Click the image for an enlargement.

A contemporaneous certified copy of the original document.

•  Written in a clear notarial hand. Very good condition.

Binding:  Publisher's green cloth, covers framed in blind, front cover with decorative gilt-stamped title, spine with gilt-stamped title.

•  Barile 39–40; Bitting 388 (for early editions); Cagle & Stafford 627 (second ed. on). Not in Brown, Culinary Americana.   Binding as above, light rubbing overall, more pronounced to joints and extremities. Front free endpaper with later inked ownership inscription (“E. Endicott”). Pages very clean and crisp: a desirable copy.  (28633)

A “Map of Servia and the Adjoining Countries” engraved by J. & C. Walker faces the title.

Fore-edge: Gracing the volume is a neat and colorful fore-edge painting of St. Paul's cathedral viewed from the Thames, with a sailboat manned by two men in the foreground drifting by Blackfriars Bridge.

Binding: 19th-century gilt red morocco, boards quadruple-ruled in gilt; innermost frames punctuated by elegant fleurons, upper board stamped at the center with arms featuring a crowned double-headed eagle with orb and olive branch encircled by a motto in Cyrillic. Spine gilt extra, with title and author in second compartment; gilt turn-ins and all edges gilt.

•  Binding and fore-edge as above; extremities rubbed, especially the joints (which are just starting), and corners bumped. Lower margins and early/late leaves waterstained; overall text mildly age-toned at edges and foxed in places with a touch of green pigment bled from a sewing cord visible at gutter in two signatures. A right wonderful volume.  (29600)

•  In a Mylar folder. Pages darkened, with small discolorations and edges somewhat tattered. A pleasing gift for anyone exploring culinary, or almost certainly women’s, history. (2557)

•  Publisher's blind-stamped blue cloth, rebacked preserving original gilt-stamped spine; edges rubbed, spine darkened. Pages clean. (20711)

Binding: 19th-century half treed calf over gray and blue marbled boards; spine, , bearing green and red morocco labels, handsomely gilt with rules and rolls and center devices in the compartments. All edges green.

Provenance:  Ink inscription on front fly-leaf, vol. I, dated 1823 at London, by the painterSIR GEORGE HAYTER (1792–1871), who lived in Italy for part of his career and collected old master paintings. Hayter and his second wife, Louisa, left London for Rome in 1816, where he abandoned the miniature paintings that made him famous in England and took up full-scale portraits, landscapes, and historical subjects. After returning home for some years Hayter moved again to Florence, but was forced to leave after Louisa killed herself. Despite the scandal, Hayter was elected to the academies of Florence, Parma, and Bologna; knighted in England; and he was appointed court painter by Queen Victoria.

Engraved bookplates on the front pastedowns of both volumes read, “To Angelo C. Hayter, From his affectionate Father, Sir George Hayter, 1864.” According to the DNB, “To [Sir George's] regret his son Angelo gave up painting as a profession and joined the civil service, rising to become chief reviewer of wills at Somerset House.”

Evidence of readership: Pencil annotations in the margin of p. 279, vol. I, by G.H. [George Hayter], giving the current location in 1850 of a painting by Bonifacio Veneziano — of Herod's daughter bringing John the Baptist's head to him during a meal — formerly belonging to the King of England and“now in possession of the Duke of Bedford,” George Hayter's most important patron (DNB), whose collection he must have known intimately.

•  Brunet, IV, 1300 (“estimé et assez rare”); Graesse, VI, 120; Cicognara 2359 (“Opera tenuta in gran pregio potendosi chiamare questo autore il Vasari dei veneziani”); Gamba 2063; UCBA, II, 1739; Arntzen & Rainwater, p. 90; on George Hayter, see: Oxford Dictionary of National Biography online.   Bound as above, extremities and boards a little rubbed. I: Nine plates wanting. Inkstains (limited) in lower margin of frontispiece and natural flaws in upper margin of title-page; small tear in outer margin of one leaf. II: Two plates wanting. One plate repaired in upper inside corner, another lightly frayed at fore-edge; natural flaw in outer margin of one leaf. In each volume a few ink smudges not from a pen but from the press, a bit of bug-spotting, a little thumb-soiling, and some quires browned. A handsome, enjoyable set in itself and one with a provenance to conjure with.  (30087)

The contents of these two volumes appear to be based almost entirely on John Roach's Beauties of the Poets of Great Britain, although Roach is not cited as the editor, the pieces are in a different order than originally presented, and there are a few minor changes: “The Negro Boy” is not included here, while several “runic odes” by Mathias and Penrose have been added. The expected highlights of Pope, Gray, Cowper, Burns, Chatterton, Goldsmith, etc. are present, as well as lesser-known pieces by women such as Mrs. Carter's “Address to Meditation,” Mary Darby Robinson's “Trumpeter,” and Helen Maria Williams's “Sonnet to Twilight” and “Sonnet to Hope” (the latter memorized by Wordsworth, whose first published poem was “Sonnet, on seeing Miss Helen Maria Williams Weep at a Tale of Distress”).

