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Fine books & Manuscripts Catalogue Number 159

TERMS

Prices are net; postage and insurance are extra. All books are offered subject to prior sale. l Bookplates and previous owners' signatures are not noted unless particularly obtrusive. l We respectfully request that payment be included with orders. l Massachusetts residents are requested to include 6.25% sales tax. l All books are returnable within ten days. We ask that you notify us by phone or fax in advance if you are returning a book. l We offer deferred billing to institutions in order to accomodate budgetary requirements. l Prices are subject to change without notice and we cannot be responsible for misprints or typographical errors. l l

CONTENTS Highlights.......................................................................................................... 1 Literature, Including Illustrated Literature .......................................................9 Manuscripts, Autograph Materials and Original Artwork ............................24 Special Colour Insert of Books and Plates ............................ After page 28 Art books, including Children's Books .............................................................34 History, Sport & Travel, Science, Religion and Philosophy ............................47 Select Index..........................................................................................................56 Desiderata Invited...Out-of-print Searches...Appraisals We are always interested in purchasing fine books, either single volumes or libraries. We invite you to search for books via our on-line listings at www.buddenbrooks. com. Please remember only a fraction of our inventory is listed at any time. If you are looking for something and you don't find it on-line, please call us to check our full listings or to take advantage of our Search Department.

America's Award Winning Bookseller Buddenbrooks has one of the finest selections of fine and rare books in several fields, but we are happy to find any books, old or new, for our customers. If there is something you can't find in your hometown, or if you prefer to shop by mail, let us know and we will be happy to take care of your order. Buddenbrooks offers shipping to almost any place on this planet.

Boston, MA. and Mount Desert Island, ME. 31 Newbury Street Boston, Mass. 02116 U.S.A. (617) 536-4433 Fax (617) 267-1118 E-Mail Buddenbrooks@att.net Buddenbrooks.com


A Christmas Carol - First Edition of Charles Dickens' Classic The Most Famous of All Holiday Novels - First Issue - 1843 Dickens, Charles. A CHRISTMAS CAROL. In Prose. Being a Ghost Story of Christmas (London: Chapman and Hall, 1843) First edition, with "Stave I" in A CHRISTMAS CAROL, earliest state of the binding, and first issue points including green endpapers and title in red and green. With four color illustrations and four woodcuts by John Leech. Small 8vo, in handsome full brown calf with red morocco spine brightly decorated in gilt in a holly motif, with the original cloth covers and green endpapers bound in the rear. 166, 2 ads pp. A very nice and clean copy of Dicken's most beloved Christmas tale, quite attractive. $9500. THE MOST FAMOUS CHRISTMAS STORY OF ALL TIME. Dickens' captured the popular imagination as no other novelist had done, he was held in in high critical esteem by contemporaries as varied as Queen Victoria and Dostoevsky. Dickens writes of A Christmas Carol in his preface: “I have endeavoured in this Ghostly little book to raise the Ghost of an Idea which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their house pleasantly, and no one wish to lay it.” Surely, the author would be pleased with the perennial delight his little Christmas tale has stirred in the hearts and imaginations of generations of readers. He called his extremely popular A CHRISTMAS CAROL a “whimsical sort of masque intended to awaken loving and forbearing thoughts.” The lasting appeal of this novel has proven it to be much more. It had been dramatized on the London stage within a month of its publication and has been made into no less then 17 motion pictures. Ask us about Dickens' other popular Christmas Stories, we have several choices available.

Charles Dickens’ Timeless Annual Favorite A Christmas Carol - Arthur Rackham's First Edition Delightfully Illustrated Throughout in His Best Fashion [Rackham, illus.] Dickens, Charles. A CHRISTMAS CAROL (London and Philadelphia: Wm. Heinemann and J. B. Lippincott Co., [1915]) First edition. With 12 haunting colour plates, illustrated endpapers,18 black and white illustrations and line drawings by Arthur Rackham. 8vo, publisher’s original grey-blue cloth lettered and pictorially decorated in gilt on the upper cover. xi, 147. A nice copy, very well preserved, with a touch of expected mellowing on the spine. $950. SCARCE FIRST EDITION IN PLEASING CONDITION. A shining example of what you get when a true masterpiece of literature is complemented by one of the world’s greatest book illustrators. An inspiring combination. Originally, Rackham’s illustrated edition of Dickens’ classic was published during the war years (1915) and was quite well received. The artist successfully incorporated the ‘Phiz’ and Cruikshank styles into his own to create striking renditions of Victorian London with ample room to uniquely evoke ghostly fantasy images as well. His almost characterized depiction of Scrooge, features chiseled and grotesque, are as bone-chilling as his fantastic entourages of moaning ghouls. The muted, shadowed atmospheric tones so characteristically Rackham, support Dickens’ eerie tale wonderfully. Some examples of Rackham’s emerging special talent for silhouette are also included. Truly, Arthur Rackham’s illustrated edition of Dickens’ A Christmas Carol, is a shining example of what you get when a true masterpiece of literature is complemented by one of the world’s greatest book illustrators.

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A Copy with Fine Provenance and Original Drawings Palladio - Isaac Ware's Magnificent Edition The Great Master of Western Architecture Beautifully Engraved Plates Bound in Antique Morocco Palladio, Andrea. THE FOUR BOOKS OF ARCHITECTURE... Literally Translated from the Original Italian, by Issac Ware (London: by Isaac Ware, 1738) First edition of Isaac Ware's translation, highly important and perhaps the best of all the early English translations. This copy with FINE PROVENANCE, having been owned by both Edward Cresy and Joseph Gwilt. With notes and architectural renderings in their hands and with additional architectural drawings by Cresy tipped in. With 4 engraved architectural title-pages, 204 engraved plates, 7 engravings within text and additionally decorated with engraved head and tale pieces by William Kent. Complete and perfect. Large folio, 405mm x 270mm, handsomely bound in later antique red morocco over marbled boards, the spine with raised bands bordered with gilt rules, head-cap gilt ruled, one compartment gilt ruled and lettered, others with central ornamental device gilt. [xiv, with the ad leaf], 110, the many plates on folio pages, a profusion of them being bound at the end of each of the four books, over 300 pages plus blanks. A very handsome copy with only expected mellowing from time and a touch of wear to occasional page edges, some occasional old stains from use, the binding is handsome and expertly strengthened at the hinges, title page edge reinforced. $12,500. A HANDSOME AND IMPORTANT COPY OF THIS RARE BOOK. WITH SIGNIFICANT PROVENANCE, HAVING BEEN OWNED BY BOTH JOSEPH GWILT AND EDWARD CRESY, AND WITH ORIGINAL NOTES AND ARCHITECTURAL RENDERINGS. Produced with the assistance of Lord Burlington, Ware’s translation surpassed all earlier English editions in its faithfulness to the original. The divisional titles are reverse reproductions of the original woodcuts of 1570. A very skilled draughtsman and engraver, Ware exactly traced and engraved the plates for his edition from Palladio’s original drawings in Burlington’s collection. This is a fine and beautiful folio edition of the master’s four books on architecture. Palladio's designs and work to this day remain the central pillar of classical architecture and all architecture which followed. Such early antique editions are truly scarce and here retains its original sophistication. ‘Palladio’s lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through this, his textbook. The book is divided into four sections: orders and elementary problems, domestic building, public building and own planning and temples. Palladio’s style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Palladio followed the rules of classical Roman architecture more closely than any other architect...In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century. As a practicing architect Palladio worked mainly in Vicenza, Venice and the Venetian countryside, especially along the Brenta River. His Villa Capra (known as La Rotonda) near Vicenza became virtually a prototype of the Palladian style, and it was widely and faithfully copied. At the end of his life he left plans for the tour de force of trompe l’oeil, the Teatro Olimpico in Vicenza, which was finished by his pupil Vincenzo Scamozzi.’ PMM 92 Ware (d. 1766) is reported "to have been originally a chimney-sweeper's boy whom an unknown patron found drawing with chalk at Whitehall. He was sketching the elevation of the banquet house upon the basement walls of the building itself, and is said to have made similar sketches of the portico at St. Martin's-in-the-Fields" (DNB). He developed into an eminently competent architect, among whose works were counted Chesterfield House, South Audley Street, of which Philip Dormer Stanhope, fourth earl of Chesterfield, took possession in 1749; he also built, for his own use, No. 6 Bloomsbury Square, which was inhabited later by Isaac D'Israeli. An excellent presentation of Palladio's magnificent work. A remarkably fresh and clean survival. With the fine provenance of Edward Cresy, highly regarded British architect and engineer (1792-1858) and author of several important books on engineering, including the TREATISE ON BRIDGE BUILDING; ACCOUNT OF STONE CHURCH and AN ENCYLOPAEDIA OF CIVIL ENGINEERING. Joseph Gwilt was another famous British architect and writer of the period. After a visit to Italy in 1816, he published in 1818 Notitia architectonica italiana, or Concise Notices of the Buildings and Architects of Italy. In 1825 he published an edition of Sir William Chambers' Treatise on Civil Architecture; and among his other principal contributions to the literature of his profession are a translation of the Architecture of Vitruvius (1826), a Treatise on the Rudiments of Architecture, Practical and Theoretical (1826), and his valuable Encyclopaedia of Architecture (1842), which was published with additions by Wyatt Papworth in 1867. In recognition of Gwilt's advocacy of the importance to architects of a knowledge of mathematics, he was in 1833 elected a member of the Royal Astronomical Society.

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RARE, SINGLE PLATES FROM THE BEAUTIFUL ELEPHANT FOLIO, LIMITED CHOICE DELUXE PRINTING OF LETCHFORD’S EXTRAORDINARY ILLUSTRATIONS FOR THE ARABIAN NIGHTS. ONLY 280 SETS PRINTED. These unbound, engraved illustrations were beautifully reproduced from the original oils by Albert Letchford. A wonderful addition to any Burton collection or collection of fine art plates. Paper size approximately 22x17.5 inches, each included with the original accompanying text leaf for the plate. The "Arabian Nights" had appealed greatly to Letchford on account of the unlimited scope such a subject would give to an artist who loved the East and had a boundless imagination. More are available then those displayed here. Please Inquire. Left The sorcerer with his potions turns Mercury Ali of Cairo into a bear. $150.

Right An Iconic Scene from Alaeddin, "Exchange Old Lamps For New." $150.

Left Receiving the coffer of Alabaster. Of especial interest in this plate is the magnificent Arabian palace in the background. $150.

Right Abdullah the Fisherman and the Merman’s wife, an especially exotic plate. $150.

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James Joyce - Ulysses The Most Beautiful Printing - Signed by Joyce First English Edition - Bound in Full Vellum - Gill Design Joyce, James. ULYSSES (London: John Lane, The Bodley Head, 1936) First authorized English edition; one of 100 copies signed by Joyce (of a total edition of 1000) printed on mould-made paper bound in vellum. 8vo, luxuriously bound in a beautiful designed binding by Eric Gill of full vellum with his gilt decorations of a bow on the upper cover, and a gilt titled spine, t.e.g. Housed in the original publishers patterned boards slipcase. 766. A very fine copy. One of the most handsome we have seen. $52,500. VERY IMPORTANT LITERARY FIRST. SIGNED BY THE AUTHOR. This an extremely impressive copy of the first authorized English edition, signed by Joyce. IT IS ALSO THE FIRST EDITION of ULYSSES PRINTED IN GREAT BRITAIN. The superb binding executed in full vellum was especially designed for this great book BY ERIC GILL. The typeface is extremely attractive and very readable, the printing on fine paper makes the book unusually handsome and presents what is perhaps the most beautiful printing of ULYSSES ever accomplished. Along with the text, there are a series of appendices attached including copies of the International Protest against the unauthorized and mutilated printings of ULYSSES done especially in the United States; a copy of the injunction issued to prevent Samuel Roth from continuing his piracies of ULYSSES; a copy of Joyce’s letter to Bennet Cerf concerning the promotion, legal fight and publication of ULYSSES on the author’s behalf; a copy of the decison of the US District Court which was rendered on December 6, 1933 which lifted the ban on ULYSSES and a copy of the subsequent decision of the US Court of Appeals rendered in August of the following year which upheld the original decision; a copy of the forward to the first American editon and a bibiography of the works of James Joyce. ULYSSES can be viewed as the pinnacle of the Modernist movement, and its impact on all subsequent western literature is unmistakable. Slocum & Cahoon A23

A Unique and Important Copy of Ulysses The Masterwork of James Joyce - Inscribed by Him The Most Important Novel of the Twentieth Century Joyce, James. ULYSSES (Paris: Shakespeare and Co., January 1924) First Edition, the fourth printing. AN IMPORTANT AND RARE COPY INSCRIBED BY JOYCE on a preliminary blank ‘To A.K. Griggs / James Joyce / Paris/ 16.iv [1]934’ With 4 pp. of “Ulysses Additional Corrections” bound in at the end. 8vo, in a French red cloth binding, the spine with morocco lettering label gilt, and with a fine slipcase, marbled endleaves, and with the original white wrappers printed in blue bound in. 736. A fine copy, the paper lightly browned overall as is usual with this printing, some marginal tears or chips, primarily at the prelims. $28,500. THE MOST IMPORTANT NOVEL OF THE TWENTIETH CENTURY. A RARE AND IMPORTANT INSCRIBED COPY OF JOYCE’S MASTERWORK. Arthur Kingsland Griggs, the recipient of this copy of ULYSSES, inscribed by Joyce, lived from 1891-1934. He was editor and translator of Léon Daudet’s MEMOIRS (1925) and the MEMOIRS OF QUEEN HORTENSE (1928). He also published MY PARIS, AN ANTHOLOGY OF MODERN PARIS FROM THE WORKS OF CONTEMPORARY FRENCH WRITERS (1932) and wrote a popular (and often reprinted) guidebook, PARIS FOR EVERYMAN - HER PRESENT, HER PAST & HER ENVIRONS (1926). Slocum and Cahoon A17 (617) 536-4433

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Walt Whitman - A Fine Set of the Complete Writings 10 Volumes - Beautifully Bound in Morocco, Gilt Extra One of a Limited Number and an Important Set of the Works Whitman, Walt. THE COMPLETE WRITINGS...Issued under the editorial supervision of his Literary Executors, Richard Maurice Bucke, Thomas B. Harned, and Horace L. Traubel. With additional bibliographical and critical material prepared by Oscar Lovell Triggs, Ph.D. (New York: The Knickerbocker Press for G. P. Putnam's Sons, 1902) 10 volumes. The Paumanok Edition, one of only 300 numbered sets printed on Ruisdael handmade paper. With illustrations in gravure and aquatint on japon vellum in each volume, colour frontispiece of Whitman to Volume I, tissue guards intact as issued. Large, thick 8vo, beautifully presented in fine period bindings of three-quarter crushed honey morocco over subtle marbled boards, the turnovers gilt ruled at the borders, the spine with art nouveau decorations incorporating raised bands gilt decorated and gilt ruled, the largest compartment with fine gilt and black tooled art nouveau intertwining decorations, one compartment lettered in gilt, t.e.g., others uncut. xcvi, 294; xiii, 323; vii, 297; xi, 324; vii, 301; v,318; v, 281, v, 300; xviii, 230; v, 309 pp. A very handsome, fine and bright, attractive and especially well preserved set. $10,500. A RARE AND BEAUTIFUL SET, on fine paper with Gothic titles, illustrated title pages and finely engraved portraits of the author, the people in his life and other important personages of the age. There is a fine introduction to LEAVES OF GRASS and the set also includes an important biography of the poet by Bucke, Harned, and Traubel. There are here presented, the greatest poem of America in its most complete format, and volumes of the wonderful prose writings of Whitman including the inclusion of SPECIMEN DAYS and other significant works. Whitman’s LEAVES OF GRASS portrayed America at the crossroads between an old world, soon to be cast off, and the new world of our future present. With the publication of LEAVES OF GRASS in 1855, Whitman, the poet of democracy, ushered in a new era in American letters, describing specifically American experiences in a distinctly American idiom. From its first publication in 1855, he had complete confidence in the greatness of both the book and its author. “Always the champion of the common man, Whitman is both the poet and the prophet of democracy. The whole of LEAVES OF GRASS is imbued with the spirit of brotherhood and a pride in the democracy of the young American nation. In a sense, it is America’s second Declaration of Independence: that of 1776 was political, this of 1855 intellectual. ...The poems are saturated ‘with a vehemence of pride and audacity of freedom necessary to loosen the mind of still-to-be-formed America from the folds, the superstitions, and all the long, tenacious, and stifling antidemocratic authorities of Asiatic and European past’. To the young nation, only just becoming aware of an individual literary identity distinct from its European origins, Whitman’s message and his outspoken confidence came at a decisive moment. LEAVES OF GRASS was Whitman’s favorite child. From the time of its original publication,...until the year of his death, he continued revising and enlarging it. If (his) reputation has fluctuated over the years and his position among, if indeed not at the head of, the list of great American poets was not assured until some time after his death, there was never any doubt of the matter in his own mind. ‘I know I am deathless’, he wrote. ‘Whether I come to my own today or in ten thousand or ten million years, I can cheerfully take it now, or with equal cheerfulness I can wait.’ Time has vindicated his conviction.” PMM One of the rare opportunities to acquire this comprehensive set from one of the greatest of American poets. Myerson.

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Sir Isaac Newton’s Principia Mathematica - 1713 The Great Monument to Human Intelligence A Foundation Stone to All of Modern Science Newton, Isaac]. PHILOSOPHIÆ NATURALIS PRINCIPIA MATHEMATICA Auctore Isaaco Newtono, Equite Aurato. Edition Secunda Auctior et Emendatior (Cambridge: (University Press), 1713) The second edition, the first to include the General Scholium in which Newton gives a general resume of the work. One of about 750 copies printed, of which 250 were sent to Holland and France. Engraved vignette on title, one folding engraved plate, and numerous woodcut diagrams and illustrations in the text. Large 4to, bound in full English contemporary polished calf, the spine fully gilt and very handsome, morocco lettering label gilt, compartments handsomely gilt between raised bands of the spine. 14 leaves, 484, [8]. A very handsome copy, the back expertly and exquisitely restored to style, title with usual offset from binding turn-ins in fore-margin, fore-margin of title very slightly frayed, small neat repair to upper inner corner of title. $35,000. ONE OF THE GREATEST BOOKS EVER PENNED, AND A FOUNDATION OF ALL MODERN SCIENCE. THE CORNERSTONE TREATISE ON DYNAMICS AND GRAVITATION, “THE MOST INFLUENTIAL SCIENTIFIC PUBLICATION OF THE 17TH CENTURY” (Horblit) A pleasing and handsome copy of the PRINCIPIA. "Richard Bentley, Master of Trinity College, was instrumental in bringing out this second edition, which was edited by Roger Cotes, F.R.S. In his important preface, Cotes attacks the Cartesian philosophy then still in vogue in the universities, and refutes an assertion that Newton's theory of attraction is a causa occulta. It contains a second preface by Newton and considerable additions, the chapters on the lunar theory and the theory of comets being much enlarged" (- Babson 12). Newton, in the PRINCIPIA, stated the three laws of motion that establish the relationship of mass, force, and direction; he also discussed the movement of bodies through gases and liquids, and defined mass and force and the corpuscular theory of light. But most importantly, he established the principal of universal gravitation and the motion of the planets. "Copernicus, Newton, and Einstein are the three corner-stones of our conception of the universe. Few could grasp Newton's reasoning at the time, and his fame was spread on the Continent by Voltaire's ELEMENS DE LA PHILOSOPHIE DE NEUTON, 1738" (PMM). Roger Cotes, 1682-1716, “was not only able enough to see where Principia could be improved, but also able to criticise Newton and correct his errors without ever antagonising him - no mean feat ... [Cotes’s Preface contains] a strong attack against Cartesian physics in general and the vortex theory of planetary motion in particular ... The most significant feature remains the number of changes introduced into this edition [including] the propositions on the resistance of fluids, the lunar theory, the procession of the equinoxes, the theory of comets ... On [Cotes’s] death Newton bestowed on him the tribute he had denied him in his life: if he had lived we might have known something”. Wallis 8: see PMM, Horblit Dibner &c. for the first edition. (617) 536-4433

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In the Hand of Ernest Hemingway - Beautifully Displayed A Long and Interesting Autograph Letter Signed Concerning Matters Relating to His Writing and Friendships Hemingway, Ernest. A LONG AND FINE AUTOGRAPH LETTER SIGNED CONCERNING MANY MATTERS RELATING TO SPORTING, TRAVEL, HIS MANNER OF WRITING AND HIS FRIENDSHIP WITH PETER VIERTEL and with a large and important photographic reproduction of the author (Kenya: , [August/September 1953]) A long handwritten letter entirely filling the page and signed by Hemingway as "Papa". With a large and fine famous photographic reproduction of Hemingway with full beard. 4to, the letter, very attractively housed in a foldover morocco backed case with window allowing the letter to be read while still protected by the plastic sleeve and with a large and familiar photograph of Hemingway on the opposite inside cover. Together a handsome and attractively displayed collection of Hemingway related items. A finely preserved letter in excellent condition. $9500

A FINE AND EXTENSIVE AUTOGRAPH LETTER FROM HEMINGWAY TO HIS GOOD FRIEND PETER VIERTEL CONCERNING HIS MANNER OF WRITING, INCIDENTS OF FRIENDSHIP, TRAVEL AND SPORTING. The letter consists of one quarto sheet completely filled with Hemingway's familiar script....From the text of the letter: Dear Pete...Thank you very much for writing - Glad you have the book figured out. I wish I could do that. I just start them on one day and then make them up for better or much worse. ....Once an elephant and then a rhino loused her up after we'd tracked 3 hours under noon sun. Another time there were two lions instead of one and they roared and came right through the outfield like the bulls in the encierro only 8 times as fast. ....had a letter from Gianfranco that he is fine. Rupert has straightened out again. Best love from Mary and me and Let's not lose touch anymore. Pamplona was good and we can have lots of good ones. Thanks for the gun for Antonio Ordones and for acting as you did in the fight. ....Please write when you have time....Papa Hemingway is hunting in Kenya at the time and relates interesting considerations as to matters of travel and camping and his ways of writing.

