals), as well as quack medicines and incompetent amateur performers.
The two volumes are
illustrated
with 60 copper-engraved and aquatint plates, one folding map, and one folding
chart. The copper engravings are done in two different
styles; one set consists of large renditions of scenery, the other of smaller
depictions of people and everyday life — the former done from Dibdin's
own paintings, and the latter from
drawings
by his daughter Anne.
Anderson, Book of British Topography, 373; Lowndes 638;
NSTC D1044. Not in Abbey, Life in England; not in Ray, The Illustrator
& the Book in England. On Dibdin, see: Oxford Dictionary of National
Biography online. Recent quarter caramel morocco and ochre cloth.
Light to moderate foxing; mild offsetting around plates; four pages with patch
of offsetting from now-absent laid-in item. Plates depicting people all with
small area of waterstaining to upper inner portions, just touching corner
of platemark without affecting images; scenic plates unaffected. All edges
marbled.
A
solid, handsome, satisfying set. (26939)

Who
Wrote the
Book
of Mormon?
Dickinson, Ellen E. New light on Mormonism. New York: Funk & Wagnalls, 1885. 8vo. [8], [11]–272, 16 pp.
$100.00
First edition. An exposé related to the Rev. Solomon Spaulding, whose “The Manuscript Found” is claimed by some to be the source of the Book of Mormon. With an introduction by Thurlow Reed. Publisher's catalogue in the back.
Beyond matters of authorship, there is quite a lot of general Mormon history here, including a good deal on polygamy; the perspective is not friendly.
Provenance: From the libraries of the Rev. C. C. Bitting and Crozer Theological Seminary.
Flake & Draper 2832. Publisher's green cloth, spine chipped at head and foot. Title-page separated from binding, but present; shallow chipping along edges. Short closed tears to top edge of pp. 29–32 and 103–106 and outer edge of one page chipped; several page corners chipped/creased. Ex-library with bookplate, card and pocket, pressure-stamp on title-page, inked numeral, penciled notation, two rubber-stamps. A few penciled check-marks. (24434)
Dickinson, Emily. Letters of Emily Dickinson. New York and London: Harper & Brothers, [1931]. 8vo (22.4 cm, 8.75"). xxxi, [1] pp. [1] f., 457, [1 (blank)] pp.; 19 plts (incl. frontis.).
$100.00
Second edition, third printing: edited by Mabel Loomis Todd, this is illustrated with photographs of persons mentioned and specimens of Emily Dickinson’s autograph. BAL 4685. Handsome green publisher’s cloth; front cover gilt-stamped with title at top and Indian Pipes in lower right corner: corners rubbed with a little loss of cloth. Some very shallow chipping on corners, and traces of soiling on edges and endpapers. An attractive book.

Les Cent Nouvelles nouvelles All in
English & Illustrated
Douglas, Robert B., trans. One hundred merrie and delightsome stories right pleasaunte to relate in all goodly companie by way of joyance and jollity. Paris: Charles Carrington, [ca. 1930]. 8vo (23.2 cm, 9.1"). 2 vols. I: xxx, [2], 256 pp.; 24 plts. II: [2], [257]–531, [3]pp.; 27 plts.
[SOLD]
Click the images for enlargements.
Robert B. Douglas's English translation (the first published) of
these ribald 15th-century tales, illustrated with a decorated title-page and
51 cheerfully bawdy plates in black and white by Léon Lebègue.
According to Sheryl Straight's bibliography of Carrington's publications, this
is a pirated copy of Carrington's first edition, which was printed ca.
1899; integrated here, the illustrations of
medieval
ladies in and out of their garb were originally published
separately. The present example is numbered copy 237 of 1250 printed.
Straight, Carrington, 186. Publisher's marble-printed,
colored cloth, spines with gilt-stamped title; light wear to corners and spine
extremities, spines slightly darkened, head of vol. I with short tear. Top
edges gilt. One plate with portion of outer margin torn away, just touching
frame of image without affecting image itself. Pages and plates clean. (29146)

“WOMEN'S THEATER” — San Francisco 1923
Dramatic-Musical Society of San Francisco. [drop-title] The Dramatic-Musical Society of San Francisco. Seventh performance of the 19221923 season. Friday, April 20, 1923 at 2:30 o'clock. San Francisco: Dramatic Musical Society, 1923. 8vo. [1] f. (verso blank).
$75.00
Program and cast of characters for “The Knave of Hearts” by Louise Saunders and “The Unseen” by Alice Gerstenberg, two plays by women dramatists with all-female casts.
Fine. (19234)
Daughter Jean is the
Interesting
One
The Duke of Gordon's daughters. To which is added, The challenge. Stirling: W. Macnie, [1820-1830]. 12mo. 8 pp.
$95.00
Fairly uncommon edition of a popular ballad, here with a woodcut title-page vignette of a man about to cut down a tree with an axe. “The Challenge” begins: “You Gallic Gasconaders, / Your boats of war prepare, / And prove yourselves invaders, / Of Britain if you dare.”
NSTC 2G14282. Removed from a nonce volume. Pages slightly age-toned, with some minor offsetting to first and last leaves, else clean. (16823)

New
Homes, New
Hearts
Duncan, Norman. The suitable child. New York:
Fleming H. Revell Co., 1909. 4to. Frontis., 96 pp.; 4 plts.
$45.00
Click the images for enlargements.
First edition: Two intertwined stories of learning to love
again after loss, set at Christmas-time aboard the westbound express train from
Winnipeg. Written by a Canadian-born journalist, this sentimental tale (meant
for grownups who love children rather than the children themselves) is here
illustrated with a frontispiece and four plates by Elizabeth Shippen Green,
mounted on green paper, with additional in-text decorations done by Harold J.
Turner and printed in green.
Binding:
Publisher's sage green paper–covered sides with dark green cloth shelfback,
front cover with decorative title and train vignette both stamped in gilt
and dark green, spine with gilt-stamped title. Top edge gilt, outer edge deckle.
Binding as above; edges, joints, and extremities rubbed, front cover mottled. Front pastedown with inked ownership inscription. Pages and plates clean. (29126)
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