The volumes are illustrated with 18 wood-engraved plates signed by Sears, Willis, and others — not the 1793 originals.

Provenance:  Ownership note of “Adams Jewett, M.D.” to top of title-page.

•  This ed. not in NSTC, Lowndes, or Allibone. Not in British Library OPAC, not in NUC Pre-1956, not in OCLC, not in COPAC.   Recent marbled paper–covered boards, spines with printed paper labels. Each title-page with early inked ownership inscription in upper margin as above. Some pages with offsetting; spots of light to moderate staining; one page with pencilled annotation.  (25339)

•  Shoemaker 3035; Sabin 72202; this edition not in Palau. Contemporary boards, rebacked with paper in the style of the era; original paper label reapplied. Uncut copy with edges untrimmed. Library bookplate with stamps on it, but no other institutional markings.

Binding:  Publisher's dark green cloth, front cover and spine with flowering branches stamped in black, spine with gilt-stamped title.

•  BAL 16902 (not matching either described binding); Wright, III, 4619.   Bound as above, extremities rubbed not too roughly; front cover with small areas of faint discoloration. Front free endpaper with inked ownership inscription (S.M. Woodburn) dated [18]81 and tear with a bit of loss from upper margin. Generally clean and nice with occasional light spots; ads at the back giving extra pleasure and interest.  (28406)

Provenance: On a rear blank, “Amos Clarke his book”; another signature with a plea to borrowers below that. Opposite, “Southington September 7th 179[?]” and the note, “Read your Book Every opportunity.”

•  ESTC W37924; Evans 38424. On Rowe, see: Dictionary of National Biography. Quarter sheep over paste boards, covers much abraded and chipped; spine leather torn at base and lacking at head. Dog-ears, shallow chipping, and brownstaining—with loss of individual words in a few places. Early inked notations on endpapers.

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This is a later edition, following the first of 1728, with this particular printing being uncommon: ESTC locates only four institutional holdings (two in the U.K. and two in the U.S.), while COPAC does not find any additional U.K locations. WorldCat adds two more U.S. locations, for a total of only four.

Binding:  Contemporary treed sheep, spine gilt extra with gilt-stamped red leather title-label, board edges with gilt roll; tooling very attractive along lines that “feel” just a touch “provincial.”

Provenance:  Front free endpaper with inked inscription: “Mrs. Hinckley 1809.”

•  ESTC N3296; this edition not in NCBEL, but see II:565 for earlier editions and translations into French and German.   Binding with edges rubbed, spine leather showing small cracks, joints carefully repaired with tissue, caps rebuilt, corners reinforced, leather consolidated. Occasional minor staining; inscription as above. A very readable copy in an attractive period binding.  (28806)

This edition includes the engraved frontispiece, a kitchen and larder scene, along with nine other plates (as called for) showing carving and trussing diagrams.

•  Bitting 410–11; Cagle 971 (for first ed.). On Rundell, see: DNB, XLIX, 403.   Contemporary speckled calf, spine with gilt-stamped leather title-label, board edges with gilt roll; binding lightly scuffed/rubbed overall and with some pitting thanks to the “speckling.” One front fly-leaf excised. Front free endpaper with bold inked ownership inscription dated 1813 and with two small pencilled “decorations”; title-page with decorative but sadly illegible private collection rubber-stamp. One recipe with early inked annotation. Scattered light foxing and staining, pages mostly clean. A classic, in a very nice copy of a less-common edition.  (26674)

This is an untrimmed copy in original boards, with 24 pages of advertising for Carey publications bound in at the front of the volume. The preliminary map, engraved by John Bower, has hand-colored border lines; this American edition does not call for the plates found in the English first, but does include in-text depictions of several “Ethiopic inscriptions.”

•  Shaw & Shoemaker 33864; NSTC 2S3118. Publisher’s quarter tan paper over light blue paper–covered sides; front cover detached and back joint cracked, binding spotted, paper cracked and split along spine, spine label now absent and replaced with hand-inked title, spine with later paper shelving label. Front pastedown with institutional bookplate, front free endpaper with inked ownership inscription dated 1829. Half-title with portion of outer margin torn away (not touching text) and laid in. Map lightly foxed, with two short tears along folds. Pages age-toned, with occasional spots of foxing.