Henry David Thoreau A Rare Manuscript Leaf in His Hand Relating to Journeys Through the Woods of Maine Thoreau, Henry David. AUTOGRAPH MANUSCRIPT FRAGMENT (, [ca. 1875]) Approximately 143 words, one page 4to, written in dark brown ink, with a few pencil notations spelling out numbers. Folio, 1 pp. In fine condition, laid into a larger sheet. $10,500.

RARE MANUSCRIPT LEAF IN THOREAU’S HAND FOR AN ARTICLE PRINTED IN THE ATLANTIC MONTHLY. A fine manuscript section of unusual content, relating to Thoreau's journeys through the Maine Woods and including mention of "our first sight of Katadn," the highest mountain in Maine and the greatest mountain east of the Mississippi. Thoreau was one of the first white men to climb Katadn, a magnificent mountain of multiple peaks, now culminating with Baxter at its highest elevation. Thoreau ascended from the southern side. Many of the Thoreau manuscripts on the market are remnants of the Manuscript Edition of his works, and most of the pages that Houghton Mifflin inserted in those sets were from a piece entitled "The Fall of the Leaf" (see below). It is very uncommon to find manuscripts with content from another work. And it is especially uncommon to find manuscript leaves from works that were not part of the Manuscript Edition of the Writings of Thoreau, as here. This manuscript opens in the middle of a sentence that ends with the mention of Katadn. The remainder refers to Thoreau and his Indian companion, Joe Aitteon (Edward Hoar was the third traveller), tracking moose along the banks of Pine Stream: "We had gone but a few rods before we saw very recent signs along the waters' edge, the mud lifted up by their feet being quite fresh, and Joe declared that they had gone along there but a short time before." This is the beginning of a dramatic moment and ends: "As we were advancing along the edge of this, rather more quietly than usual, perhaps on account of the freshness of the signs, the design being to camp up this stream if it promised well, I heard...." A manuscript note by Edward Abbot, dated January 19, 1876, states that "This is one of two leaves of a manuscript article printed in the Atlantic Monthly, given us in 1875 by its former editor, James Russell Lowell." This leaf, p. 59 on off-white paper was among those missing when the Princeton Edition was published in 1972. It turned up in 1982. The printer's copy for the Atlantic was made up of both blue and off-white sheets. Page 59 is from the Printer's Copy for the 1858 Atlantic Monthly publication of Chesuncook.

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From the Author of Lord of the Rings and The Hobbit To a Close Personal Friend and L.O.T.R. Associate Discussing L.O.T.R. and The Silmarillion [Tolkien, J.R.R.]. AN IMPORTANT AUTOGRAPH LETTER SIGNED FROM J.R.R. [Ronald] TOLKIEN TO CLOSE FRIEND AND LITERARY ASSOCIATE GEORGE SAYER. (Oxford: March 21, 1966) A signed and dated handwritten letter in Tolkien’s impressive calligraphic penmanship. The letter is largely personal but also discusses the publication of the second edition of the “Lord of the Rings” and references “The Silmarillion”, the work Tolkien began before “The Hobbit” and, although not published till after Tolkien’s death, was the groundwork from which all four Middle Earth books were drawn from. This is a letter of importance, Tolkien refers to the revisions made in the second edition of LOTR and assures Sayer that they were necessary and lists the reasons. 175 by 135 cm, written on both sides of a single sheet of Tolkien’s cream-coloured Oxford stationary printed with the heading “Professor J.R.R. Tolkien” and with the Oxford return address. Well preserved and in fine original state, the ink dark and legible, showing only a bit of minor wear along the edges. $6500. AN OUTSTANDING LETTER FROM THE MASTER OF FANTASY LITERATURE, ONE IN WHICH HE DISCUSSES THE REVISIONS TO THE SECOND EDITION OF “LORD OF THE RINGS” AND MENTIONS THE AS OF THEN STILL UNPUBLISHED SILMARILLION. The letter is dated March 21, 1966, the year Allen and Unwin published the revised second edition of LORD OF THE RINGS and addressed to George [Sayer], a very close family friend and important literary colleague. George Sayer was English Master at Melvern and also had studied with both Tolkien and C.S. Lewis. Sayer was a longtime friends of Tolkien’s who had been highly influential in the publication of THE LORD OF THE RINGS. George and his wife Moira were among Tolkien’s most trusted manuscript “proof” readers and he especially valued their advice on many aspects of the publication of the RINGS. In a letter to Rayner Unwin, Tolkien called George “..the most normal reader and liker of the work that I could think of..” Both Sayers helped him choose each book’s individual title and also helped with countless editing and rewriting sessions. Additionally the Sayers were well known in the publishing world and facilitated Tolkien’s dealings with Allen and Unwin publishers. Their friendship with Tolkien was deep and personal. They attended the funeral of C.S. Lewis together, aided Tolkien during his wife’s sickness and frequent invited him to their home in Melvern.

An Illuminated Manuscript With Fine Original Miniatures Lettered and Painted On Vellum and Beautifully Bound [Illuminated Manuscript]; Aldrich, Thomas Bailey. FRIAR JEROME’S BEAUTIFUL BOOK (By hand: Siuol Na-Haub, ND (circa 1915)) An illuminated manuscript on vellum done for the Renaissance Society. With the provenance of Phoebe Boyle, with her bookplate. The famed Boyle collection was dispersed in 1923 when Sotheby’s New York predecessor, Anderson Galleries, sold the Phoebe Boyle collection. Written and illuminated by Siuol Na-Huab, including 17 hand-painted miniatures or designs, title-page with original miniature, and 29 large hand-painted illuminated initials. Small folio, (21 by 15 cm), beautifully bound for the Renaissance Society in full purple morocco, the covers decorated with a central tool and four large corner pieces all in a stylized morningglory motif within a triple-lined gilt fillet framework, the spine gilt lettered and ruled, the inner covers with purple and green morocco end-leaves gilt ruled and decorated with four large cornerpieces in a motif of thistle and morning-glories, silk end-leave. In a purple cloth covered chemise in a purple morocco backed cloth covered slipcase. [ii], 28, [1] pp. Very beautifully preserved, the morocco binding in excellent condition, the text pristine, with only a light bit of mellowing to the end-leaves and a touch of wear to the protective slipcase which has succeeded well to its purpose. $11,500. A BEAUTIFUL ILLUMINATED, HAND-PAINTED MANUSCRIPT. THIS WONDERFUL WORK FROM THOMAS BAILEY ALDRICH’S FAMOUS POEM. The work was printed a number of times and illustrated or produced specially by fine printers and binders through the years. This Illuminated, hand-painted manuscript is a unique item. (617) 536-4433

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Literature, Including Illustrated Literature other then Children's Books The Very Fine Ashendene Press Spenser - The Minor Poems Large Folio - Bound in Vellum and Calf - Subiaco Type A Copy with Pleasing Provenance - A Hornby Family Copy Printed in Colours on Specially Watermarked Paper 1 [Ashendene Press] Spenser, Edmund. SPENSER’S MINOR POEMS. Containing The Shepheardes Calender. Complaints. Daphnaida. Colin Clouts. Come Home Again. Amoretti. hymnes. Epithalamion. Prothalamion. Sonnets and Sundrie Other Verses. [and with, the prospectus order form for the Ashendene Spenser’s Faerie Queene]. (Chelsea: The Ashendene Press, 1925) First Edition of the beautiful Ashendene Spenser. One of 200 copies handset in “Subiaco” type. A COPY WITH FINE PROVENANCE, being a Hornby family copy with autograph presentation letter from a Hornby relation dated 1978, and with the prospectus order form for the Ashendene Spenser’s Faerie Queene. Hand printed in red, blue and black on specially watermarked (“knight-in-armour”) Batchelor hand-made paper. Initials by Graily Hewitt. Large Folio, in the original Ashendene binding of vellum over heavy boards and backed in dark brown calf, lettered in gilt on the spine in compartments separated by exceptionally tall and wide raised bands. iv, 216 pp. including the colophon. Very fine and beautiful, an exceptional copy. A REMARKABLE COPY. THIS IS THE FIRST EDITION OF THE ASHENDENE PRESS PRINTING, A BEAUTIFUL BOOK SET IN THE MOST SPLENDID OF THE ASHENDENE TYPES. SUBIACO TYPE WAS FIRST USED IN THE ASHENDENE DANTE AND IS CONSIDERED ONE OF THE MOST BEAUTIFUL DESIGNED TYPES OF THE ENGLISH FINE PRESS MOVEMENT. The “Minor Poems” is a companion volume to the “Faerie Queene”, and printed on the same paper in double column. There is a larger use of blue than in any of the other books. Parts of “The Shepheardes Calender”, as well as many of the large initials are printed in this colour. The Edward Clark Library Catalogue notes of this book that: “The goodness of the inks is a reminder of their part in fine printing”. A splendid example of a great book in the English Fine Press oeuvre. $3950.

Signed by Ben Shahn and Wendell Berry A Moving Tribute to John F. Kennedy A Poets Word’s - An Artist’s Images 2 Berry, Wendell. Shahn, Ben, (illus.). NOVEMBER TWENTY SIX NINETEEN HUNDRED SIXTY THREE (New York: George Braziller, 1964) LIMITED EDITION AND FIRST EDITION, SIGNED by poet Wendell Berry and also the artist, Ben Shahn. With a fine tippedin colour lithograph, black-and-white full-page drawings and the text lettering all by Ben Shahn Oblong 4to, printer’s original cream buckram lettered in black on the upper cover and spine, in the original slipcase. unpaginated. A fine copy, near as pristine. The slipcase with very minor fading to the black cloth but otherwise fine as well. SIGNED BY BOTH ARTIST AND AUTHOR AND WITH A TIPPED IN COLOUR ORIGINAL LITHOGRAPH. In all a fine and beautiful production, designed and lettered from beginning to end by Shahn and printed at the Meridian Gravure Company on handmade Italian paper by Fabriano. Berry’s moving poem on John F. Kennedy’s assignation was originally printed in “The Nation” but were turned into this book in the mind of the artist who wished to preserve it in some form other then “in last week’s magazine” and monumentalize those emotional days for America. Shahn includes a small introduction. $325.

The Complete Writings of William Blake The Nonesuch Limited Edition - Three Volumes - 1925 3 Blake, William; Keynes, Geoffrey. THE WRITINGS OF WILLIAM BLAKE. (London: The Nonesuch Press, 1925) 3 volumes. Limited edition of 1500 numbered sets, printed on Vidalon handmade paper at the Chiswick Press. Profusely illustrated throughout with 58 fine full-page plates after Blake’s own renderings, frontispiece and additional illustrations throughout. Tall Royal 8vo, publisher’s original marbled boards backed in white vellum, spines lettered in gilt. xviii, 364; vii, 397; vii, 430 pp. An unusually pleasing and handsome set,

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fresh and near pristine and largely unopened internally, the vellum quite clean and well preserved, the bindings fine and with far less than the normal mellowing, the boards also in very pleasing condition, occasional light evidence of shelving. A FINE AND IMPORTANT SET OF THE BLAKE WRITINGS. Printed at The Chiswick Press under the supervision of Francis Meynell. In the three-volume ‘Writings of William Blake’ very little editing was done and variant readings are thus given, to maintain the integrity of the texts and provide a framework for scholarly analysis. $1250.

The Life of William Blake - First Edition A Fine Limited Edition From the Nonesuch Press 4 [Blake] Wilson, Mona. THE LIFE OF WILLIAM BLAKE (London: The Nonesuch Press, 1927) Limited edition, one of 1480 handnumbered copies on Vidalon handmade paper at the Chiswick Press. With 24 very finely produced plates after Blake’s own renderings, including frontispiece. 4to, in the printer’s original marbled boards backed in white vellum, the spines lettered in gilt, edges untrimmed. xv, 397 pp. A very pleasing copy, internally an essentially pristine copy, the vellum quite bright and well preserved and with only light evidence of shelving. A FINE AND IMPORTANT WORK ON WILLIAM BLAKE, printed uniformly with the Nonesuch Press edition of Blake’s complete works, but in even a smaller print run. It was printed at The Chiswick Press under the supervision of Francis Meynell. Wilson exhaustively researched contemporary accounts, most of which had never been printed before, and reproduces many of them within this volume. $350.

One of 160 Copies Only - The Caxton Club The Trees of the Genealogia Deorum of Boccaccio 5 [Boccaccio; Caxton Club] Wilkins, Ernest Hatch. The Trees of the Genealogia Deorum of Boccaccio (Chicago: The Caxton Club, 1923) FIRST and LIMITED EDITION, one of only 160 copies printed on handmade Fabriano Paper. With 21 plates, three of which are in beautiful full colour, with printed tissue guards. Also with fine engraved ititials and tables throughtout. 4to, publisher’s original half vellum over buff boards with small vellum corner-pieces. 24pp + plates. A very fine copy, near as pristine. SCARCE, LIMITED TO ONLY 160 COPIES. A study of the genealogical tables used to decorate Boccaccio’s great mythological work, from manuscripts and the early printed editions. Genealogia deorum gentilium, known in English as On the Genealogy of the Gods of the Gentiles, is a mythography or encyclopedic compilation of the tangled family relationships of the classical pantheons of Ancient Greece and Rome, written in Latin prose in circa 1360 by the Italian author and poet Giovanni Boccaccio. The first printed edition was in Venice at the early date of 1472. By 1499, no fewer then eight editions had published, attesting to the popularity of the work. Ernest Hatch Wilkins was a respected authority on Italian literature. His teaching career began at Amherst as an instructor of Romance languages from 1900 to 1904, and continued at Harvard, where he taught from 1906 to 1912 and again from 1947 to 1950 as a visiting lecturer on Italian literature. In 1912 he went to the University of Chicago where he was successively Associate Professor and Professor of Romance languages until his move to Oberlin in 1927. From 1923 to 1926 he served the University as Dean of its College of Arts, Literature and Science Wilkins served as Oberlin College’s seventh president from 1927 until his retirement in 1946. He authored several respected works on Dante, Petrarch and Papini. He was a corresponding member of the Accademia Della Crusca in Florence and was decorated with the Cavaliere della Corona d’Italia in 1920 for his international promotion of Petrarch and Dante. $695.

Shakespeare’s Sonnets - In a Truly Beautiful Binding A Very Fine Cosway Style Binding of Red Morocco Gilt The Greatest Body of Poetry in the Language The Finely Decorated Medici Printing on Riccardi Paper 6 [Cosway Style Binding; Riccardi Press; Medici Society] Shakespeare, William. THE SONNETS OF WILLIAM SHAKESPEARE (London: Philip Lee Warner for the Medici Society, 1913) One of only 1000 hand-numbered copies on handmade Riccardi paper, specially bound and presented. With an engraved decorated title-page featuring a large and wide border frame in Arts & Crafts and William Morris style incorporating designs of intertwining vines, leaves and flowers. 8vo, IN A VERY FINE COSWAY STYLE BINDING, of crushed red morocco, the upper cover with an inlaid oval portrait of Shakespeare beautifully set into the cover and framed with gilt tooling, the covers with fine gilt bordering of triple gilt fillet lines and with a fourth inner gilt tooled line decorated with corner and central gilt tooled devices, central gilt floral tooling to the rear cover, the spine with raised bands separating the six compartments which are gilt tooled in panels and decorated with elaborate borders and with central gilt floral devices between gilt stippled bands, one compartment gilt lettered, gilt stippled board edges, wide turn-overs gilt tooled with floral corner pieces and gilt fillet lines designed in a frame pattern and with fine red moire silk end-leaves

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completing this beautiful binding, a.e.g. [iv], 78, [4]. Extremely fine, pristine and perfect. A superb AND BEAUTIFUL Cosway-style binding ON A HIGHLY IMPORTANT TEXT FINELY PRINTED AND DESIGNED. This beautiful printing of Shakespeare’s SONNETS is set in the Riccardi type by C.T. Jacobi and decorated with a beautifully designed and printed title-page. The presswork has been accomplished on fine Riccardi handmade paper. The text is that of the Oxford Edition, edited by W.J. Craig. The quality of this production, including both the beautiful Cosway styled binding and the fine press work, pays great tribute to what is arguably, the greatest body of poetry ever written in the English language. $7500.

The Amoroso Convivio of Dante Alighieri The Rare and Early Printing of 1531 7 Dante , [Alighieri]. L’ AMOROSO CONVIVIO DI DANTE, Con la Additione, & molti Suoi Notandi, Accuratamente Reuisto & Emendato (Vinegia: Marchio Sessa, 1531) Rare and important edition, and only the fourth printing of Dante’s ‘Convivio’. This edition used by academics and especially by Salvini With a beautifully engraved titlepage featuring an illustrated and regal border depicting nymphs and animals amidst climbing vines, initial 7-line capital letter handsomely engraved, colophon leaf engraved. Small octavo, in an antique binding of soft vellum, probably of the 19th century, the spine with gilt decorations all over and the title and author printed in gilt. [xvi], 112 leaves A clean, fresh and well preserved copy of this scarce work, very little spotting, crisp and unpressed and unwashed. RARE AND IMPORTANT EDITION. All 16th century editions of the work are extremely elusive. Dante’s CONVIVIO, or Banquet, is an unfinished philosophical work by the great Italian poet. It was planned as a series of 14 treatises, each in the form of a prose commentary on one of Dante’s own CANZONI. The four completed treatises, written between 1304 and 1308, draw on numerous philosophical sources but most heavily on Aristotle. It is the first work of Dante to explore certain doctrines and meditations, politics and the political society and moral man. Mambelli, 803; Gamba 419 $6500.

The First Trade Published Edition - Large Paper Copy And the First ‘Modern’ Translation Into English - 1819 Dante’s Divine Comedy - The Great Cary Translation 8 Dante Alighieri, (1265-1321). THE VISION; OR HELL, PURGATORY AND PARADISE OF DANTE ALIGHIERI. Translated by the Rev. Henry Francis Cary, A.M. (London: Printed for Taylor and Hessey, Fleet Street, 1819) 3 volumes. A LARGE PAPER COPY of the FIRST TRADE EDITION of the FIRST MODERN TRANSLATION of Dante into English in its complete form including all the parts of the trilogy. Preceded only by the privately printed edition issued by the author. Additionally, for this edition is affixed a Life of Dante, Notes and an Index. Tall 8vo, still bound in the original printer’s boards, untrimmed and uncut. VERY RARE THUS. lii, 303; xi, 309; 297, (28) index, (6) ads pp. and with all three half-titles as called for. A very rarely encountered set in excellent condition, essentially as pristine internally. The text-blocks are in wonderful condition, very finely preserved, the original boards are rubbed and the backstrips mostly missing on Vols I and III, but this is a set which has never been fiddled with and remains entirely unsophisticated and as originally offered from the printer. RARE FIRST EDITION AND COMPLETE SET IN ORIGINAL PRINTER’S BOARDS. ONE OF THE GREAT BOOKS OF ALL TIME. Cary’s famous translation has long been considered the first modern rendering of Dante’s timeless epic into English. While previous English translations prior to Cary’s had been accomplished in the 18th century, none were able to transfer into the English language, the beauty and richness of language for which Dante has forever been revered. It took Cary many years to make the complete translation. Indeed, the parts of the COMEDY were released over a number of years from 1805 on. Cary was influenced greatly by the Romantics and by Coleridge in particular. Though the text was finished in mid-1812, Cary was unable to secure a publisher and was, after some years, obliged even with his very modest means to publish the work at his own expense. It at first excited little attention, but it came under great notice primarily because of the applause of Coleridge whom Cary had met while pacing the beach reading Homer to his son. ‘Sir,’ said Coleridge, attracted by the sound of the Greek, ‘yours is a face I should know. I am Samuel Taylor Coleridge.” “During the rest of the day, the wondrous stranger discoursed on Homer making young Cary ‘feel as one from whose eyes the scales were just removed,’ and in the evening carried home the translation of Dante, of which he had never even heard. The next day he was able to repeat whole pages, and his winter course of lectures gave it celebrity. The new and first edition published by a general publisher was secured in 1819, and ever since,...it has remained the translation which, on Dante’s name being mentioned, occurs first to the mind.” Cary’s translation allowed the rediscovery of Dante’s masterpiece by the British of the Romantic Era and it was praised not only by Coleridge, but by Shelley, Byron and Wordworth as well. Copies of this, the first generally published edition of the book in its original three-decker format are extremely scarce. This is a still more scarce large paper copy As to Dante himself, “Dante’s theme, the greatest yet attempted in poetry, was to explain and justify the Christian cosmos through the allegory of a pilgrimage. To him comes Virgil, the symbol of philosophy, to guide him through the two lower realms of the next world, which are

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divided according to the classifications of the ‘Ethics’ of Aristotle. Hell is seen as an inverted cone with its point where lies Lucifer fixed in ice at the centre of the world, and the pilgrimage from it a climb to the foot of and then up the Purgatorial Mountain. Along the way Dante passes Popes, Kings and Emperors, poets, warriors and citizens of Florence, expiating the sins of their life on earth. On the summit is the Earthly Paradise where Beatrice meets them and Virgil departs. Dante is now led through the various spheres of heaven, and the poem ends with a vision of the Deity. The audacity of his theme, the success of its treatment, the beauty and majesty of his verse, have ensured that his poem never lost its reputation. The picture of divine justice is entirely unclouded by Dante’s own political prejudices, and his language never falls short of what he describes.” PMM $4500.

Daniel Defoe’s Robinson Crusoe - PMM Beautifully Decorated and Bound with Stothard’s Engravings An Exquisite Two Volume Printing 9 Defoe, Daniel. THE LIFE AND ADVENTURES OF ROBINSON CRUSOE (London: T. Cadell and W. Davies, 1820) 2 volumes. Early printing featuring the Stothard illustrations. Embellished with engravings from designs by Thomas Stothard. Large 8vo, bound and signed by Birdsall in three-quarter red morocco over cloth covered boards, gilt ruling to the borders of the binding at the covers, the spines lettered in gilt and with raised bands and fine tooling and designed gilt-work within compartments separated by raised bands, top edges gilt. xcii, 429 : v, 415 pp. A fine copy. THIS IS A BEAUTIFUL SET IN EXEMPLARY CONDITION. IN A HANDSOME AND WELL PRESERVED BINDING BY BIRDSALL. THE STOTHARD PLATES HAVE ALWAYS BEEN VERY HIGHLY REGARDED. “Defoe...disclosed a genius for devising a tale of adventure...(the influence of which has) not yet dissipated, for much of science fiction is basically Crusoe’s island changed to a planet. At least equally relevant...is the figure of the lonely human being subduing the pitiless forces of nature; going back to nature, indeed, and portraying the ‘noble savage’ in a way that made the book required reading for Rousseau’s Emile. ROBINSON CRUSOE has long since been more widely read...in versions...for young people... (there is) the footprint in the sand, Man Friday, the threatening savages, and the endless ingenuity and contrivance that make the hero’s island life tolerbable.” PMM “It breathes throughout a spirit of piety and benevolence; it sets in a vey striking light the importance of the mechanic arts...it fixes in the mind a lively idea of the horrors of solitude, and, consequently, of the sweets of social life, and of the blessings we derive from conversation and mutual aid; and it shows how by labouring with one’ s own hands, one may secure independence...” Beattie Stothard’s engravings are probably the most famous ever included in any edition of ROBINSON CRUSOE. $2050.

A Christmas Carol - First Edition of Charles Dickens’ Classic The Most Famous of All Holiday Novels - First Issue - 1843 10 Dickens, Charles. A CHRISTMAS CAROL. In Prose. Being a Ghost Story of Christmas (London: Chapman and Hall, 1843) First edition, with “Stave I” in A CHRISTMAS CAROL, earliest state of the binding, and first issue points including green endpapers and title in red and green. With four color illustrations and four woodcuts by John Leech. Small 8vo, in handsome full brown calf with red morocco spine brightly decorated in gilt in a holly motif, with the original cloth covers and green endpapers bound in the rear. 166, 2 ads pp. A very nice and clean copy of Dicken’s most beloved Christmas tale, quite attractive. THE MOST FAMOUS CHRISTMAS STORY OF ALL TIME. Dickens’ captured the popular imagination as no other novelist had done, he was held in in high critical esteem by contemporaries as varied as Queen Victoria and Dostoevsky. He called his extremely popular A CHRISTMAS CAROL a “whimsical sort of masque intended to awaken loving and forbearing thoughts.” The lasting appeal of this novel has proven it to be much more. It had been dramatized on the London stage within a month of its publication and has been made into no less then 17 motion pictures. $9500.

A Doré Illustrated Work of the Victorian Age Vivien - From the Arthurian Legends - A Brilliant Copy 11 Doré, Gustave (Illustrator). Tennyson, Alfred. VIVIEN (London: Edward Moxon, 1877) An early reissue of the first printing of 1867. Illustrated with nine most impressive steel engraved plates (with tissue guards) by Gustave Doré. Folio, publisher’s original green pebbled cloth highly decorated in gilt and black on the upper cover, the lower cover in blind, the spine beautifully lettered in bold gilt, all edges gilt. 49. A brilliant copy. Very fine with only a hint of occasional very minor foxing and a touch of bumping at the corners. Uncommonly nice for a book whose size renders it very vulnerable to great wear. AND ELUSIVE TITLE IN THE DORÉ OEUVRE. An Arthurian poem and an impressive piece of Victorian book design and illustration. $750.

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The Rime of the Ancient Mariner - Samuel Taylor Coleridge One of Doré’s Most Impressive Works With Two Complete Sets of His Amazing Plates The Complete Text in Both English and French 12 [Doré, illus.] Coleridge, Samuel Taylor. THE RIME OF THE ANCIENT MARINER, Illustrated by Gustave Doré [with,] LA CHANSON DU VIEUX MARIN Traduite par A. Barbier de l’Académie Française et Illustrée par Gustave Doré (London [and] Paris: Doré Gallery, Hamilton, Adams and Co. [and] Librairie Hachette, 1877 [and] 1876) 2 separate works bound into one volume. Extremely early printings of each volume. Each work with its own frontispiece, engraved vignette title-page and two other vignettes as chapter headpieces and both sets with the 38 full-page engraved plates by Gustave Doré, one set with the captions in French, one set with the captions in English, a total of 80 engraved plates and two vignette headpieces. Large folio (495 x 370 mm), in a very impressive French contemporary binding of three-quarter scarlet morocco over black and red marbled boards, the extra large corner pieces triple ruled in gilt, the spine with six compartments between tall, gilt ruled raised bands, one compartment gilt ruled and lettered, the others with a triple gilt ruled geometric framework, marbled end-leaves and t.e.g. Two engraved titlepages and frontispieces, 14 pp.; 1-14 pp., [and two sets of 38 plates each]. An exceptionally beautiful copy of both works, fresh, clean and solid and bound together in a fine binding of gentleman’s taste, all beautifully preserved and in very fine order. This is a beautiful book in especially nice condition and, in BOTH languageS it remains one of Dore’s most elusive titles. This beautifully bound set includes both the English and French edition of Coleridge’s masterwork and two full sets of the huge and impressive engraved plates of Doré. Coleridge’s RIME OF THE ANCIENT MARINER was a signal shift to modern poetry and the beginning of British Romantic literature. Its dark and brooding themes, most likely inspired by James Cook’s second voyage of exploration, provided the perfect vehicle for Gustave Doré to employ his signature use of darkness and light to produce what is surely one of the most amazing illustrated books of the period. $3850.

Dante - Gustave Dore’s Spectacular Illustrated Edition The Inferno - 76 Magnificent Engraved Plates 13 [Doré, illus.] Dante Alighieri, (1265-1321). THE VISION OF HELL. By Dante Alighieri. Translated by The Rev. Henry Francis Cary, M.A...With Critical and Explanatory Notes, Life of Dante, and Chronology (London: Cassell, Petter, and Galpin, [ND]) With 76 very fine plates after engravings by Gustave Doré, including his fine frontispiece portrait of Dante. Large Folio, Large Format Issue, original binding of fine three-quarter dark green crushed morocco over matching pebbled cloth-covered boards, the spine with raised bands richly tooled in gilt and gilt ruled and stippled, two compartments boldly gilt lettered, additional gilt at head and tail of the spine, gilt rolled along the back panel and corner-pieces, gilt tooled turn-ins, marbled end-leaves a.e.g. xxiv, 183 pp. A very nice copy of this magnificent book, internally fine but for a touch of the inevitable foxing confined primarily to the prelims, binding with minor wear or rubbing, top hinge a bit started. DORE’S GREAT VISION OF DANTE. Dore’s huge and spectacular illustrations bring Dante’s “Hell” to life in a style and manner to satisfy artistic appetites both subtle and grotesque. A truly grand example of the nineteenth century engraving. The sheer mass of the text block in this magnificent folio has left many copies broken or disbound. This copy is sturdy and tight and uncommonly clean as well. $1500.

The Grand Paradise Lost of John Milton and Gustave Doré One of the Greatest Illustrated Editions of the Title A Masterpiece of Literature and the Engraving Arts 14 [Doré, illus.] Milton, John. PARADISE LOST. Illustrated by Gustave Doré. Edited, with Notes and a Life of Milton, by Robert Vaughan, D.D. (London: Cassell, Petter and Galpin, no date [c.1866]) One of the earliest issues with both England and America in the imprint and a particularly large copy. With 50 magnificent plates after engravings by Gustave Doré. Large, tall folio, in the publisher’s original bright red cloth, the upper cover paneled in blind and boldly gilt lettered, the spine gilt lettered and the rear board paneled in blind. This is very probably the largest of the various examples printed and bound. lxii, 329 pp. A fine copy, internally extremely fresh and clean with only the lightest hint of the usually present spotting, and even this just occasionally, unusually firm and sturdy for the

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printing, the binding very handsome with bright cloth and bright gilt, rarely found so due to the massive size of the text-block, the boards with only very minor age mellowing and the rear hinge with just a bit of expert strengthening. A VERY HANDSOME COPY, FRESH AND CLEAN AND A VERY PLEASING PRESENTATION OF THIS GREAT WORK, NOT OFTEN FOUND IN ORIGINAL CLOTH. John Milton’s PARADISE LOST, one of the greatest works of the English language, is most appropriately met by the magnificent steel engravings of Gustave Doré. The powerful and mood-inspiring images make this one of the greatest issues of a true classic yet produced. The poem has remained one of the greatest classics of modern English vernacular, indeed some say, that it constitutes the beginning of modern English poetry and literature. This edition retains the classic marriage of illustration and verse and is particularly attractive in its pressing and design. $1250.

One of Doré’s Best Illustrated Books Fables de La Fontaine - Paris -1868 A Very Fine Copy Handsomely Bound and Decorated 15 [Doré, Illus.] La Fontaine, Jean de. FABLES DE LA FONTAINE AVEC LES DESSINS DE GUSTAVE DORE (Paris: Librairie de L. Hachette et Cie, 1868) First Edition Illustrated by Gustave Doré; portrait and 84 full-page illustrations; 248 finely engraved and fully decorative head and tailpiece pictorial designs throughout. Double plates at 35, 65, 93,117, 385, 395, 455 and 741. Folio, in a French binding of crimson cloth signed Hachette at the foot of the spine, the spine lettered in gilt within compartments separated by blind tooled banding. The upper cover decorated in all over pictorial designs and lettering gilt, and the rear cover in blind. A very attractive bindings, the book showing some slight cracking to the upper hinge running for approximately 2.5 inches. Internally there is some evidence of water staining to the edges of a some gatherings at the beginning of the volume and there is some intermittent, but not terribly obtrusive foxing to a number of the pages. A RARE AND IMPORTANT BOOK AND ONE OF DORE’S BEST. THIS IS THE TRUE FIRST EDITION. With his full-page engravings Gustave Doré does his best work with great dramatic flare. The countless smaller illustrations round out the book and make it a truly outstanding publishing endeavor. La Fontaine was famously known as one of the important literary group of the Rue du Vieux Colombier which included Racine, Boileau and Moliere. By the 1680s, he was known as one of the first men of letters in France. The FABLES were especially praised by well-known critics and it were well received by the general public. This issuance represents a very lovely printing of La Fontaine’s cherished fables in the original French. Along with the fables are a brief life of Fontaine and a life of Aesop. $650.

With Michael Ayrton’s Illustrations - First Edition Euripides - Three Plays - Limited Editions Club 16 Euripides, [Greek Theatre]. [Three Plays] MEDEA - HIPPOLYTUS - THE BACCHAE Newly Translated by Philip Vellacott (London: At the Curwen Press for Members of the Limited Editions Club, 1967) LIMITED to 1500 numbered copies SIGNED by the artist Michael Ayrton. Illustrated with striking modern monochrome plates by artist Michael Ayrton. 4to, original russet paper covered boards backed in buff cloth, the spine with a russet paper label lettered in gilt, in original glassine and slipcase of plum cloth over boards, also with paper label on spine gilt lettered. 184 pp. plus colophon. A pristine copy, near as mint. The slipcase and glassine pristine as well. THREE CLASSIC PLAYS BY EURIPIDES, WITH STRIKING ILLUSTRATIONS. The work of Illustrator/Artist Michael Ayrton is represented in several important collections including that of the Tate Gallery, London; The National Portrait Gallery, London; The Museum of Modern Art, New York; The Fry Art Gallery, Essex. The plates for this production were produced by the Photogravure and Color company. The monochrome images are printed in charcoal for Medea, wine for Hippolytus and moss-green for the Baccae. $145.

In a Superb Regency Full Red Morocco Binding of the Period John Dryden’s Fables and Gottfried Bürger’s Lenore - 1797 With the Engraved Illustrations of Lady Diana Beauclerc 17 [Fables]; Dryden, John [and] Bürger, Gottfried Augustus; [Fine Binding]. THE FABLES OF JOHN DRYDEN [Bound with] LEONORA Translated from the German of Gottfried Augustus Bürger by W. R. Spencer (London: By T. Bensley for J. Edwards and E. Harding, 1797, 1796) First edition thus of each title and a very early edition of LEONORA (Lenore), with fine provenance being from Condover Hall, the grandest manor house in Shropshire, and with at least two generations of lineage at Condover. First, with the manuscript ownership notation of Owen Smyth Owen, whose family owned the hall beginning with its construction circa 1598 and later with the fine engraved bookplate of Reginald Chomondeley, who owned Condover Hall when he was host to American writer Mark Twain in 1873. Both

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works ornamented with very fine engravings from the pencil of the Right Hon. Lady Diana Beauclerc, being nine plates engraved by Vandenburg, Bartolozzi, Chessman and others and with 15 engraved head and tail vignettes engraved by Bartolozzi and others within the FABLES, and 5 plates engraved by Bartolozzi and others and 4 very fine engraved vignette head pieces within LEONORA. The text of Lenore/Leonora given in both German and English, English on one page, German on the facing page. Folio, in a superb contemporary full Regency binding of red crushed morocco, both boards with a wide and elaborate gilt tooled frame in a chain-like pattern with inner frame of a rolled thistle device, the board edges gilt rolled and the turn-ins gilt tooled in Greek key. The spine elegantly decorated with six wide compartments between gilt stippled raised bands, each compartment beautifully gilt tooled around a large central gilt device, three compartments with large morocco gilt lettered and tooled labels in contrasting blue and green, one smaller gilt lettered label at the foot, marbled endpapers, a.e.g. xviii, 241; [v], 35 pp. The finest copy we have ever seen. A beautiful copy, the superb Regency binding fully original, unrestored and unsophisticated, the paper very fresh and clean, extremely minor and occasional scattered foxing only, much less then is typically seen on this title, in all very handsome and fine with excellent provenance. A BEAUTIFUL EDITION OF THESE GREAT WORKS, ILLUSTRATED WITH FINE ENGRAVINGS BY LADY DIANA BEAUCLERC AND IN AN EXCEPTIONALLY HANDSOME BINDING WITH THE PROVENANCE OF THE GRANDEST MANOR HOUSE IN SHROPSHIRE. The “Fables” are Dryden’s rather free but very popular translations of portions of Chaucer, Boccaccio, the first book of the ILIAD, and parts of Ovid’s METAMORPHOSES, as well as some original poems. The Preface, reprinted in this edition from the original can be considered some of Dryden’s most lively and unconstrained prose work. “I have endeavored to chose such fables, both ancient and modern, as contain in each of them some instructive moral, which I could prove by induction...” Bürger’s Poem LENORE is generally characterized as a Gothic ballad, and although the character that returns from its grave in the poem is not considered to be a vampire, the poem has been very influential on two centuries of vampire literature. William Taylor, who published the first English translation of the ballad in 1790 for Monthly Magazine, would later claim that “no German poem has been so repeatedly translated into English as Ellenore”. Percy Bysshe Shelley treasured a copy of the poem which he had handwritten himself. Samuel Taylor Coleridge’s Christabel was influenced by Bürger’s Lenore. Influences of Bürger’s poem on Keats and Wordsworth have also been noted and Lenore is also particularly famous for being cited by Bram Stoker in the early chapters of his novel Dracula. ‘A Royal manor in Anglo Saxon times, until the 16th century Condover Manor was in and out of Crown Tenure until, in 1586, Elizabeth I made a grant of the current Manor to Thomas Owen, a Member of Parliament and Recorder of Shrewsbury. Built out of pink sandstone, quarried at nearby Berriewood, Condover Hall has the typical Elizabethan two storey high ground floor rooms lit by tall windows with their regular mullions and double transoms. There are fine chimneys, gables and a good example of a strapwork frieze. The grounds are laid out in formal 17th century style with boxed yew hedges and sandstone balustraded terraces decorated with Italianate terracotta vases. Owned by the Owen family until the late 1860s the house then passed to the Cholmondeley family and Mary Cholmondeley (1859–1925) lived in the hall for a few months in 1896 before moving to London. Her uncle, Reginald Cholmondeley had owned the house when he was host to the American writer Mark Twain (1835–1910) when he visited in 1873 and 1879. $7500.

A Cornerstone of 20th Century American Literature F. Scott Fitzgerald’s Great Gatsby - First Edition, First Issue 18 Fitzgerald, F. Scott. THE GREAT GATSBY (New York: Charles Scribners’ Sons, 1925) First edition, first printing, with “chatter”on p. 60, line 16, “northern” on p. 119, line 22, “it’s” on p. 165, line 16, “away” on p. 165, line 29, “sick in tired” on p. 205, lines 9-10, and “Union Street station” on p. 211, lines 7-8 8vo, publisher’s original dark green cloth lettered in gilt on spine, and lettered in blind on the upper cover. Now preserved in a finely produced facsimile of the original dustjacket. 218 pp. A handsome copy, the cloth with no fading and only a little evidence of age or mellowing, the gilt on the spine much brighter then is typically found, internally, quite nice with just a bit of the expected light mellowing, a quite pleasing and collectible copy. SCARCE FIRST EDITION, FIRST ISSUE. Fitzgerald’s most highly acclaimed novel and one of the most iconic American novels of the 20th century. THE GREAT GATSBY, F. Scott Fitzgerald’s finest novel, relates a tale of life, love, infidelity and death among the rich and beautiful residents of Long Island. It has become recognized as a sensitive and symbolic treatment of the themes of modern life, conveying with irony and pathos the legend of the “American Dream” The book is becoming increasingly difficult to find in any first issue format. $3850.