Neither Medina, nor Palau, nor Garritz, nor the cataloguer for the NUC Pre-1956 entry notes a plate as present. The engraved plate in our copy, which is signed “Araoz M.o,” shows St. Teresa kneeling in prayer in her garden. In the background are a lake or a river and a mountain. Christ is seen off to the right, emerging from a stand of trees near the water. In front of the saint are some flowers and other cultivated plants which are being watered by an irrigation system fed by a well; two symbolic doves and a yearning (or dedicated) heart also appear. Below the engraving is a quotation from Ecclesiastes that the saint used in her writings.

The engraver was Manuel de Aráoz, one of the first students of the Mexican Academy of Painting, a noted engraver, and later subdirector of the Academy's department of engraving.

•  Medina, Mexico, 10812; Palau 293431; Garritz 1569. On the engraver, see: Diccionario Porrúa de historia, biografía y geografía de México (5a ed.), I, 165.   Without the plain wrappers one expects. Three pin-type wormholes affecting some pages, including the plate, not offensively. Discoloration along inner margin of title-page; soiling affecting edges/margins variably; upper outer portions of title-leaf, last two text leaves, and final blank most affected. Ample-margined copy.  (27616)

•  Publisher's cloth, front cover and spine stamped in white and gilt; extremities and front gilt vignette slightly rubbed, else fresh and bright. Pages clean. (12603)

illustrated with eight steel-engraved plates

Written by a New Hampshire-born poet and educator and published by subscription, this work was originally printed in 1883 as Our Home; Or the Key to a Nobler Life; it appears here in significantly expanded form with contributions from several ministers and one physician. The wide-ranging volume includes the advice to always send your little child to bed happy (“give the dear child a warm good-night kiss as it goes to its pillow,” p. 67), and to spare the rod and develop the child's conscience and sense of honor instead. It also covers the necessity of education and equality of professional opportunity for girls and women, and offers recommendations to smile often in the home, permit only good reading materials, pursue music, provide guidance in maintaining correspondences and friendships, model Christian values and religious observance, encourage fresh air and exercise, avoid alcohol and tobacco, etc.

Binding: Publisher's dark green cloth, front cover with -stamped decorative frame and red- and “silver”-stamped “Our Home” heart design in center; spine with decorative red and “silver” title. All edges bright red.

•  “Silver” stamping and extremities showing slight rubbing, front cover with a few small, unobtrusive spots of staining. Front hinge (inside) tender from the weight of this hefty work, but holding. Pages clean; a few leaves with small nick to upper edge. A pleasing example of a tenderly appealing portrayal of domestic joys.  (30304)

Savonarola wrote this painful document in prison, completing it on or before 8 May 1498. Significantlyone of the most widely read and reprinted of Savonarola's works, it was in its original Latin version immediately distributed in Florence and quickly translated into Italian, this particularly early version at the instance of “certain devoted women” (our translation, f. [1]r). Indeed Giovannozzi lists a total of 32 printings in four languages from 1498 to 1581, ISTC noting of this one that it is “printed in a later state of the type associated with the Printer of the Caccia di Belfiore, who is identified as Lorenzo Morgiani and Johannes Petri by A. Tura, in La Bibliofilia 101 (1999) pp.1–16.” A neat, handsome incunable production.

Provenance:  Probably from Lathrop C. Harper (its binding style, see below).

ISTC locates 8 copies in libraries in the U.S., 5 in Britain, 15 on the Continent, and 1 in Australia.

•  Goff S216; BMC, VI 695; IGI 8737; ISTC is00216000; HR 14428; HC 14429?; Audin 145; CIBN S-104; GKW M40538; Pr 6305; Giovannozzi 104 (“S.n.t [sec. XV]”); Ridolfi, I, 389, & II, 220.   20th-century grey boards, lightly discolored, with caramel-color leather label on front board. Text very clean.  (27045)

In contrast to Savonarola's formal treatises, “you have here, Reader, [Girolamo's] genuine mirror . . . in which you may observe his countenance and your own” (cataloguer's translation, f. a3v) — a letter to his father on deciding to join the Order, a handful to his brethren at San Marco, one to the Countess della Mandorla upon her entering a convent, another to the Sisters of Santa Lena, a handful to his brethren at San Marco, and one to a Bolognese woman on communion.