Robert Frost’s New Hampshire Limited First Edition Signed by Frost 19 Frost, Robert. NEW HAMPSHIRE: A Poem With Notes and Grace Notes (New York: Henry Holt, 1923) First Edition, The Limited First

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Edition printing of 350 copies only, SIGNED by Frost. Woodcuts by J. J. Lankes. 8vo, publisher’s original polished black cloth, lettered in gilt on the spine panel and with fine gilt decoration and lettering to the upper cover. 113 pp. A fine copy just slightly mellowed on the spine. THE IMPORTANT FIRST EDITION, LIMITED ISSUE SIGNED BY ROBERT FROST. NEW HAMPSHIRE is one of Frost’s earliest works and also one of his greatest. The collection includes the title-poem, one of his longer works, as well as over 35 others. It includes such well known poems as; “Star-Splitter, “Dust to Snow” and perhaps one of his most often recited works “Stopping by Woods on a Snowy Evening”, a perennial holiday favorite in New England and other chilly climes. Considered one of the greatest 20th century American poets, Frost also won much acclaim and popularity throughout the English speaking world. J.J. Lankes and Robert Frost enjoyed a long professional and personal association. Lankes’ woodcuts beautified many of Frost’s published works. Barrett Library. $4250.

The Works of Oliver Goldsmith One of the First Craftsmen of the Language Bound in Blue Calf and Decorated in Gilt 20 Goldsmith, Oliver. THE WORKS OF OLIVER GOLDSMITH. With a Life and Notes. (London: H.G.Bohn, 1854) 4 volumes. Illustrated with an engraved frontispiece portrait in volume one and engraved title page vignettes in each volume . 12mo, handsomely bound in antique 3/4 blue calf over marbled boards, lettered and decorated with elaborate gilt tooling between raised bands on the spines, marbled endpapers, t.e.g. 325;319;vi,341;v,346. A pleasing, clean and well preserved set in handsome, finely decorated bindings. A HANDSOME DECORATED SET.“This edition contains, together with all the pieces usually published, the Captivity, an Oratorio, the Threnodia Augustalis, and four short poems illustrative of “Retaliation.” All the poems have been carefully collated with the best editions.The Plays are reprinted from the edition of Goldsmith’s Miscellaneous Works by the London booksellers. The Letters are chiefly extracted from a memoir of the author. $1250.

The Scarlet Letter - In Beautiful French Designed Binding Illustrations Coloured by Hand and in Black and White One of the Literary Masterpieces of America 21 Hawthorne, Nathaniel. THE SCARLET LETTER (New York: Privately Printed, 1904) First edition with the illustrations by A. Robaudi and C. Graham. With 30 beautiful plates. 15 of the plates are presented in black and white and a second set of 15 are hand-coloured. Thick royal 8vo, presented in a unique binding executed and signed J.K.H, Paris 1908. The binding is of full chocolate morocco, the covers with beautiful gilt tooling in surround design, incorporating elaborate borders of interlocking vines and flowers inlaid with contrasting adobe coloured moroccos, gilt rules stopped and bordered with gilt circular tools inlaid with contrasting adobe coloured moroccos. the spine with raised bands, gilt lettered in two compartments, the others with fine wide floral sprays incorporating gilt and contrasting inlaid adobe moroccos. The doublures with triple gilt lines and floral corner tools, patterned silk end-leaves, a second set of endleaves of French marbled paper, all edges gilt. A beautiful binding. Original wrappers and spine panel bound in. Protected in a leather tipped slipcase. [8], 333 pp. A very handsome, bright and clean copy, the gilt and cloth in nice condition, the textblock and illustrations tight and in good order. SCARCE FIRST EDITION IN A UNIQUE BINDING, OF THIS BEAUTIFULLY ILLUSTRATED PRINTING. A literary masterpiece and surely one of the most important works in the oeuvre of colonial America. More than any other work of literature, Hawthorne’s SCARLET LETTER set the stage for an understanding of the puritan mind and beginnings of the American system. This is an extraordinary edition of Hawthorne’s masterpiece, a book that is celebrated for its design and illustration as well as for its especially attractive period binding executed in the best of the French designer styled bindings of the day. $3850.

Les Miserables - Victor Hugo’s Masterful Work - Illustrated 5 Volumes - Bound and Decorated Very Handsomely 22 Hugo, Victor. LES MISERABLES (Boston: Little, Brown, and Company, 1907) 5 volumes. With 11 full page illustrations on plates with tissue-guards drawn by G. Jeanniot and sprinkled through the volumes. 8vo, contemporary three-quarter tan calf over marbled boards, the spines richly gilt decorated in fine period style featuring central fleur-de-lis in gilt between gilt stippled and ruled flat bands, two compartments with contrasting red and black morocco labels lettered and ruled in gilt, author labels renewed, marbled end-papers, t.e.g. xii, 444; viii, 413; viii, 377; x, 522; ix, 442 pp. A very handsome and proper set of a truly great work, the calf showing only minor expected age mellowing to the extremities, internally near as pristine. A SCARCE TITLE AND A HANDSOMELY BOUND SET OF THIS MASTERWORK BY VICTOR HUGO. A very pleasing edition of Hugo’s timeless classic printed in a manageable size. For the most part, this is a reprint of the English translation which was in three volumes by Sir Lascelles

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Wraxall and was approved by the author. Chapters and passages omitted in the original English edition were specially translated for this issue and many errors were corrected. The author’s own arrangement of the work in 5 parts, and his subdivisions into books and chapters were restored for this edition. The addition of the illustrations make it all the more appealing. $650.

Johnson’s Great Folio Dictionary - PMM - 1765 “The Most Amazing, Enduring, and Endearing One-Man Feat in the Field of Lexicography” 23 Johnson, Samuel. A DICTIONARY OF THE ENGLISH LANGUAGE, in Which the Words are deduced from their Originals...To Which are Prefixed a History of the Language and An English Grammar (London: by W. Strahan, 1765) 2 volumes. The Third Edition. Royal folio, beautifully presented in full contemporary calf with panels richly gilt within compartments of the spine, black and russet morocco lettering labels gilt decorated, the covers with roll tooling in blind at the borders, endleaves marbled. A very clean, very handsome and attractive copy, crisp and unpressed and in original state, the binding rejointed at some time preserving all original materials. RARE AND HIGHLY IMPORTANT, A FINE COPY IN RARE CONTEMPORARY BINDING OF ONE OF THE EARLIEST FOLIO PRINTINGS OF SAMUEL JOHNSON’S MASTERWORK. THIS PRESSING WITHIN TEN YEARS OF THE FIRST. “The most amazing, enduring and endearing one-man feat in the field of lexicography (PMM). Begun in 1747 and printed over five years, Johnson’s DICTIONARY set the standard for all subsequent lexicographical work. Its excellence was immediately recognized in all quarters and the first edition of two thousand copies sold quickly. What set Johnson’s DICTIONARY apart from earlier efforts was his reliance on the examples of English literature rather than his own intuition or previous word lists or dictionaries, a method that has been the standard ever since, from Richardson and Webster to the Oxford English Dictionary. Johnson, in undertaking this vast work, set out to perform singlehanded for the English language what the French Academy, a century before, had attempted for French. He hope to produce “a dictionary by which the pronunciation of our language may be fixed, and its attainment facilitated;” and though, of course, no language can be frozen in time, by aiming at fixing the language he succeeded in giving the standard of reputable use. As Noah Webster stated, his work “had, in philology, the effect which Newton’s discoveries had in mathematics.” Johnson presumed to finish the work for the Dictionary in three years by his own labor, but he underestimated the work required and it eventually took nine years to complete (though not all of his time was spent upon the Dictionary, as he was also the editor of The Rambler at this time) and required the assistance of six amanuenses--five of whom, to Boswell’s satisfaction, were Scotsmen. “Johnson’s achievement marked an epoch in the history of the language. The result of nine years labor, it did more than any other work before or since towards fixing the language. The preface ranks among Johnson’s finest writings. The most amazing, enduring, and endearing one-man feat in the field of lexicography” (Printing and the Mind of Man). PMM (first printing); Grolier 100 English, #50; Courtney and Smith, p. 55; Alston V, 179; Fleeman 55.4D/3; Sledd & Kolb, pp. 111-113. $9500.

First Edition - James Joyce - Finnegans Wake One of 425 Copies Only - Signed by Joyce

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24 Joyce, James. FINNEGANS WAKE (London: Faber and Faber, 1939) First Edition, First Issue, Signed by James Joyce and limited to 425 copies only, of which this is number 341. 8vo, publisher’s original red buckram lettered in gilt on spine, t.e.g., other edges untrimmed. Yellow cloth slipcase expertly re-created as the original. 628. A fine copy, very handsome, bright and clean, very well preserved and without wear. The slipcase in beautiful condition. IMPORTANT FIRST EDITION SIGNED BY JAMES JOYCE. A very desirable copy of this, the best and scarcest issue of the first editions. No book has ever been more ambitiously conceived than Joyce’s FINNEGANS WAKE. If ULYSSES represents the pinnacle of the Modernist movement, FINNEGANS WAKE is a step beyond; it stands in the same relation to ULYSSES as ULYSSES does to A PORTRAIT OF THE ARTIST....—an extension which is also a completely new conception. Joyce envisioned the book as nothing less than a “history of the world.” Seventeen years in the writing, and composed in a sort of meta-language--”an Esperanto for the art of fiction”--it stands as a unique monument to language and literature and the modern age. Joyce began working on Finnegans Wake shortly after the 1922 publication of Ulysses. By 1924 installments of Joyce's new avant-garde work began to appear, in serialized form, in Parisian literary journals transatlantic review and transition, under the title "fragments from Work in Progress". The actual title of the work remained a secret until the book was published in its entirety, on 4 May 1939.[13] Initial reaction to Finnegans Wake, both in its serialized and final published form, was largely negative, ranging from bafflement at its radical reworking of the English language to open hostility towards its lack of respect for the conventions of the novel. The work has since come to assume a preeminent place in English literature. Slocum and Calhoun A49; Bradbury, The Modern World, 157-176. $18,500.

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Ulysses - “The Greatest Novel of the Twentieth Century” James Joyce - Shakespeare and Company - Paris - 1927 A Especially Pleasing Copy - Essentially Pristine and Unopened 25 Joyce, James. ULYSSES (Paris: Shakespeare and Company, 1927) First Edition, ninth printing, and the true Paris issue of the 1927 printing. Square 8vo, bound in the publisher’s original blue wraps formatted as the first edition of 1922, printed and lettered in white on the upper cover and spine. [6], 735 pp. An especially well preserved and handsome copy, especially so for the original wrappers and textblock which remains largely unopened and pristine. A fine copy of the original “Shakespeare and Company” --Sylvia Beach-- advertising card is still enclosed, the text block very fine, the wrappers with only some minor and expected mellowing or evidence of age, but clearly an unused, unread copy and quite rare thus. SCARCE EARLY PRINTING OF ULYSSES. THE RARE TRUE SHAKESPEARE AND COMPANY 1927 PRINTING IN UNREAD, UNOPENED, PRISTINE STATE. The most important novel of the twentieth century . ULYSSES can be viewed as the pinnacle of the Modernist movement, and its impact on all subsequent western literature is unmistakable. Such writers as Virginia Woolf, John Dos Passos, William Faulkner, Samuel Beckett, Malcolm Lowry, and Anthony Burgess have all paid tribute, consciously or unconsciously, to Joyce’s influence. Burgess as well pronounced it the greatest single work in the English literature of this century, and he is not alone in that opinion. According to James Spoerri, “This fortunate combination of printer and publisher resulted in the appearance of ULYSSES as a book whose physical aspect is particularly suited to its content. It is (an)... inviting volume, the blue and white of its covers subtly evocative of the Greece whose epic it so closely parallels” (quoted in the catalogue for the Garden Sale, Sotheby’s 1989). Slocum and Cahoon A19 $7500.

James Joyce - Ulysses The Most Beautiful Printing - Signed by Joyce First English Edition - Bound in Full Vellum - Gill Design 26 Joyce, James. ULYSSES (London: John Lane, The Bodley Head, 1936) First authorized English edition; one of 100 copies signed by Joyce (of a total edition of 1000) printed on mould-made paper bound in vellum. 8vo, luxuriously bound in a beautiful designed binding by Eric Gill of full vellum with his gilt decorations of a bow on the upper cover, and a gilt titled spine, t.e.g. Housed in the original publishers patterned boards slipcase. 766. A very fine copy. One of the most handsome we have seen. VERY IMPORTANT LITERARY FIRST. SIGNED BY THE AUTHOR. This an extremely impressive copy of the first authorized English edition, signed by Joyce. IT IS ALSO THE FIRST EDITION of ULYSSES PRINTED IN GREAT BRITAIN. The superb binding executed In full vellum has been especially designed for this great book. DESIGNS FOR THE BINDING, EXECUTED IN GILT WERE DESIGNED BY ERIC GILL. The typeface is extremely attractive and very readable, the printing on fine paper makes the book unusually handsome and presents what is perhaps the most beautiful printing of ULYSSES ever accomplished. Along with the text, there are a series of appendices attached including copies of the International Protest against the unauthorized and mutilated printings of ULYSSES done especially in the United States; a copy of the injunction issued to prevent Samuel Roth from continuing his piracies of ULYSSES; a copy of Joyce’s letter to Bennet Cerf concerning the promotion, legal fight and publication of ULYSSES on the author’s behalf; a copy of the decison of the US District Court which was rendered on December 6, 1933 which lifted the ban on ULYSSES and a copy of the subsequent decision of the US Court of Appeals rendered in August of the following year which upheld the original decision; a copy of the forward to the first American editon and a bibiography of the works of James Joyce. ULYSSES can be viewed as the pinnacle of the Modernist movement, and its impact on all subsequent western literature is unmistakable. Such writers as Virginia Woolf, John Dos Passos, William Faulkner, Samuel Beckett, Malcolm Lowry, and Anthony Burgess have all paid tribute, consciously or unconsciously, to Joyce’s influence. Burgess as well pronounced it the greatest single work in the English literature of this century, and he is not alone in that opinion. Slocum & Cahoon A23 $52,500.

A Unique and Important Copy of Ulysses The Masterwork of James Joyce - Inscribed by Him The Most Important Novel of the Twentieth Century 27 Joyce, James. ULYSSES (Paris: Shakespeare and Co., January 1924) First Edition, the fourth printing . AN IMPORTANT AND RARE COPY INSCRIBED BY JOYCE on a preliminary blank ‘To A.K. Griggs / James Joyce / Paris/ 16.iv [1]934’ With 4 pp. of “Ulysses Additional Corrections” bound in at the end. 8vo, in a French red cloth binding, the spine with morocco lettering label gilt, and with a fine slipcase, marbled endleaves, and with the original white wrappers printed in blue bound in. 736. A fine copy, the paper lightly browned overall as is usual with this printing, some marginal tears or chips, primarily at the prelims.

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THE MOST IMPORTANT NOVEL OF THE TWENTIETH CENTURY. A RARE AND IMPORTANT INSCRIBED COPY OF JOYCE’S MASTERWORK. ULYSSES can be viewed as the pinnacle of the Modernist movement, and its impact on all subsequent western literature is unmistakable. Such writers as Virginia Woolf, John Dos Passos, William Faulkner, Samuel Beckett, Malcolm Lowry, and Anthony Burgess have all paid tribute, consciously or unconsciously, to Joyce’s influence. Burgess as well pronounced it the greatest single work in the English literature of this century, and he is not alone in that opinion. According to James Spoerri, “This fortunate combination of printer and publisher resulted in the appearance of ULYSSES as a book whose physical aspect is particularly suited to its content. It is a fat and inviting volume, the blue and white of its covers subtly evocative of the Greece whose epic it so closely parallels” (quoted in the catalogue for the Garden Sale, Sotheby’s 1989, first edition, first issue). Arthur Kingsland Griggs, the recipient of this copy of ULYSSES, inscribed by Joyce, lived from 1891-1934. He was editor and translator of Léon Daudet’s MEMOIRS (1925) and the MEMOIRS OF QUEEN HORTENSE (1928). He also published MY PARIS, AN ANTHOLOGY OF MODERN PARIS FROM THE WORKS OF CONTEMPORARY FRENCH WRITERS (1932) and wrote a popular (and often reprinted) guidebook, PARIS FOR EVERYMAN - HER PRESENT, HER PAST & HER ENVIRONS (1926). Slocum and Cahoon A17 $28500.

Very Rare - Corrected Proof Pages from The Kelmscott Press From Poems by the Way - The Second Book of the Press First Use of Black and Red and With Pre-Raphaelite Design 28 [Kelmscott Press] Morris, William. [ORIGINAL PUBLISHER’S PROOF PAGES TO] POEMS BY THE WAY ([Hammersmith: Kelmscott Press, 1891]) Printer’s proof pages, with manuscript notes and corrections in pencil. Printed in black and red, with large engraved initials throughout. 8vo, Signature E3 provided twice, one with manuscript corrections and the other without, signatures F2 and F4, signature I2 with manuscript corrections, signature O1 with manuscript corrections, wrapped in a blank sheet of the same fine paper with manuscript notes in pencil. All together a total of 22 pages. Perfectly preserved, a fine copy. SCARCE, PROOF PAGES FROM THE EARLY DAYS OF THE KELMSCOTT PRESS ARE QUITE RARE, and these are from the second book issued by the Press, one of the earliest, and clearly display the beauty and grace for which the Kelmscott Press is famous. Designed by William Morris, the book featured many ten-line and six-line engraved initials of stunning Pre-Raphaelite design. The book was the first by the Press to be printed in black and red. $5500.

With Willy Pogany’s Brilliant Illustrations The Rime of the Ancient Mariner - A Fine Copy Handsomely Presented in the Publisher’s Decorated Binding

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29 [Pogany, illus.] Coleridge, Samuel Taylor. THE RIME OF THE ANCIENT MARINER In Seven Parts, Presented by Willy Pogany (London: George G. Harrap, 1910) The first edition with Pogany’s illustrations. Profusely illustrated throughout by Willy Pogany, including 20 tipped-in color plates. A richly colored title page by Pogany begins this enchanting classic. With exquisitely detailed pages of intricately woven text and illustrations, enclosed in ornate borders. 4to, publisher’s beautiful original green cloth gilt lettered and decorated over the whole spine, the upper cover with all-over elaborate gilt, navy and red pictorial decorations and lettering, Pogany decorated endpapers, t.e.g. [178] pp. A fine copy of a book so frequently found spotted or in broken binding, this copy in the beautiful decorated cloth with just a bit of age evidence at the tips, very fresh, very bright. The interior is virtually flawless. A VERY PLEASING, BRIGHT AND CLEAN COPY OF THIS GREAT BOOK. One of the most beautiful and decorative books of the period. The binding is quite attractive, the half-title is elaborately printed in gold, red and green; the title-page is a Morris-esque pastiche printed in gold, grey, red, black, purple, green, and yellow; the text is printed in an elaborate script within various woodcut borders, with various pictorial backgrounds in either light gray or green, sometimes accompanied by a vignette illustration. There are, in addition to the color plates, roughly ten full-page illustrations in black and either green or gray; and the pages that have no text or illustrations are filled with decorative elements in various styles and colors. One is reminded of the illuminated manuscripts of Sangorski and Sutcliffe and the amount of decoration on each page of their creations. This is certainly tour de force by Pogany. $1250.

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With Fine Autograph Addition and Exhibition Notice First Edition - Arthur Rackham - Rhinegold and the Valkyrie Representing Some of the Artist’s Most Dramatic Work 30 [Rackham, Arthur Illus.] Wagner, Richard. THE RHINEGOLD AND THE VALKYRIE. Translated by Margaret Armour (London: William Heinemann, 1910) First edition, this copy with tipped-in card SIGNED BY ARTHUR RACKHAM, and with the one page printed announcement for the 1910 Arthur Rackham Exhibition at the Leicester Galleries in London which featured many of the original paintings for the Rhinegold and other subjects, plus an engraved four page (single leaf folded) prospectus from Heinemann for gift books of 1910. With 34 very impressive colour-plates by Arthur Rackham, representing some of his best and most adult work, the plates are tipped in onto stiff paper and feature captioned tissue guards. 4to, publisher’s original light brown buckram lettered and decorated in gilt on the upper cover and the spine. ix, 161 pp. + plates. A beautiful copy, the plates all pristine and perfect, the text fresh and clean and solid, the binding bright and fresh with just a hint of mellowing to the spine. A very pleasing copy. A VERY HANDSOME AND BRIGHT COPY OF THIS BEAUTIFUL WORK, WITH A TIPPED IN SIGNATURE CARD FROM ILLUSTRATOR ARTHUR RACKHAM AND WITH ADDITIONAL INTERESTING AND RELATED EPHEMERA. It is obvious at first glance that Rackham was deeply and personally inspired by Wagner’s great mythic theme. His illustrations emerge from each page with dramatic force and stirring emotion. The Rhinegold illustrations were a grand achievement in the continuing evolution of the artist’s style. Unlike many of his other books, his Wagnerian illustrations were not geared to a child audience. He wrote to a twelve year old fan, “I am very glad you like my illustrations. I am rather afraid that the books of mine that are coming out this year and next, which illustrate Wagner’s great Music-stories, the ‘Ring of the Nibelungs’, are not very well suited for those lucky people who haven’t yet finished the delightful adventure of growing up, but soon, perhaps, you will know and be fond of Wagner’s music and writings, and then you may like these drawings of mine as well as the others.” -from Derek Hudson. $1750.

Charles Dickens’ Timeless Annual Favorite A Christmas Carol - Arthur Rackham - First Edition Delightfully Illustrated Throughout in His Best Fashion 31 [Rackham, illus.] Dickens, Charles. A CHRISTMAS CAROL (London and Philadelphia: Wm. Heinemann and J. B. Lippincott Co., [1915]) First edition. With 12 haunting colour plates, illustrated endpapers,18 black and white illustrations and line drawings by Arthur Rackham. 8vo, publisher’s original grey-blue cloth lettered and pictorially decorated in gilt on the upper cover. xi, 147. A nice copy, very well preserved, with a touch of expected mellowing on the spine. SCARCE FIRST EDITION IN PLEASING CONDITION. A shining example of what you get when a true masterpiece of literature is complemented by one of the world’s greatest book illustrators. An inspiring combination. Dickens writes of A Christmas Carol in his preface: “I have endeavoured in this Ghostly little book to raise the Ghost of an Idea which shall not put my readers out of humour with themselves, with each other, with the season, or with me. May it haunt their house pleasantly, and no one wish to lay it.” Surely, the author would be pleased with the perennial delight his little Christmas tale has stirred in the hearts and imaginations of generations of readers. Originally, Rackham’s illustrated edition of Dickens’ classic was published during the war years (1915) and was quite well received. The artist successfully incorporated the ‘Phiz’ and Cruikshank styles into his own to create striking renditions of Victorian London with ample room to uniquely evoke ghostly fantasy images as well. His almost characterized depiction of Scrooge, features chiseled and grotesque, are as bone-chilling as his fantastic entourages of moaning ghouls. The muted, shadowed atmospheric tones so characteristically Rackham, support Dickens’ eerie tale wonderfully. Some examples of Rackham’s emerging special talent for silhouette are also included. Truly, Arthur Rackham’s illustrated edition of Dickens’ A Christmas Carol, is a shining example of what you get when a true masterpiece of literature is complemented by one of the world’s greatest book illustrators. $950.

Shakespeare’s Most Delightful Comedy Illustrated With 40 Colour-Plates By Arthur Rackham 32 [Rackham, illus.] Shakespeare, William. A MIDSUMMER NIGHT’S DREAM (London: William Heinemann, 1912) First edition, early impression. 40 tipped-in color plates by Arthur Rackham as well as black and white drawings throughout. Large 8vo, original cream cloth lettered in gilt on spine and decorated in gilt on upper cover. 134 pp. A very fine copy internally, the cream cloth bright and quite handsome with the gilt and binding in excellent order with only very minor evidence of age. IMPORTANT AND BEAUTIFUL FIRST EDITION, EARLY IMPRESSION, WITH FINE ILLUSTRATIONS. Shakespeare’s brilliant and delightful comedy was a wonderful exercise and ambitious undertaking for Arthur Rackham. This book ranks with PETER PAN as one of the finest

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expressions of his “fantasy” style of illustration. This particular title in the Rackham oeuvre is among the scarcest and is in constant demand. William de Morgan wrote to Rackham that he considered his Midsummer Night’s Dream “the most splendid illustrated work of the century so far.” At its publication, the book was widely acclaimed and hugely successful as Rackham continued to be extremely popular with the general public. “Rackham cast his spell over the play; his drawings superseded the work of all his predecessors from Gilbert to Abbey, and (for fifty years) have enriched the imagination; his conception of Puck and Bottom, Titania and Oberon, Helena and Hermia, his gnarled trees and droves of fairies, have represented the visual reality of the Dream for thousands of readers. Here he excelled especially in landscape, and in reconciling dream and reality, giving himself to the luxury of rich detail with a rare generosity.” -Derek Hudson What could be more irresistible than to read Shakespeare’s most enchanting play accompanied by Arthur Rackham’s misty, fairy-laden dream-like images? Opening this book is to transport oneself to the surreal world that Shakespeare wrought to make one query, “Are you sure That we are awake? It seems to me That yet we sleep, we dream...” $1050.

Sophie’s Choice - First Edition - A Great Book Signed by the Author - William Styron 33 Styron, William. SOPHIE’S CHOICE (New York: Random House, 1979) First edition, first printing, SIGNED by the author. Large 8vo, publisher’s original wine coloured cloth lettered in gilt on the upper cover and spine, in the original dustjacket. 515 pp. A fine and well preserved copy, the jacket fine but for very minor evidence of age or shelving. SIGNED BY WILLIAM STYRON AND THE FIRST EDITION OF HIS BEST AND MOST FAMOUS BOOK. SOPHIE’S CHOICE was recognized as a masterpiece almost immediately upon publication and in the years since has come to be considered a major novel of the twentieth century. $350.

Henry David Thoreau’s Walden The Very Fine Bibliophile Printing of 1909 Two Volumes - Vellum Bound - Replete with Engravings 34 Thoreau, Henry David. WALDEN (Boston: The Bibliophile Society, 1909) 2 volumes. First edition of the complete work and one of only 461 copies on Holland paper. With the title-pages to Volumes I and II in multiple states, one engraved and one etched, one designed, and with thirteen other illustrations from photos, facsimiles, and etchings, printing on vellum and Holland papers. Tall 8vo, publisher’s original three-quarter white vellum over boards, lettered in gilt and colours on the spines, pages untrimmed, with all tissue guards as called for. xxxii, 208; 263 pp. A very handsome and very nice set of this important and scarce edition. The bindings are in a fine state of preservation with only very light evidence of shelving at the edges, the tips and extremities are all in very nice condition. Only the very lightest evidence of the foxing typical to this printing. AN IMPORTANT FIRST EDITION. This edition restores some 30,000 words of Thoreau’s manuscript which were cut before the book’s first publication in 1854. This copy is very fresh, internally with only light evidence of the usual foxing, and is largely unopened. The fact that the titlepage is in two states provides a nice opportunity to compare side by side the results of etching and engraving. One of the greatest books of American literature and a highlight of American thought. In attempting an experiment in simple living Thoreau became the embodiment of the American quest for the spiritual over the material; and his book, ostensibly a simple record of his experiment, has earned the reputation as a work of great philosophical import. $1250.

Henry David Thoreau - Walden - First Edition A Highlight of American Renaissance Thought 35 Thoreau, Henry David. WALDEN, Or, Life In the Woods (Boston: Ticknor and Fields, 1854) First edition, first state of the text, earliest state of the ads. Illustrated with the map of Walden Pond printed on a separate leaf and inserted at p. 306 8vo, publisher’s original brown cloth lettered in gilt and ruled in blind on spine, bordered and decorated in blind on all covers. Housed in a fold-over morocco backed case. 357, [8 ads (dated April 1854)]. A very nice, very handsome copy indeed, internally quite pleasing with a bit of the usual spotting typical to the paper of the period, the binding very expertly and unobtrusively refreshed at the spine panel. HIGHLY IMPORTANT FIRST EDITION OF A SEMINAL WORK IN AMERICAN LITERATURE. WALDEN has taken its place as one of the most important pieces of American literature and a highlight of American thought. In attempting an experiment in simple living Thoreau became the embodiment of the American quest for the spiritual over the material; and his book, ostensibly a simple record of his experiment, has earned the reputation as a work of great philosophical import. Grolier 100 $12,950.

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Twain’s Masterpiece of American Literature Huckleberry Finn - First Edition in the Original Cloth An Unusually Nice Copy - Very Early Issue Points With Card Signed by Mark Twain / S.L. Clemens 36 Twain, Mark. THE ADVENTURES OF HUCKLEBERRY FINN (New York: Charles L. Webster and Company, 1885) FIRST AMERICAN EDITION, FIRST PRINTING with BAL's first state frontispiece and early issue points: "was" for "saw" on p.57; and the Illustrations list p.[13] shows "Him and another Man" plate as appearing on p.88. Laid in is a card bearing Twain’s autograph from the 1880’s in his uncommon double signature form: “S.L. Clemens / Mark Twain With 174 black and white illustrations by E.W. Kemble. Square 8vo, publisher’s original green cloth elaborately decorated in gilt and black on the covers and spine. 366 pp. An unusually well preserved, bright and handsome copy. A few very faint spots or marks to the cloth and a couple of tiny ink spots on the fore-edge of sheets; but a very fine, very fresh copy and perhaps the finest we have seen anywhere in some years. A BEAUTIFUL COPY OF THE FIRST EDITION OF ONE OF THE MOST IMPORTANT AND GREATEST BOOKS IN AMERICAN LITERATURE. This copy with card signed by the author as both Mark Twain and S.L. Clemens. Such signed items, showing both signatures, is quite uncommon. Along with Tom Sawyer, Huckleberry Finn is considered the stepping stone to modern American literature. And along with Tom Sawyer, for the first time, the hero of the novel was a boy. These books are landmarks and Hemingway often offered his opinion that the modern novel would have been impossible without them. With Whitman’s Leaves of Grass and Melville’s Moby Dick, they provide us with a view of America transcending its past and beginning its future. $35,000.

Huckleberry Finn - First Edition in the Original Cloth The English Issue Preceding the American Edition 37 Twain, Mark. THE ADVENTURES OF HUCKLEBERRY FINN (London: Chatto & Windus, Piccadilly, 1884) Preceeding the American Edition, the True First edition, the First English edition,“A” state, and with the earliest ads, dated October, 1884. With 174 black and white illustrations by E.W. Kemble. 8vo, publisher’s original red cloth elaborately decorated with pictorial designs in gilt and black on the covers and spine. xvi, 438, publisher’s device (p. 439), 32 pp. catalogue. A handsome and clean copy with some mellowing down to the spine panel, hinges tight, very bright and in unusually pleasing condition, the tips and edges very well preserved and very solid. FIRST EDITION, PRECEEDING THE AMERICAN ISSUE OF ONE OF THE MOST IMPORTANT AND GREATEST BOOKS IN AMERICAN LITERATURE. The first state of the book with the earliest ads, dated October, 1884. With Twain’s “TOM” and “HUCK” first editions in similar condition fetching well over $10,000. these days, and with the first English of “TOM” their equal, it seems only a matter of time before the English “HUCK” follows in their paths. BAL 3414; Johnson p. 44; McBride p. 113 $5500.

Mark Twain - The Adventures of Huckleberry Finn First Printing, With the First Issue Points A Very Nice Copy in the Publisher’s Sheepskin Binding 38 Twain, Mark. THE ADVENTURES OF HUCKLEBERRY FINN (Tom Sawyer’s Comrade). (New York: Charles L. Webster, 1885) First edition. First Issue. With 174 black and white illustrations by E.W. Kemble. Large 8vo, original publisher’s sheep binding with the red and black lettering labels on the spine. It is estimated that only 2500 copies were issued in this binding. 366 pp. A very pleasing and handsome copy. Light, expert and unobtrusive refurbishment to the joints. FIRST EDITION OF ONE OF THE MOST IMPORTANT AND GREATEST BOOKS IN AMERICAN LITERATURE. A very handsome copy with the following earliest setting states as listed by BAL: “Him and another Man” is listed at page 88, BAL’s first state; page 57, eleventh line from the bottom reads “...with the was...,” BAL’s first state; page 155 with final 5 “stamped in” by hand (see Underhill), and matching the original font in the setting of the page number (no priority, occurring randomly in all three states independent of other major signs of first printing sheets, but this setting seems to appear least often); the portrait frontispiece is in BAL’s first state, “heliotype” imprint on the portrait frontispiece, title page with 1884 copyright on verso, p.9: the heading for Chapter 6 reads “Decided” (later corrected to “Decides”), p.143: “I” in “Col.” (line 1) missing and “b” in “body” (line 7) broken, p. 161: signature mark “11” is missing, final leaf is a blank. Very rare with this many first issue points. The sheep bindings are generally in poor condition, but this copy is still quite nice. Along with Tom Sawyer, Huckleberry Finn is considered the stepping stone to modern American literature. And along with Tom Sawyer, for the first time, the hero of the novel was a boy. These books are landmarks and Hemingway often offered his opinion that the modern novel would have been impossible

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without them. With Whitman’s Leaves of Grass and Melville’s Moby Dick, they provide us with a view of America transcending its past and beginning its future. $16,500.

Walt Whitman - A Fine Set of the Complete Writings 10 Volumes - Beautifully Bound in Morocco, Gilt Extra One of a Limited Number and an Important Set of the Works 39 Whitman, Walt. THE COMPLETE WRITINGS...Issued under the editorial supervision of his Literary Executors, Richard Maurice Bucke, Thomas B. Harned, and Horace L. Traubel. With additional bibliographical and critical material prepared by Oscar Lovell Triggs, Ph.D. (New York: The Knickerbocker Press for G. P. Putnam’s Sons, 1902) 10 volumes. The Paumanok Edition, one of only 300 numbered sets printed on Ruisdael handmade paper. With illustrations in gravure and aquatint on japon vellum in each volume, colour frontispiece of Whitman to Volume I, tissue guards intact as issued. Large, thick 8vo, beautifully presented in fine period bindings of three-quarter crushed honey morocco over subtle marbled boards, the turnovers gilt ruled at the borders, the spine with art nouveau decorations incorporating raised bands gilt decorated and gilt ruled, the largest compartment with fine gilt and black tooled art nouveau intertwining decorations, one compartment lettered in gilt, t.e.g., others uncut. xcvi, 294; xiii, 323; vii, 297; xi, 324; vii, 301; v,318; v, 281, v, 300; xviii, 230; v, 309 pp. A very handsome, fine and bright, attractive and especially well preserved set. A RARE AND BEAUTIFUL SET, on fine paper with Gothic titles, illustrated title pages and finely engraved portraits of the author, the people in his life and other important personages of the age. There is a fine introduction to LEAVES OF GRASS and the set also includes an important biography of the poet by Bucke, Harned, and Traubel. There are here presented, the greatest poem of America in its most complete format, and volumes of the wonderful prose writings of Whitman including the inclusion of SPECIMEN DAYS and other significant works. Whitman’s LEAVES OF GRASS portrayed America at the crossroads between an old world, soon to be cast off, and the new world of our future present. With the publication of LEAVES OF GRASS in 1855, Whitman, the poet of democracy, ushered in a new era in American letters, describing specifically American experiences in a distinctly American idiom. From its first publication in 1855, he had complete confidence in the greatness of both the book and its author. “Always the champion of the common man, Whitman is both the poet and the prophet of democracy. The whole of LEAVES OF GRASS is imbued with the spirit of brotherhood and a pride in the democracy of the young American nation. In a sense, it is America’s second Declaration of Independence: that of 1776 was political, this of 1855 intellectual. ...The poems are saturated ‘with a vehemence of pride and audacity of freedom necessary to loosen the mind of still-to-be-formed America from the folds, the superstitions, and all the long, tenacious, and stifling anti-democratic authorities of Asiatic and European past’. To the young nation, only just becoming aware of an individual literary identity distinct from its European origins, Whitman’s message and his outspoken confidence came at a decisive moment. LEAVES OF GRASS was Whitman’s favorite child. From the time of its original publication,...until the year of his death, he continued revising and enlarging it. If (his) reputation has fluctuated over the years and his position among, if indeed not at the head of, the list of great American poets was not assured until some time after his death, there was never any doubt of the matter in his own mind. ‘I know I am deathless’, he wrote. ‘Whether I come to my own today or in ten thousand or ten million years, I can cheerfully take it now, or with equal cheerfulness I can wait.’ Time has vindicated his conviction.” PMM One of the rare opportunities to acquire this comprehensive set from one of the greatest of American poets. Myerson $10,500.

The Anabasis of Xenophon - Signed by the Artist An Especially Handsome Production for the L.E.C. 40 Xenophon. THE ANABASIS In the Translation by Henry G. Dakyns With An Introduction by Robert Payne (Athens: By Aspioti-Elka Graphic Arts for Members of the Limited Editions Club, 1969) LIMITED, one of 1500 numbered copies SINGED by the artist A. Tassos. Illustrated with dramatic Greek style woodcuts by A. Tassos both troughout and on full page plates, most of which are coloured. 4to, publisher’s original boards covered in brown cloth, the upper cover boldly gilt lettered, backed in navy blue cloth and gilt lettered on the spine, with full colour cartographic endpapers, in the original glassine and in the original slipcase of brown and blue cloth covered boards. 270 pp + colophon. A very fine and as mint, pristine copy, the slipcase beautifully preserved, as is the glassine which has just one small chip at the tail of the spine panel. A VERY IMPRESSIVE PRODUCTION FOR THE LIMITED EDITIONS CLUB, Tassos’ coloured woodcuts, deeply embossed into the fine paper, are an appropriate and impressive modern accompaniment to one the greatest adventures in Human history. Xenophon’s account, and his most famous work, of his journey with the Ten Thousand sent by Cyrus the Younger to seize the throne of Persia from Artaxerxes II is one the foundational works of Western Civilization. $225.

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Manuscripts, Autograph Material and Original Artwork Sir Richard Francis Burton - Autograph Manuscript In the Hand of the Great Explorer and Linguist 41 Burton, Richard F. AUTOGRAPH MANUSCRIPT NOTES, apparently for an unidentified literary work (No place: , no date) (181 x 113mm), two pages written in blank in and pencil, recto and verso, on one leaf of laid paper. Well preserved and a fine example with one longitudinal fold and no faults to the paper. Through the veil of Burton’s handwriting one can make out a number of phrases which are quite intriguing: “God enraged at his dying first...”; “Begin with Pratap ‘in such a way reigned X’”; “Bad”; “Good”; “Wicked princess--Deradah--encourages monkeys”; “kills monkeys, reforms State religion, visit provinces.” $3750.

An Original Painting by Edward J. Detmold Cover Art for The Peacock Book 42 Detmold, Edward J. AN ORIGINAL PAINTING BY EDWARD J. DETMOLD FOR THE COVER ART TO “THE PEACOCK BOOK” An original and unique rendering. Painted by Detmold in black, white and red on gray-brown board. 8” x 6”, matted, framed and glazed. A fine example in excellent condition. SCARCE AND ORIGINAL ARTWORK BY THIS POPULAR ILLUSTRATOR, whose books are treasured for their power and sensitivity. Detmold's meticulously finished images compare favourably with work by any of the Pre-Raphaelites. Edward Julius was one of the most talented of illustrators, depicting animals and plants with an extraordinary understanding, and making use of fantasy settings of architecture and landscape. $2450.

A Fine Decorated Ethiopian Manuscript Scroll Painted in Red and Black with Extensive Calligraphy 43 Ethiopian Talisman, Magic Scroll. AN ETHIOPIAN MAGIC SCROLL, OR TALISMAN, HAND WRITTEN, DECORATED AND ILLUSTRATED in Black and Purple on handmade Parchment, most likely goatskin, in the classical Ethiopian language of Ge’ez (Ethiopia: Manuscript, Circa early 20th century) The Ge’ez text in black and red is extensively decorated in traditional Ethiopian style, most prominently with a number of very large human figures being roughly 6 - 8 inches tall. Additional decoration abounds. Approximately 53 inches by 4.5 inches, made in three roughly equal segments of parchment stitched together with rawhide leather cording, rolled. Extremely well preserved, the writing and decoration very bright and vivid, only a bit of expected aging to the animal parchment at the outermost end of the roll An especially heavily decorated scroll. One of the more fascinating traditions still surviving today in Ethiopia but abandoned centuries ago in the West is the use of Talismanic art. Talismans, such as this Magic Scroll, are items not considered to be the products of the human artist that made them. They are Holy works, part of the great mystery only reproduced by the human craftsman through revelation. They represent the connections between men and spirits, animals, demons, stars, Saints and sicknesses all translated into pictures and language. They are considered to be able to influence the spirits due to their intrinsic holy nature combined with the dreams and desires of their owners. This scroll is a magnificent example being well over 4 feet long and produced in the ancient traditional methods. $1350.