The editor/translator Jacques Quétif (1618–98), a Dominican priest working chez Louis Billaine in Paris, produced a variety of Latin translations from original Tuscan texts. He brought forth this collection of letters hitherto unedited in France as an augmentation to his two-volume Vita . . . Savonarolae (1674), introducing each one with a few contextualizing lines and sometimes giving additional remarks about his Latin translations “ex Ethrusca.” All but the first three epistolae (in Latin only) appear in both languages, with the original (Tuscan) Italian on the verso and Latin (printed in italic) on the recto of each opening.

The privilege, dated 18 December 1673, grants rights to Billaine (d. 1681) and Sebastien Mabre-Cramoisy (1642–87), then director of the Royal Imprimerie.

Scattered woodcut ornaments embellish some pages. A list of errata appears early (a4) and two tables of contents, in Latin and Italian (pp. 275–80), appear at the close.

•  B. Montagnes OP, “Éditions et éditeurs de Savonarole dans la France d'Ancien Régime,” in Archivium fratrum praedicatorum, LXXV, pp. 159-178. On Savonarola's life and works, see: Villari, The History of Girolamo Savonarola (1863), and H. Lucas, Fra Girolamo Savonarola: A Biographical Study, p. xviii.   Contemporary calf, rebacked early on with spine very nicely gilt extra; corners of boards worn through. Title-page restored by leaf-casting and a small tear at the outer margin repaired, f. g3 with tear at outer margin breaking into text without loss, and limited crescent of very light waterstaining to upper margin of some leaves, the interior otherwise clean and very good. All edges speckled red.  (27057)

Very uncommon. OCLC and ESTC report only one holding, at Stanford.

•  Original printed boards, worn, paper almost entirely lost over spine. Without endpapers, apparently as bound. Sewing loosening, with several leaves separated. Scattered spots of mild foxing. Despite faults noted, a charmer.

Mrs. Radcliffe, Clara Reeve

NO U.S. editions in NCBEL.

•  Shoemaker 26032; NSTC 2S9985. No U.S. editions in NCBEL.   Period-style quarter tan cloth and light blue paper–covered sides, spine with printed paper label. Ex–social club library: pressure-stamp on title-pages and one other page, no other markings. One leaf with short tear from lower margin, not touching text; one leaf with tear from outer margin extending into text, without loss; two leaves with lower outer corners torn away. Occasional small spots of staining; minor offsetting in vol. II.  (28743)

•  NSTC 2S12043.   Removed from a nonce volume. The title-page is cropped close to the border along the top edge and the spine. Very good. (16773)

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Searches of WorldCat and NUC Pre-1956 locate only four copies in U.S. libraries.

•  Medina, Mexico, 1680.   Contemporary stiff vellum, with “MANUAL” in old lettering on spine; binding stained and darkened, lacking ties, and a little sprung. Title-page soiled with square dark area of staining in lower outer corner extending into the text of the title. Waterstaining to early and late sections, and odd spottings variously; paper yet strong. Withal, a good+ copy of a scarce and important early Mexican medical-related item.  (29862)

Single-click on the text-page, for an enlargement.

•  ESTC T95509; NCBEL, II, 682. Old-style marbled paper–covered boards, spine with gilt-stamped leather title and date labels. Light waterstaining to upper and lower margins of first and last few leaves; title-page and a few others stamped by a now-defunct institution. Author’s name inscribed in an early hand at the end of the poem.

Indited in secretary hand with witnesses' signatures in both italic and secretary, the deed is followed by two blank pages on the interior (as usual); the witnesses were John Morroy (Morrey?) and John Best (Lest?), who both had fine signatures. Not unexpectedly, the widow signed with her mark. A docket on the last leaf's verso reads, “Xher [Christopher] Libthorpe To George Rothe” and another, in a second hand, adds, “and a Deed from Pickering to Post for a lot,” with a computation below on the same page.

The watermark appears to be a heart-shaped shield crowned by a fleur de lis, or trefoil; however we find no match in Briquet or Gravell.

•  Parry, E.C., “A Widow's Might,” Old York Road Historical Society Bulletin, Vol. XXVII, 1966. For the early history of Philadelphia, its incidents and denizens, see: Watson, Annals of Philadelphia (1850).   Previously folded in multiple places, and now along bifolium crease only; four small holes in the upper corner where previously stapled or pinned. “Lacing,” a result of the iron gall ink's exposure to moisture, is in evidence here but does not affect the legibility or stability of the deed, which is neatly repaired in two places at the outer edge of the first recto near the remnants of the red wax seal. An attractive relic of colonial American, Pennsylvania/Philadelphia, commercial, and women's history.  (29823)