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A Fine Decorated Ethiopian Manuscript Scroll Painted in Red and Black with Extensive Calligraphy 44 Ethiopian Talisman, Magic Scroll. AN ETHIOPIAN MAGIC SCROLL, OR TALISMAN, HAND WRITTEN, DECORATED AND ILLUSTRATED in Black and Purple on handmade Parchment, most likely goatskin, in the classical Ethiopian language of Ge’ez (Ethiopia: Manuscript, Circa early 20th century) The Ge’ez text in black and red is decorated in traditional Ethiopian style, most prominently with three human figures, roughly 2.5 inches tall and 3.75 inches wide the other decoration being roughly 1 inch tall and 3.75 inches wide. Approximately 53 inches by 3.75 inches, made in three roughly equal segments of parchment stitched together with rawhide leather cording, rolled. Extremely well preserved, the writing and decoration very bright and vivid, only a bit of chipping and expected aging to the animal parchment at the outermost end of the roll One of the more fascinating traditions still surviving today in Ethiopia but abandoned centuries ago in the West is the use of Talismanic art. Talismans, such as this Magic Scroll, are items not considered to be the products of the human artist that made them. They are Holy works, part of the great mystery only reproduced by the human craftsman through revelation. They represent the connections between men and spirits, animals, demons, stars, Saints and sicknesses all translated into pictures and language. They are considered to be able to influence the spirits due to their intrinsic holy nature combined with the dreams and desires of their owners. This scroll is a magnificent example being well over 4 feet long and produced in the ancient traditional methods. $950.

A Fine Decorated Ethiopian Manuscript Scroll Painted in Red and Black with Extensive Calligraphy 45 Ethiopian Talisman, Magic Scroll. AN ETHIOPIAN MAGIC SCROLL, OR TALISMAN, HAND WRITTEN, DECORATED AND ILLUSTRATED in Black and Purple on handmade Parchment, most likely goatskin, in the classical Ethiopian language of Ge’ez (Ethiopia: Manuscript, Circa early 20th century) The Ge’ez text in black and red is extensively decorated in traditional Ethiopian style, most prominently with a very large human figure being roughly 7 inches tall and with a number of other figurative drawings. Additional decoration abounds. Approximately 53 inches by 3.5 inches, made in three roughly equal segments of parchment stitched together with rawhide leather cording, rolled. Extremely well preserved, the writing and decoration very bright and vivid, only a bit of expected aging to the animal parchment at the outermost end of the roll One of the more fascinating traditions still surviving today in Ethiopia but abandoned centuries ago in the West is the use of Talismanic art. Talismans, such as this Magic Scroll, are items not considered to be the products of the human artist that made them. They are Holy works, part of the great mystery only reproduced by the human craftsman through revelation. They represent the connections between men and spirits, animals, demons, stars, Saints and sicknesses all translated into pictures and language. They are considered to be able to influence the spirits due to their intrinsic holy nature combined with the dreams and desires of their owners. This scroll is a magnificent example being well over 4 feet long and produced in the ancient traditional methods. $1250.

In the Hand of Ernest Hemingway - Beautifully Displayed A Long and Interesting Autograph Letter Signed Concerning Matters Relating to His Writing and Friendships 46 Hemingway, Ernest. A LONG AND FINE AUTOGRAPH LETTER SIGNED CONCERNING MANY MATTERS RELATING TO SPORTING, TRAVEL, HIS MANNER OF WRITING AND HIS FRIENDSHIP WITH PETER VIERTEL and with a large and important photographic reproduction of the author (Kenya: , [August/September 1953]) A long handwritten letter entirely filling the page and signed by Hemingway as “Papa”. With a large and fine famous photographic reproduction of Hemingway with full beard. 4to, the letter, very attractively housed in a foldover morocco backed case with window allowing the letter to be read while still protected by the plastic sleeve and with a large and familiar photograph of Hemingway on the opposite inside cover. Together a handsome and attractively displayed collection of Hemingway related items. A finely preserved letter in excellent condition. A FINE AND EXTENSIVE AUTOGRAPH LETTER FROM HEMINGWAY TO HIS GOOD FRIEND PETER VIERTEL CONCERNING HIS MANNER OF WRITING, INCIDENTS OF FRIENDSHIP, TRAVEL AND SPORTING. The letter consists of one quarto sheet completely filled with Hemingway’s familiar script....From the text of the letter: Dear Pete...Thank you very much for writing Glad you have the book figured out. I wish I could do that. I just start them on one day and then make them up for better or much worse. ....Once an elephant and then a rhino loused her up after we’d tracked 3 hours under noon sun. Another time there were two lions instead of one and they roared and came right through the outfield like the bulls in the encierro only 8 times as fast. ....had a letter from Gianfranco that he is fine. Rupert has straightened out again. Best love from Mary and me and Let’s not lose touch anymore. Pamplona was good and we can have lots of good ones.

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Thanks for the gun for Antonio Ordones and for acting as you did in the fight. ....Please write when you have time....Papa Hemingway is hunting in Kenya at the time and relates interesting considerations as to matters of travel and camping and his ways of writing. $9500.

An Outstanding Offering Ernest Hemingway - A Fine Unpublished Poem Seven Lines of Verse Written in His Own Hand 47 [Hemingway, Ernest]. AN AUTOGRAPH MANUSCRIPT POEM WRITTEN IN THE HAND OF ERNEST HEMINGWAY ([Paris]: Unpublished, no date, circa 1920) A seven line unpublished poem handwritten by Ernest Hemingway in Paris during the 1920’s. Approx. 9.5 by 6 inches, now handsomely mounted and framed behind glass. The frame is glazed on both sides to allow both the recto and verso to be viewed. 1 page. A fine and very evocative item, beautifully presented. HEMINGWAY MANUSCRIPT POETRY IS VERY SCARCE, this is an outstanding example. The records show that only three poems or fragments have been offered at auction in the last twenty-five years. This particular poem is especially evocative and represents aptly a creative period in Hemingway’s life which was probably never again equaled. Indeed, by the 1930’s it is said, Hemingway himself thought that he was ‘over the hill’. This is a particularly sensuous poem, evoking a plethora of images of Paris in the 1920’s. $16,500.

An Illuminated Manuscript With Fine Original Miniatures Lettered and Painted On Vellum and Beautifully Bound 48 [Illuminated Manuscript]; Aldrich, Thomas Bailey. FRIAR JEROME’S BEAUTIFUL BOOK (By hand: Siuol Na-Haub, ND (circa 1915)) An illuminated manuscript on vellum done for the Renaissance Society. With the provenance of Phoebe Boyle, with her bookplate. The famed Boyle collection was dispersed in 1923 when Sotheby’s New York predecessor, Anderson Galleries, sold the Phoebe Boyle collection. Written and illuminated by Siuol Na-Huab, including 17 hand-painted miniatures or designs, title-page with original miniature, and 29 large hand-painted illuminated initials. Small folio, (21 by 15 cm), beautifully bound for the Renaissance Society in full purple morocco, the covers decorated with a central tool and four large corner pieces all in a stylized morning-glory motif within a triple-lined gilt fillet framework, the spine gilt lettered and ruled, the inner covers with purple and green morocco end-leaves gilt ruled and decorated with four large cornerpieces in a motif of thistle and morning-glories, silk end-leave. In a purple cloth covered chemise in a purple morocco backed cloth covered slipcase. [ii], 28, [1] pp. Very beautifully preserved, the morocco binding in excellent condition, the text pristine, with only a light bit of mellowing to the end-leaves and a touch of wear to the protective slipcase which has succeeded well to its purpose. A BEAUTIFUL ILLUMINATED, HAND-PAINTED MANUSCRIPT. THIS WONDERFUL WORK FROM THOMAS BAILEY ALDRICH’S FAMOUS POEM. The work was printed a number of times and illustrated or produced specially by fine printers and binders through the years. This Illuminated, hand-painted manuscript is a unique item. ...So Friar Jerome began his Book. From break of dawn till curfew-chime He bent above the lengthening page, Like some rapt poet o’er his rhyme. He scarcely paused to tell his beads, Except at night; and then he lay And tost, unrestful, on the straw, Impatient for the coming day— Working like one who feels, perchance, That, ere the longed-for goal be won, Ere Beauty bare her perfect breast, Black Death may pluck him from the sun. At intervals the busy brook, Turning the mill-wheel, caught his ear; And through the grating of the cell He saw the honeysuckles peer, And knew ‘t was summer, that the sheep In fragrant pastures lay asleep, And felt, that, somehow, God was near. In his green pulpit on the elm, The robin, abbot of that wood, Held forth by times; and Friar Jerome Listened, and smiled, and understood. $11,500.

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An Exceptional Autograph Letter by Thomas Jefferson Of Rare and Highly Important Intellectual Content From the Great Founding Father and Third U.S. President 49 Jefferson, Thomas. AN EXCEPTIONAL AUTOGRAPH LETTER OF RARE AND IMPORTANT INTELLECTUAL CONTENT IN THE HAND OF THOMAS JEFFERSON AND SIGNED. Written at Monticello to Parsons and Cooley (Charlottesville, VA.: Handwritten, at Monticello, Feb. 14, 1823) Signed and Dated Manuscript in the hand of Thomas Jefferson, author of the Declaration of Independence, Third President of the United States, author of NOTES ON THE STATE OF VIRGINIA, FOUNDER OF THE UNIVERSITY OF VIRGINIA, ARCHITECT AND PLANNER OF MONTICELLO, etc., etc., etc. Written in cursive ink on one side of a single leaf of paper. Roughly 9 x 11 inches. Extremely well preserved and very legible, some expected softness to the paper and lines from folding. AN AUTOGRAPH LETTER OF RARE AND HIGHLY IMPORTANT INTELLECTUAL CONTENT BY THOMAS JEFFERSON ON THOMAS JEFFERSON,THE WRITER. Answering a request for one of his books, Jefferson here gives an overview of his writing career — modestly downplaying his contribution as a political writer; affirming his authorship of Notes on the State of Virginia (indicating it is the only work he himself has ever published); and highlighting his “Report on the Plan of an University in Virginia” — a copy of which Jefferson sends on. The correspondents to whom Jefferson is here replying appear to have been trustees of Williams College (in Williamstown, MA), who contacted Jefferson for the sake of adding one of his books to the College library. Jefferson’s gift is altogether fitting: his “Plan” is both a work in which he took great pride and one whose ideas would most meaningfully enrich the receiving College’s readers. The exceptional content of this letter deepens and reinforces our understanding of how Thomas Jefferson viewed himself and his own achievements. As an “Enlightenment Intellectual,” Jefferson was an ardent advocate for the mind’s freedom and growth — a position essentially affirmed by the inscription on his own tombstone: Here was buried Thomas Jefferson Author of the Declaration of American Independence of the Statute of Virginia for religious freedom Father of the University of Virginia Jefferson himself drafted this inscription -- “because by these as testimonials that I have lived, I wish most to be remembered” — an inscription in some good measure presaged by the contents of this letter. Jefferson letters of such important intellectual self-definition are Very Rare in the Marketplace. No letter of comparable content has been publicly offered in many years. Please Inquire.

A Sidney Cockerell Autograph Letter On the Letterhead of the Kelmscott Press A Wonderful Piece of Printing Ephemera

50 [Kelmscott Press] Cockerell, Sidney. Autograph letter, one page octavo, on Kelmscott Press stationary, to Mr. Frank Murray, regarding orders for books (Hammersmith: [Kelmscott Press], 14 October 1897) Handsomely matted and framed in polished European walnut. 8vo sheet. Beautifully preserved in fine condition. A RARE AUTOGRAPH LETTER. Cockerell writes, “Dear Sir, I beg to acknowledge with thanks your order for an Atalanta for which I enclose invoice & which shall be sent to you at once. We have no general order from you for the Kelmscott Press smaller publications, but on the 18th July 1896 we received an order for one copy of all K. P. books at & under 10/-. The ‘Ysambrace’ is published at 12/- & this order therefore does not apply to it. Yours very faithfully, S. C. Cockerell.” $500.

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John F. Kennedy - 1956 An Original Letter Signed by Kennedy 51 Kennedy, John F. ORIGINAL LETTER SIGNED. (Washington: United States Senate, March 23, 1956) A typewritten letter signed, to Merton H. Childs, on imprinted stationery of the United States Senate. 235 x 160 mm., original state unrestored. One page, 4to. A very finely preserved letter in excellent condition. A FINE LETTER FROM JOHN F. KENNEDY SIGNED BOLDLY BY HIM AND DATED IN MARCH OF 1956. “ I wish to acknowledge and thank you for your letter expressing your support of legislation concerning Civil Service. You may be interested to know that the Senate Post Office and Civil Service Committee has held three days of hearings on S. 2875 and is planning to hold an additional day of hearings on this bill. Certainly there is some question as to whether this bill will come before the full Senate this session but as my past record indicates I can assure you that I will keep in mind the interests of the civil employees in considering this bill. With every good wish, I am yours sincerely, John F. Kennedy. $4500.

A Beautiful 19th Century Handwritten Qur’an With Text in Black and Red in Arabic and Farsi Showing Fine Workmanship and Decoration Illuminated Leaves With Extensive Use of Gold 52 [Koran; Manuscript], [Arabic; Farsi]. [THE KORAN; Qur’ an] A Handwritten Manuscript Koran in Arabic and Farsi, Signed and Dated, Illuminated and With Extensive Use of Gold (Persian: A Unique Manuscript, probably 19th century or a bit earlier) Handwritten in rich, splendid calligraphy, the Arabic portion in black highlighted in red and gilt and with the text written in Farsi in red. Most pages with a gilt frame double ruled, many leaves with considerably more gilt work including a generous use of gold. Opening two leaves vividly illuminated in gilt, blue, green, red and black, additional gilt marginal decorations containing letters throughout in gilt, blue, red and black. 6 x 4 inches, in a handmade binding of boards decorated with floral designs and the covering shellacked as normal, backed in brown cloth. A handsomely preserved handwritten Koran, the binding somewhat worn but very attractive nevertheless .. A BEAUTIFUL AND HIGHLY DECORATED HANDWRITTEN KORAN. BEAUTIFULLY DECORATED IN A SPECIAL BINDING EXTENSIVELY DECORATED. THIS IS A PERSIAN MANUSCRIPT OF THE 19TH CENTURY. $4500.

A Selection of Manuscript Handwritten Qur’an Some With Extensive Use of Gold and Fine Workmanship 53 [Korans, Manuscript], A Group of Korans. [THE KORAN; Qur’ an] Handwritten and With Extensive Use of Gold 3 volumes each individually priced. Handwritten in rich, splendid calligraphical manner in black, some leaves highlighted in red and gilt and with additional notations in red. Many pages with a gilt or black framed boarders some with considerably more gilt work. Additional decorations containing letters throughout in gilt, blue, red and black. Sizes range from 4.5 x 3 to 10.5 x 6 inches. In a variety of bindings, all decorated or augmented by hand in all over design and decorated in gilt. BEAUTIFUL AND HIGHLY DECORATED HANDWRITTEN KORANS OF VARIOUS SIZES AND DATES. SOME BEAUTIFULLY DECORATED IN SPECIAL BINDINGS AND EXTENSIVELY DECORATED WITHIN. Prices From $1500 to $2500.

A Finely Calligraphed and Decorated Koranic Manuscript A Single Leaf - Probably 18th Century - Persia 54 [Koran, Arabic, Persia]. A FINE LEAF FROM A KORANIC MANUSCRIPT IN HANDSOMELY DECORATED AND RENDERED IN BEAUTIFUL ARABIC CALLIGRAPHY. (: Probably Persia, Circa 18th century) Finely written in Arabic calligraphy in black, outlined and highlighted in red and gold. Small Folio [6.5” x 3.75”], handsomely presented within a cream mount. A very finely preserved example. $200.

A Finely Calligraphed and Decorated Koranic Manuscript A Single Leaf - Probably 18th Century - Persia 55 [Koran, Arabic, Persia]. A FINE LEAF FROM AN ESPECIALLY LARGE KORANIC MANUSCRIPT HANDSOMELY DECORATED AND RENDERED IN BEAUTIFUL ARABIC CALLIGRAPHY. (: Probably Persia, Circa 18th century) Finely written in Arabic calligraphy in black with additional lettering in red outlined in blue, the entire page ruled and outlined in blue, red and gold. Tall Folio [16” by 9”], handsomely presented within a cream mount now outlined in blue and red just as the leaf. A very finely preserved example. $300.

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A Rare Arabic Horn Book with Verses of the Koran Probably North African of the 19th Century 56 [Koran; Arabic; Horn Book, Africa]. MANUSCRIPT KORAN HORN BOOK IN ARABIC, hand-painted on wood. (: probably North Africa, circa 1850) A large manuscript horn book painted on wood, with gray undercoat and calligraphy in black with decorative borders. 16” x 12”, Painted, lettered and decorated on both sides, with the original hanging cord. Very finely preserved and with little wear. RARE ARABIC HORN BOOK. Probably used for teaching alphabet and Koran verses to students and probably from North Africa. $950.

A Rare and Important Autograph Letter Signed David Livingstone - The Great English Explorer Author of “Missionary Travels and Researches” - 1857 57 Livingstone, David. AUTOGRAPH LETTER SIGNED (“David Livingstone”) to Dr. Tidman, Secretary of the London Missionary Society (No place: Livingstone’s Blue Stationery, 22 February 1858) The original letter unrestored. 230 x 184mm, noted at the top, “A true copy, D.L.”, three pages, written on blue paper in greyish-brown ink, folded once. One page, folio, folded once. A clean copy, with remains of mounting on the last page, blank but for the note, “copy to Dr. Tidman.” A RARE AND IMPORTANT AUTOGRAPH LETTER FROM LIVINGSTONE. A fine letter expressing concern that money raised for his explorations in central Africa should be properly used: “...I am anxious for my own satisfaction and the information of those who may enquire to know when it is likely that young missionaries who are expected to commence the Zambesi mission will...take their departure from this country. Abundant funds having been furnished for all that is needed in the case, and there being no obstacle in the path through the Cape Colony I should be glad to be assured before my departure that the intentions of your friends in subscribing so liberally are likely soon to be realized....” Livingstone’s MISSIONARY TRAVELS AND RESEARCHES IN SOUTH AFRICA...relates the story of his first great expedition (1853-56), during which he explored the Zambesi and its Victoria Falls. It is still considered one of the most important of all 19th century books on African exploration by one of the greatest explorer/missionaries of all time. It is entered in Printing and the Mind of Man as one of the greatest and most important books ever penned. “...David Livingstone, the Scottish medical missionary, is known to history as the greatest explorer of his age and a dedicated humanitarian who devoted his life to the eradication of the African slave trade. He was a national hero to his contemporaries and time has confirmed his reputation as one of the greatest, if not the greatest, of the eminent Victorians, both in his achievement and in his influence.” - George Myrtle $5750.

A Leaf From the Book of Job - 13th Century - Vellum A Very Rare Leaf From a Monumental Manuscript Bible Of Great Influence to Gutenberg - Two Centuries Later 58 Manuscript Leaf, 13th Century. A VERY RARE THIRTEENTH CENTURY LEAF OF MANUSCRIPT, FROM THE BOOK OF JOB, on vellum. (Manuscript: Handwritten, 13th century) The vellum leaf, from a 13th century copy of the Bible, is from a Monumental Bible of the period, a Bible of extremely large size. Written in double columns of 26 lines in black, red and blue, headlines in blue and red, illuminated with one very large initial in blue and red and richly embellished in bright gold and over 13 lines in height, on the verso is a second large initial, being 9 lines tall also in blue, red and gold. 18 1/2” x 13” inches, period manuscript on vellum. Written on the Recto and Verso of a single leaf. A beautifully preserved example. AN EXTREMELY RARE AND DESIRABLE LEAF FROM A THIRTEENTH CENTURY MANUSCRIPT BIBLE. This is a very rare form for the Bible and it is a direct predecessor to the Gutenberg Bible and was one of the Bibles which Gutenberg studied in order to design his Bible and to form and develop his own fonts for use in printing his great printed Bible which was issued in Mainz some two centuries later. Leaves of this size and age and beauty are of great rarity. $7500.

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The Finest English Language Literary Signature Available Of Extreme Rarity - An Autograph Signature of John Milton The Great Author of Paradise Lost and Paradise Regained First Published in the Folio Works of Shakespeare 59 Milton, John. AN EXTREMELY RARE AUTOGRAPH SIGNATURE OF THE GREAT ENGLISH POET JOHN MILTON, penned while Milton still had his sight, pre-1655 (: , Before 1655) VERY RARE, realistically there is no greater English Literary Autograph obtainable, the rarity of Milton autograph material is legendary. Now displayed with a handsome engraved portrait of the poet. Roughly 5 X 2.25 inches, apparently clipped from a larger document. A superb signature and presentation, boldly penned by the great author, now matted in taupe silk with the engraved portrait in a custom gold stamped green leather folder. OF LEGENDARY RARITY, AND PENNED WHILE MILTON STILL HAD SIGHT. Signatures after 1655 are either by an amanuensis, and distinctly different in style, or are extremely shaky. THERE IS AVAILABLE NO GREATER AUTOGRAPH IN ALL OF ENGLISH LITERATURE. The scarcity of autograph material by Newton is demonstrated by the fact that since 1949 only two other examples have appeared for sale in either England or the United States. These were an unsigned manuscript and a legal document in which Milton signed as witness. Please Inquire.

A Remarkable Piece of Motion Picture History A Hand-Written Letter and Signed Photograph From Actor Lionel Barrymore to Mr. Louis Mayer 60 [Motion Pictures] Barrymore, Lionel. AN AUTOGRAPH LETTER, SIGNED with a Signed Photograph Both in the Hand of Screen Legend Lionel Barrymore (Culver City, CA.: [unpublished], circa 1935) A personal letter from Lionel Barrymore to Mr. [Louis] Mayer written on Metro-Goldwyn-Mayer Studio stationery mounted with a handsome photograph of the actor inscribed “Best Wishes” and signed in his hand. Letter size stationery and 8” by 10” photo, handsomely mounted with buff board trimmed in blue and gold, framed in a tasteful burnished gold frame, glazed. All together approximately 15.5” by 21”. 1 page and photograph. Both in a fine state of preservation. A remarkable piece of American motion picture history. A personal letter between one of the greatest film actors of all time and perhaps the most important man in Hollywood’s long career. Lionel Barrymore was a member of the finest acting family in recent history with notable members from his parents generation ’til this very day. He stands out even in this great family and is remembered as one of film’s greatest actors. Barrymore starred in over 200 films, most of which where made at M.G.M. studios. He also wrote, directed and produced films for the studio. Barrymore was the winner of an Academy Award for best actor and was nominated for best director. Louis Mayer was co-founder of Metro-Goldwyn-Mayer Studios which would soon after become the largest and most important studio of all time. They would produce for over 50 years a majority of America’s most beloved and highest grossing films. In this fascinating letter Barrymore explains that he is writing because it is impossible for him to get off the set (not surprising with over 200 films under his belt) and also that he doesn’t want to take to much of Mayer’s time with “so many others waiting”. Barrymore then goes on to make the unusual request that the studio give him a full month’s payment of his salary instead of his usual payments. He states that this would be an “immeasurable help” and he mentions owing money. $1500.

An Original Drawing by Kay Nielsen Actors Upon the Stage - A Drawing of Theatre in Place 61 Nielsen, Kay. AN ORIGINAL SKETCH, A DRAWING OF THE STAGE SET IN A THEATRICAL PRODUCTION (, Circa 1920) Signed by Nielsen at the foot of the drawing. An original pen and pencil drawing with wash on heavy cream coloured stock. The stock roughly 360 by 265mm, the image itself roughly 270 by 175mm, now matted in blue boards and with protective plastic sleeve. A RARELY ENCOUNTERED DRAWING BY ONE OF THE FOREMOST ILLUSTRATORS OF THE EARLY PART OF THE 20TH CENTURY. The Nielsen drawing is quite an interesting piece. It seems possible that it might have been intended for use as a set design, but it is also a rather accomplished drawing which has very finished elements such as the figure at the far left and the figure facing. These incorporate Nielsen's best traits as an artist. The figure to the far right seems also to have a wash applied as the artist might have done while beginning his water colour work. A working figure underlies one of the finished ones, and the drawing is signed by Nielsen at the bottom of the plate. $8500.

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From One of the Great Explorers An Autograph Letter Signed - Henry M. Stanley Author of In Darkest Africa and Many Others - 1895 62 Stanley, Sir Henry Morten . AUTOGRAPH LETTER SIGNED. (2, Richmond Terrace. Whitehall, S.W. London: , June 4th 1895) Written by Stanley and concerning his editing of a manuscript presented to him for review. 155 x 113 mm., on Stanley’s familiar Whitehall stationery. One Quarto sheet folded once. A finely preserved letter in very pleasing condition. SCARCE AUTOGRAPH LETTER SIGNED FROM STANLEY AND CONCERNING HIS REVIEW OF A SUBMITTED MANUSCRIPT. Stanley writes: Dear Sir. I beg to return you your M.S.S. with a few trifling alterations, and I hope I have not misused the liberty you were so good as to give me. With regard to your other request. I can promise you to exert all the interest that I can command with my friends, to extend its sale, not only for the esteem which I have personally for you , but because of the conviction that yours is a book which will be valuable to a library. With best regards, I am yours sincerely Henry M. Stanley $1500.

Henry David Thoreau A Rare Manuscript Leaf in His Hand Relating to Journeys Through the Woods of Maine 63 Thoreau, Henry David. AUTOGRAPH MANUSCRIPT FRAGMENT (: , [ca. 1875]) Approximately 143 words, one page 4to, written in dark brown ink, with a few pencil notations spelling out numbers. Folio sheet, 1 pp. In fine condition, laid into a larger sheet. RARE MANUSCRIPT LEAF IN THOREAU’S HAND FOR AN ARTICLE PRINTED IN THE ATLANTIC MONTHLY. A fine manuscript section of unusual content, relating to Thoreau’s journeys through the Maine Woods and including mention of “our first sight of Katadn,” the highest mountain in Maine and the greatest mountain east of the Mississippi. Thoreau was one of the first white men to climb Katadn, a magnificent mountain of multiple peaks, now culminating with Baxter at its highest elevation. Thoreau ascended from the southern side. Many of the Thoreau manuscripts on the market are remnants of the Manuscript Edition of his works, and most of the pages that Houghton Mifflin inserted in those sets were from a piece entitled “The Fall of the Leaf” (see below). It is very uncommon to find manuscripts with content from another work. And it is especially uncommon to find manuscript leaves from works that were not part of the Manuscript Edition of the Writings of Thoreau, as here. This manuscript opens in the middle of a sentence that ends with the mention of Katadn. The remainder refers to Thoreau and his Indian companion, Joe Aitteon (Edward Hoar was the third traveller), tracking moose along the banks of Pine Stream: “We had gone but a few rods before we saw very recent signs along the waters’ edge, the mud lifted up by their feet being quite fresh, and Joe declared that they had gone along there but a short time before.” This is the beginning of a dramatic moment and ends: “As we were advancing along the edge of this, rather more quietly than usual, perhaps on account of the freshness of the signs, the design being to camp up this stream if it promised well, I heard....” A manuscript note by Edward Abbot, dated January 19, 1876, states that “This is one of two leaves of a manuscript article printed in the Atlantic Monthly, given us in 1875 by its former editor, James Russell Lowell.” This leaf, p. 59 on off-white paper was among those missing when the Princeton Edition was published in 1972. It turned up in 1982. The printer’s copy for the Atlantic was made up of both blue and off-white sheets. Page 59 is from the Printer’s Copy for the 1858 Atlantic Monthly publication of Chesuncook. $10,500.

A Fine and Very Personal Letter From J.R.R. Tolkien To One of His Closest Friends and Important Literary Colleagues 64 [Tolkien, J.R.R.]. A FINE AND PERSONAL TYPED LETTER, SIGNED, BY J.R.R. TOLKIEN TO HIS CLOSE PERSONAL FRIEND GEORGE SAYER (: Unpublished, 24 June, 1953) An interesting and personal letter written by Tolkien around the time of the publication of his masterpiece “Lord of the Rings” trilogy. The recipient is well know for playing an important personal role in Tolkien’s endeavor to write and publish that great work. Typed in black ink and Signed. 180 by 135 cm, covering the entire recto and roughly three quarters of the verso of a single sheet of buff paper. The letter is boldly signed at the end in Tolkien’s impressive and almost calligraphic hand. 2 pages. Very finely preserved and in excellent original condition. A FINE TYPED LETTER BY J.R.R. TOLKEIN TO ONE OF HIS CLOSEST FRIENDS AND AN IMPORTANT LITERARY ASSOCIATE. The letter offers an interesting glimpse into the mind and day-to-day life of one of the great masters of twentieth century fiction. Tolkien begins his letter with an apology for it being typed, stating that he is having pain in his hand and typing bothers it less then writing. He then goes into a discussion of news and matters relative to being an important professor at University, something Sayer would understand well as he was English Master at Melvern. The letter also delivers news of family matters typical between such close personal friends. Both George and his wife were longtime friends of Tolkien’s AND they had been highly influential in the publication of THE LORD OF THE RINGS. They were among Tolkien’s most trusted manuscript “proof” readers and he especially valued their advice on many aspects of the publication of the RINGS. In a letter to

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Rayner Unwin, Tolkien called George “..the most normal reader and liker of the work that I could think of..” Both Sayers helped him choose each book’s individual title and also helped with countless editing and rewriting sessions. Additionally the Sayers were well known in the publishing world and facilitated Tolkien’s dealings with Allen and Unwin publishers. Their friendship with Tolkien was deep and personal. Also interesting in this letter is Tolkien’s asking of George’s advice in regard to his plans to purchase a tape recorder. It is know from other letters that once while staying at the Sayer’s home in Malvern in 1952 Tolkien made a series of recordings of extracts from the yet unpublished “Lord of the Rings”. It was his first encounter with a tape recorder and he felt the need to exorcise his experience by first recording the Lord’s Prayer. His later BBC recordings were inspired by this experiment. In this letter Tolkien expresses his hopes that whatever machine he buys will be compatible with Sayers, so that he could send reels to George “for your criticism, or your use.” $3750.

From the Author of Lord of the Rings and The Hobbit To a Close Personal Friend and L.O.T.R. Associate Discussing L.O.T.R. and The Silmarillion 65 [Tolkien, J.R.R.]. AN IMPORTANT AUTOGRAPH LETTER SIGNED FROM J.R.R. [Ronald] TOLKIEN TO CLOSE FRIEND AND LITERARY ASSOCIATE GEORGE SAYER. (Oxford: March 21, 1966) A signed and dated handwritten letter in Tolkien’s impressive calligraphic penmanship. The letter is largely personal but also discusses the publication of the second edition of the “Lord of the Rings” and references “The Silmarillion”, the work Tolkien began before “The Hobbit” and, although not published till after Tolkien’s death, was the groundwork from which all four Middle Earth books were drawn from. This is a letter of importance, Tolkien refers to the revisions made in the second edition of LOTR and assures Sayer that they were necessary and lists the reasons. 175 by 135 cm, written on both sides of a single sheet of Tolkien’s cream-coloured Oxford stationary printed with the heading “Professor J.R.R. Tolkien” and with the Oxford return address. Well preserved and in fine original state, the ink dark and legible, showing only a bit of minor wear along the edges. AN OUTSTANDING LETTER FROM THE MASTER OF FANTASY LITERATURE, ONE IN WHICH HE DISCUSSES THE REVISIONS TO THE SECOND EDITION OF “LORD OF THE RINGS” AND MENTIONS THE AS OF THEN STILL UNPUBLISHED SILMARILLION. The letter is dated March 21, 1966, the year Allen and Unwin published the revised second edition of LORD OF THE RINGS and addressed to George [Sayer], a very close family friend and important literary colleague. George Sayer was English Master at Melvern and also had studied with both Tolkien and C.S. Lewis. Sayer was a longtime friends of Tolkien’s who had been highly influential in the publication of THE LORD OF THE RINGS. George and his wife Moira were among Tolkien’s most trusted manuscript “proof” readers and he especially valued their advice on many aspects of the publication of the RINGS. In a letter to Rayner Unwin, Tolkien called George “..the most normal reader and liker of the work that I could think of..” Both Sayers helped him choose each book’s individual title and also helped with countless editing and rewriting sessions. Additionally the Sayers were well known in the publishing world and facilitated Tolkien’s dealings with Allen and Unwin publishers. Their friendship with Tolkien was deep and personal. They attended the funeral of C.S. Lewis together, aided Tolkien during his wife’s sickness and frequent invited him to their home in Melvern. Any autograph material by this giant of 20th century literature is intrinsically desirable to collectors, this letter addressed to a close friend and associate with the production of the LORD OF THE RINGS is all the more so. Carpenter, “J.R.R. Tolkien” and “The Letters of..” $6500.

An Uncommonly Warm and Personal Letter From the Author of Lord of the Rings and The Hobbit 66 [Tolkien, J.R.R.]. A PERSONAL AND WARM AUTOGRAPH LETTER SIGNED FROM J.R.R. TOLKIEN TO CLOSE FRIEND AND LITERARY ASSOCIATE GEORGE SAYER. (Oxford: April 6, 1962) A signed and dated handwritten letter in Tolkien’s impressive calligraphic penmanship. The penmanship is actually off a bit from Tolkien’s norm as he explains in the letter he had recently fallen and suffered contusions, a strained shoulder and broken nose. In the letter Tolkien, in a time of sadness and emergency, calls up one of his closest friends and literary associates for assistance. 175 by 135 cm, written on both sides of a single sheet of Tolkien’s pale blue Oxford stationary printed with the return address in dark blue. In very fine original state, the ink dark and legible, virtually without wear. A VERY PERSONAL, AND ALMOST PLEAFUL, LETTER FROM J.R.R TOLKIEN TO ONE OF HIS CLOSEST PERSONAL FRIENDS AND ASSOCIATES. In the letter Tolkien relays his sadness and apologies for having to let George Sayer down. He also relates the details of a recent accident to Sayer and asks for his help, stating that everyone else, including his daughter, is away.” Sayer was a longtime friends of Tolkien’s who had been highly influential in the publication of THE LORD OF THE RINGS. George and his wife Moira were among Tolkien’s most trusted manuscript “proof” readers and he especially valued their advice on many aspects of the publication of the RINGS. In spite of the deep personal nature of the letter Tolkien seems almost unable to keep his mind from literary matters. After the bulk of the letter Tolkien commits one paragraph to the discussion of an edition of Morte D’Arthur and mentions revisions needed in its publication. $4950.

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Mark Twain and Charles Dudley Warner Two Leaves of Autograph Manuscripts with Corrections 67 [Twain, Mark]; Clemens, Samuel Langhorne; Warner, Charles Dudley. AUTOGRAPH MANUSCRIPT, A leaf from THE GILDED AGE, with a number of revisions and corrections in the text; and a second autographed manuscript leaf, from the same book, by Charles Dudley Warner (n.p., n.d. [c.1873]) 8vo, neatly inlaid, paginated "1188" at the top, and “338” for the second manuscript leaf and in the purple ink, featuring several passages of dialogue. Very well preserved. A RARE ORIGINAL MANUSCRIPT LEAF BY MARK TWAIN AND ANOTHER BY CHARLES DUDLEY WARNER. The dialogue from the Twain manuscript begins: "'Yes, that's like last year; and it is a sheer waste of the time for which the nation pays those men to work...' 'A waste of time, to purify the fountain of public law?...'" The dialogue from Warner's manuscript begins: "evening when they walked about they found people sitting on the door-step of the dwellings, in a manner not usual in a northern city...." $4950.

An Autograph Calling Card Signed by Jules Verne Presented With a Fine Original Photograph A Rare Treat for Lovers of This Most Imaginative Author 68 Verne, Jules. A HANDSOME ORIGINAL PHOTOGRAPH OF THE RENOWNED AUTHOR AND WITH THE AUTHOR’S CALLING CARD WITH LONG AUTOGRAPH NOTE IN FRENCH, SIGNED AND DATED BY JULES VERNE (France: not published, Oct. [18]97) A fine late nineteenth century black and white photograph from 1877 of the author in formal profile. The photograph is ovular and tipped onto a contemporary cream paper backing featuring an engraved ovular border for the photograph and with JULES VERNE handsomely printed below. Presented with the photograph is the author’s calling card with his name printed in the center. On the card Verne has written in French a friendly note in response to a previous correspondence. The card is dated October ‘97 and is neatly signed by the author. Ovular photograph measures approximately 4.5 by 3.5 inches on a decorative backing approximately 8 by 6.75 inches, calling card approximately 3.5 by 2.25 inches., All handsomely mounted together under grey board with beveled edges, glazed and in a wide antique heavily-gilded wooden frame for a total presentation measuring over 16 by 12 inches. The photograph and calling card are both beautifully fresh and fine with no wear. The antique frame with some chipping to the gilt but still very sturdy and handsome. A DELIGHTFUL TREAT FOR ANY LOVER OF THE WORKS OF JULES VERNE. Verne is perhaps unique in the annuals of literature for his fantastical combination of imagination, humor, wit and surprisingly accurate prophetic visions. In his famed science fiction novels, such as FROM THE EARTH TO THE MOON and TWENTY THOUSAND LEAGUES UNDER THE SEA, he predicted such things as nuclear powered submarines, an American space launch to the Moon taking place from central Florida and various other imaginative forms of powered aviation. His many novels were all originally written and published in French but were so internationally popular and well received that American and English translations were almost instantaneously produced. His light hearted approach, often even to serious subjects, and rollicking style of prose have insured the popularity of his novels for generations. $2250.

A Signed Autograph Letter From the Master of Science Fiction H. G. Wells - Handsomely Presented and Preserved 69 Wells, H. G. AN AUTOGRAPH LETTER SIGNED AND DATED IN THE HAND OF SCIENCE FICTION MASTER H. G. WELLS (Dunmow: , Sept. 8, 1920) A fine autograph letter from H.G. Wells signed. Written in ink on stationary printed “Easton Glebe, Dunmow”. Presented with a portrait of the author from a photograph. 21.5 x 17 cm, presented together with the 14 by 10 centimeter portrait and handsomely matted framed and glazed. Extremely well preserved and handsomely presented. A FINE ONE PAGE AUTOGRAPH LETTER WITH A BOLD SIGNATURE IN THE HAND OF H.G. WELLS, one of the greatest masters of science fiction and most popular turn-of-the-century authors. In the letter Wells excuses himself from participation in a review as his time is fully occupied, he then expresses a desire to hear from the recipient as the “scheme develops”. His signature, “Very Sincerely H. G. Wells” is bold and flourished. Though best remembered for his classic science fiction novels such as THE TIME MACHINE, Well’s was a truly multifaceted writer. He wrote additionally humorous novels of modern morals that were extremely popular in their time. He also wrote serious scientific reviews and sociological and historical papers that remain highly regarded. He was highly involved in politics and is remembered as being somewhat of a ladies man. $1500.

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Art Books, Including Architecture and Garden, and Children's Literature In a Fine Zaehnsdorf Full Morocco Binding - Gilt Extra Joseph W. Zaehnsdorf on The Art of Bookbinding 70 [Binding]; Zaehnsdorf, Joseph W. Technological Handbooks. THE ART OF BOOKBINDING. A Practical Treatise (London: G. Bell and Sons, 1920) The Ninth Edition. With 8 plates of bindings printed in green or brown and many additional illustrations and diagrams throughout the text. 8vo, in a beautiful, and appropriate, signed Zaehnsdorf binding of full red crushed morocco. The boards with triple gilt fillet ruled borders with gilt corner embellishments, inner border rolled in blind scallop motif, the spine elegantly gilt tooled in compartments between gilt stippled bands, lettered in gilt in two compartments and with additional gilt lettering at the tail, gilt ruled board edges and gilt tooled turn-ins over fine marbled endpapers, top edges gilt xix, 190 pp. A fine copy, both the text and binding in excellent state of preservation. IN A FINE SIGNED Zaehnsdorf BINDING. A major work on bookbinding by one of the great masters of the craft. The well illustrated chapters cover all aspects of the craft and the plates display many styles and artistic periods. The author was the second generation of Zaehnsdorf master binders. His father Joseph Zaehnsdorf, a native of Budapest, became one of Europe’s most famous fine custom binders. Founded in London in 1842, his firm created a wide variety of traditional and less-traditional leather bindings. Joseph W. took the reigns after his father’s death and brought even more fame to the company, which survives today as SSZ, a combination of the Zaehnsdorf and Sangorski & Sutcliffe firms. $750.

Marc Chagall - Franz Meyer’s Definitive Text The Best Work Produced to Date on This Important Artist Replete with Illustrations in Colour and Black and White 71 [Chagall] Meyer, Franz. MARC CHAGALL (New York: Harry N. Abrams, [1963]) Probable First Edition. With a total of 1250 illustrations, including 53 tipped in colour plates. Large thick 4to, publisher’s original buff cloth decorated in black with artwork by Chagall on both covers and spine, in the original dustjacket, decorated in colours. 775 pp. A very handsome and pleasing copy, virtually no wear and with only light age evidence to the dustjacket. AN IMPORTANT AND DEFINITIVE WORK ON MARC CHAGALL. Franz Meyer was a highly respected art critic and professor, but was also Chagall’s son-in-law. This tie gave him uncommon insight into both the artist and his work. $200.

The Great Treatise of Leonardo Da Vinci The First Edition - French Language Issue - 1651 The Most Precious Treatise on Drawing Ever Published 70 Da Vinci, Leonardo. TRATTÉ DE LA PEINTURE De Leonardo Da Vinci Donné Public et Traduit d’Italien en François Par R.F.S.D.C. (Paris: Jacques Langlois, 1651) First edition, French language issue, published by the same publisher at the same time as the first in Italian. The first edition of Da Vinci’s great Treatise on Painting, the first published work of Leonardo. 56 engraved illustrations and diagrams within text, additional engraved title with portrait, vignette titlepage, and many engraved head- and tail-pieces. Tall 4to, in contemporary calf, rebacked and restored to period style with red morocco label on spine, endpapers renewed. xviii, 128. A scarce and desirable copy with mild mellowing and very light antique staining primarily in the margins. FIRST EDITION OF THE MOST PRECIOUS TREATISE EVER PUBLISHED ON THE ART OF DRAWING. It was during his time in the service of the Duke of Sforza that Da Vinci developed his theories of the supremacy of painting, having the opportunity to associate with philosophers and men of letters on an equal basis. ‘This theory was incorporated into the Treatise on Painting compiled by Leonardo’s disciple Francesco Melzi, who however omitted Leonardo’s definitions of the geometric ‘principles’ of point, line, and, area - definitions that Leonardo had drawn up with great care, since he wished them to be read by mathematicians rather than artists’ (DSB). The treatise is a major source of Leonardo’s works on such topics as perspective, colour, light and shadow, as well as on plant physiology and human anatomical studies. This first edition was almost certainly produced for artists or more especially for patrons of the arts, as of the 912 sections that were

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contained in the original manuscript only the 365 sections devoted to non-theoretical writings are included in this first edition. The original manuscript draft by Da Vinci has unfortunately been lost. The present text was first published in Italian by Raphael Dufresne from a manuscript, presumably transcribed by Melzi, that he had found in the Barberini Library. No edition of this work was printed in English until the 18th century. Brunet V. 1258. $8950.

The Doré Gallery - In a Binding of Dark Green Morocco Gilt With Gustave Doré’s Collected Illustrations 72 [Doré, Illus.] Ollier, Edmund. CASSELL’S DORÉ GALLERY: Containing Two Hundred and Fifty Beautiful Engravings, Selected from The Doré Bible, Milton, Dante’s Inferno, Dante’s Purgatorio and Paradiso, Atala, Fontaine, Fairy Realm, Don Quixote, Baron Munchausen, Croquemitaine, &c. &c. With Memoir of Doré, Critical Essay and Descriptive Letterpress by Edmund Ollier (London: Cassell, Petter, Galpin and Co., n.d. ca. 1870) With 250 fine full-page engravings. Thick 4to, contemporary 3/4 dark-green morocco over dark-green cloth boards, the covers with gilt rolled borders to the morocco; the spine with gilt central devices within elaborate gilt panel designs within compartments between raised bands decorated in gilt, a.e.g. xlvii, 152 pp. + 250 plates. A fine copy, very handsome indeed, the text block with occasional and only minor spotting, the covers quite well preserved, very clean and very fresh in appearance. A BEAUTIFULLY ILLUSTRATED COMPENDIUM OF THE VERY BEST OF DORÉ’S FINE ARTISTIC RENDERINGS and a showcase for the illustrative talents of Doré. The French artist, Doré, was born in Strassburg in 1832. In 1848, he moved to Paris where “his facility as a draughtsman was extraordinary.” He was a prolific worker and his subjects were usually religious or hisotircal. He died in January of 1883. $1250.

Edmund Dulac’s Picture-Book - Rare in Dustjacket An Expression of International Brotherhood The Very Best “By Far” of the WW I Gift Books 73 [Dulac, Edmund, Illustator]. EDMUND DULAC’S PICTURE-BOOK FOR THE FRENCH RED CROSS (London: Hodder and Stoughton, nd (1915)) First edition. This copy with a laid in card advertising a 1915 gallery exhibition of Dulac’s original paintings. With 19 beautiful tipped-in color plates by Edmund Dulac, a tipped in photographic portrait of the artist by E.O. Hoppé and an autograph facsimile. 4to, publisher’s original pale olive cloth lettered and pictorially decorated in dark green on the spine and upper cover. IN THE VERY SCARCE DUSTJACKET of tan paper printed and decorated in green and featuring an additional paste-down colourplate illustration. 135, [1]pp. A beautiful copy in the scarce original jacket still in surprisingly fresh condition, the cloth clearly has been well protected and is as fine as one could find, the war-standards paper is prone to foxing and this copy has not been immune, but it is mostly confined to the prelims and is less then typical, otherwise it appears unread and is exceptionally fresh, the plates very fine. IN THE ORIGINAL DUSTJACKET AND A BEAUTIFUL COPY OF ONE OF DULAC’S BEST BOOKS. The book is composed of a profusion of fine stories from Cinderella to The Lady Badoura, The Sleeper Awakened, Three Kings of Orient, Sinbad the Sailor and The Nightingale among others. Dulac’s exquisite paintings are reproduced here to accompany each story and run through the many styles of his oeuvre. The book was produced by Hodder and Stoughton for the Daily Telegraph to raise money for the French Red Cross. A lovelier expression of international brotherhood would be hard to find. The final page contains a stirring tribute to the French Red Cross and a plea for generosity. It is said that this is “by far “ the very best of the gift books created to raise money for relief during the First World War. It was published at three shillings and the famous portrait by E.O. Hoppé tipped in at the end of the book shows Dulac wearing his ‘habit’ and a large ‘Left Bank’ bow tie, with, in a facsimile of his exquisite handwriting, an appeal on behalf of the fund. The Red Cross printing of the ‘Picture Book’ contains an extra colourplate not in the issue released after the war, which also lacks the portrait photograph. $695.

In a Fine and Beautiful Signed Binding by Arthur Johnson Full Morocco With Deep Recessed Giltwork - 1958 73 [Fine Binding]; [Rodin, Auguste]. RODIN [Text by Sommerville Story] (London: Phaidon Press LTD, 1956) First edition. With the engraved bookplate of J.R. Abbey, whose book collection was one of the largest and one of the most remarkable of his generation. He is perhaps best known for his collection of fine bindings and travel books. Two Arts Council exhibitions of bindings from his collection show that he was attracted by the strong geometric pattern designs and vibrant colour use of contemporary English and French binders. With 92 black and white plates of sculptures by Rodin plus two portraits of the artist and a drawing by him. 4to, in a very fine signed modernist binding by master binder Arthur Johnson, dated 1958. The binding is of full black morocco, each board with two large and deeply recessed conecle shaped areas boldly dashed in a mirrored design of gilt lines and curves, the spine with simple yet bold gilt

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lettering, gilt triple-ruled turn-ins and blue endpapers. t.e.g., housed in a navy blue slipcase with a felt lined, cloth covered chamise. 13, plates, [2] pp. Very fine, the binding pristine and as new. A SUPERB COPY, IN A VERY IMPRESSIVE AND EARLY SIGNED BINDING BY ARTHUR JOHNSON, AND FROM A HIGHLY NOTED COLLECTION OF FINE BINDINGS OWNED BY J.R. ABBEY. Arthur Johnson was a leading designer bookbinder and teacher. Johnson’s own designs were bold, with a keen sense of colour and contrast. While he studied at colleges of art in Hornsey, Hammersmith and Camberwell, Johnson had begun to teach bookbinding at Hammersmith. Most instructors in bookbinding, he saw, were journeymen from the best trade workshops. While he recognised and admired their achievements in forwarding and finishing, he thought their design work deplorable - “their covers were reminiscent of carpets and chocolate boxes”. Feeling the need to exchange ideas with like-minded people, in 1950, the year Johnson gained his Art Teacher’s Diploma, he became a founder member of the Hampstead Guild of Scribes and Bookbinders. Bernard Middleton was another member and is still active in the field, as were Sally Lou Smith, Elizabeth Greenhill, Edgar Mansfield, Trevor Jones, Ivor Robinson and Philip Smith. The name of the group was changed first, to The Guild of Contemporary Bookbinders, and then to Designer Bookbinders. Johnson wrote a number of books on the subject. These include The Thames and Hudson Manual of Bookbinding (1978), The Practical Guide to Craft Bookbinding (1985), The Practical Guide to Book Repair and Conservation (1988), Lettering on Books (1993) and The Repair of Cloth Bindings (2002). The Independent, Dec. 2004; The Studio, vol. 156, 1958. Thompson, Gale, Dic. of Literary Biography. $4500.

Most Likely the Copy of the Famed Nicholson Collection The Revivers and “Greatest Exponents of the Art” Edwards of Halifax - A Superb Fore-Edge Painting and Binding The ‘Countess Weir Bridge’ done on The Castle of Otranto 74 [Fore-Edge Painting; Binding; Edwards of Halifax]; [Walpole, Horace]; Muralto, Onuphrio. THE CASTLE OF OTRANTO, a Gothic Story. Translated by William Marshal, Gent. From the Original Italian of Onuphrio Muralto, Canon of the Church of St. Nicholas at Otranto. (Parma: Printed by Bodoni For J. Edwards, 1791) The First Edition printed by Bodoni of Parma, the first Edwards Edition, being the sixth overall and the first with these frontispieces. This is a LARGE PAPER copy, each page of text is handsomely hand-ruled in red, and a copy with a fine contemporary binding and Fore-Edge painting by Edwards of Halifax. Most probably the copy from the noted collection of Mrs. G.J. Guthrie Nicholson, The Glen, Newport. With the engraved frontispiece of “the castle”, given in two states. This copy also featuring a superb fore-edge painting by Edwards of Halifax of Countess Weir Bridge on the River Exe, England. Edwards of Halifax is the bookseller-binder who brought the hidden watercolour technique of embellishment to late eighteenth century book decoration. 8vo, in the original Edwards of Halifax “Etruscan” full calf binding, matching in description exactly those in the Huntington Library and Nicholson collections. The boards with a central panel of tree calf within a gilt frame of Greek key, this within a double framework of blind Etruscanesque tools and further gilt framework, the spine with beautifully gilt tooled compartments between double raised bands gilt stippled and ruled, gilt board edges and turn-ins, silk endpapers, with a fine Edwards of Halifax fore-edge painting of Countess Wear Bridge, as described on the copy from the Nicholson collection which was dispersed in the 1940s. xxxii, 245 pp. Beautifully preserved, with a splendid and original fore-edge painting deep, rich and vivid, the binding sturdy sound and handsome with a bit of expert strengthening to the hinges, the text very fine and fresh. WITH A VERY HANDSOME CONTEMPORARY FORE-EDGE PAINTING OF COUNTESS WEIR BRIDGE BY EDWARDS OF HALIFAX. MOST LIKELY THE COPY FROM THE OUTSTANDING COLLECTION OF MRS. G.J. GUTHRIE NICHOLSON OF NEWPORT. The binding firm of Edwards of Halifax, formed by William and his son James, is not only credited with developing the Etruscan style of calf bindings but also with reviving the art of painting fore-edges under gold. This had become a lost art and had not been used by binders and book trades people for nearly 100 years. Noted 20th century expert Edith Diehl credits the firm as not only the revivers of the art but also as “the greatest exponents of the art.” Given the date, we can assume this to be the work of John Edwards. Both the binding and the fore-edge painting on this copy matches exactly the descriptions given on the copy once in the Nicholson collection. The collection was dispersed by the Parke-Bernet Galleries in their famous auction sale of November 8-9 of 1948. It was considered to be one of the finest and most important collections of Fore-Edge paintings in the Americas. Diehl, Bookbinding I 170; Weber, Fore-edge Paintings, 26-44, 140. $8750.

With A Rare Double Fore-Edge Painting - Circa 1820 Likely the Work of Thomas and William Edwards Elegant Extracts - The British Poets - Handsomely Bound 75 [Fore-Edge Painting; Binding]; British Poets, Poetry. ELEGANT EXTRACTS; Being a Copious Selection of Instructive, Moral, and Entertaining Passages, From the Most Eminent British Poets. (London: For John Sharpe, [Circa 1820]) 2 volumes in one. WITH A FINE CONTEMPORARY DOUBLE FORE-EDGE PAINTING, most likely by the firm of Thomas and William Edwards. 12mo, in contemporary fine binding, likely by Edwards, of full plum crushed morocco, the boards beautifully decorated with a wide gilt floral border, the spine

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with elegant gilt tooled compartments between raised gilt ruled bands, board edges gilt tooled, gilt turn-ins. Two edges gilt, the other with fine double Fore-edge paintings. One we believe to be of Gillingham, Kent, the other of Cumberland. [vi], 284 pp. Beautifully preserved, the binding with only minor expected mellowing of age, the fore-edge paintings fresh and bright. WITH A RARE DOUBLE-PAINTED FORE-EDGE, FINELY BOUND. This is a fine example of the rare art of double fore-edge painting in which two images are produced on one fore-edge in a manner in which neither painting obscures the other. The images appear independently depending on which direction the pages are fanned. The technique used is notably different, and far more sophisticated than that used in “Split” fore-edge painting. Though unsigned we believe this is likely a binding and fore-edge painting by the firm of Thomas and William Edwards. Carl Weber, in his bibliography of Fore-Edge paintings in American collections, notes that less then 7% of the thousand books he catalogued had double paintings and he believed the vast majority, if not all of them, where the work of the Edwards firm. The binding also matches in style descriptions of those known to be produced by the Edwards. So few double paintings have ever been found on books printed after the death of the Edwards that Weber describes the double fore-edge painting as, “a lost art.” Weber, Thousand and One Fore-Edge Paintings pp 60-70. $1950.

Marvelous Tales from the Arabian Nights Illustrated by Edmund Dulac - A Pristine Copy - Very Fine 76 Housman [Dulac, illus.] Laurence. STORIES FROM THE ARABIAN NIGHTS, Retold by Laurence Housman (London: Hodder and Stoughton, for Boots Pure Drug Co., [c. 1920]) First edition thus. With 20 tipped-in color plates by Edmund Dulac. 4to, in publisher’s original rust-colored cloth lettered and pictorially decorated in gilt and black on the spine and upper cover. 319 pp. A pristine copy, very bright, very clean and in unusually fine condition. BEAUTIFULLY ILLUSTRATED BY EDMUND DULAC. Here we find a collection of stories from the ARABIAN NIGHTS superbly illustrated by Edmund Dulac. Selected from the original Persian fairy tales are: Ali Baba and the Forty Thieves, Sinbad the Sailor, Aladdin and the Wonderful Lamp, and many others colorfully rendered on tipped-in plates. Dulac’s illustrations conjure the mysterious atmosphere of the oriental text and transport the reader to a lyrical world of grace and beauty. Dulac’s affinity for oriental design becomes apparent in the exquisite, almost jewel-like images; there is the profound influence of oriental art and especially Persian miniatures in this group of exotic paintings. Intricate colors and patterns are juxtaposed to create lyrical scenes as in, Supposing Me Asleep and Aladdin in the Cave. Stark simplicity is felt in the interstices between graceful lines and brilliant colors as in The Lady Bedr-elBudur and Princess Badoura. The artist achieved intense effects in shading and atmosphere in his nocturne scenes such as The Lady Advanced to Meet Him. As we turn the pages, we feel drawn into a mysterious world of exotic moods and mysterious encounters. “The Arabian Nights gave Dulac an opportunity to indulge in his nocturnes; the the softness of the gleam of moonlight on stone, or on shadowy figures, and his use of ultramarine, indigo and Prussian blue, mingled with purples and violets, brought to the illustrations the calm and mystery of Eastern nights.”-Colin White STORIES FROM THE ARABIAN NIGHTS is especially important in understanding Dulac’s creative growth as it is believed that here, for the first time, he imposed an inner order and self-discipline. The success of the work was astonishing for its time and overshadowed other publication events for some time thereafter. “Leicester Galleries displayed the Dulac watercolors for THE ARABIAN NIGHTS in the autumn of 1907, at the same time the book was (originally) released. With unanimous praise the book was received by the critics and every picture sold even before the exhibition was opened to the general public. In light of this overwhelming success, Leicester Galleries promptly signed a contract with Dulac for one book a year, the subject to be chosen jointly between them and in consultation with Hodder & Stoughton.”-Susan Meyer. Dulac treated each picture with a seriousness that brought him great praise, showing that he, like any fine easel painter could accomplish great art, even for use in the book arts. The book sealed his reputation and set him permanently on the long course of success he would enjoy throughout his career. This lovely edition of STORIES FROM THE ARABIAN NIGHTS, liltingly illustrated by Dulac, will be a cherished addition to any library. $450.

One of the Most Beautiful Books of the Genre First Edition of Gertrude Jekyll’s Some English Gardens 77 Jekyll, Gertrude. SOME ENGLISH GARDENS After Drawings by George S. Elgood, R.I. (London: Longmans, Green and Co., 1904) First edition. With 50 beautiful colour plates after watercolours by Elgood. Folio, in the publisher’s original polished blue buckram, the spine and upper cover lettered and ruled in gilt, t.e.g. xii, 131 pp. A very good and bright copy, internally fine and fresh, the binding bright and attractive with just a bit of aging, hinges a touch shaken. AN IMPORTANT BOOK AND THE FIRST EDITION OF THIS MASTERPIECE OF THE GARDENING GENRE. A beautiful horticultural tour through Edwardian England, with notes by the preeminent Ms. Jekyll. One of her most famous books, and perhaps one of the most beautifully illustrated works of the genre. The first edition has become quite difficult to find. $795.

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A.A. Milne’s A Gallery of Children in Dust Jacket Delightfully Illustrated by H. Willebeek Le Mair 78 [Le Mair, illus.] Milne, A. A. A GALLERY OF CHILDREN (London: Stanley Paul & Co., 1925) Early English edition issued the same year as the first. With 12 color plates by “Saida,” a.k.a. H. Willebeek Le Mair. Large 4to, original light blue cloth with black lettering on the spine an upper cover, with a color pictorial pastedown on the upper cover, in the SCARCE ORIGINAL DUSTJACKET. 105 pp. An unusually bright, crisp and clean copy with no fading and exceptionally little evidence of use or wear. The scarce dust jacket in excellent condition with only the most minor rubbing to the top edge of the spine. SCARCE IN THE DUSTJACKET AND AN UUSUALLY NICE COPY. A delightful collection of twelve short stories and fairy tales written for children by Milne and illustrated by Le Mair. The full page colourful illustrations include idyllic scenes of rosy faced children playing at the beach, being lovingly embraced by their mothers, merrily picking flowers on hillsides, and generally enjoying the innocent pleasures of childhood. Milne was commissioned to write stories to accompany these beautiful and joyful visual images. He produced some of the most captivating short pieces of his career in these light, amusing, slightly moral tales, perfectly garnished with magic and imagination. This is a wonderful read-aloud book for the very young, sure to bring a smile and a touch of bliss. This is a spacious book, its illustrations containing an elegant, art nouveau sensibility. Beautiful mothers wear graceful robes and tend to the gentle needs of their children with utter composure. The children are cherubic, filled with zest and laughter, busy making sand castles or industriously assisting mommy as she folds the linens and puts them away. Each watercolor is simple in its lines and gestures and utterly elegant and harmonious in its integration of elements. The decorated borders surrounding each picture add to its formal charm. $695.

A.A. Milne’s Four “Pooh” Books - Illustrated by Shepard A Very Fine Set of the First Editions Beautifully Bound Great Classics and Cornerstone Works - 1924 - 1928 – London 79 Milne, A.A.. [The Four Pooh Books, Comprised of:] WHEN WE WERE VERY YOUNG [and] WINNIE-THE-POOH [and] NOW WE ARE SIX [and] THE HOUSE AT POOH CORNER (London: Methuen and co., 1924, 1926, 1927 1928) First Edition of each volume. Illustrated by E.H. Shepard throughout each volume. 8vo, beautifully bound by Bayntun-Riviere in fine full gilt decorated morocco. Each volume is bound in a colour to match the original cloth covers. The spines are richly gilt, the covers are pictorially decorated in gilt with images of Pooh and his friends. The original covers and spine panels are bound into the rear of each book. All volumes are housed together in a cloth covered slipcase. An elegant production. x,100; xi,158; x,103; xi,178 pp. All copies are very fine and beautifully preserved. VERY FINE COPIES OF THE FIRST EDITIONS OF EACH OF THE FOUR POOH BOOKS, BEAUTIFULLY BOUND. These charming children’s classics contain delicately detailed illustrations and some of the most beloved stories of all time. From the first poem or story to the last drawing, the reader is transported to another world of imagination and youthful play. “When We Were Very Young” was the first of the “Pooh” books and was extremely successful in both America and England. Ironically, when A.A. Milne was first presented with the possibility of Ernest Shepard being the illustrator for this first Pooh book, he was less than pleased, having never been particularly drawn to Shepard’s style. But the illustrator won out in the end and the rest is legend. The book’s success in both America and England was phenomenal, and it went through six printings in just one year and six more the next. The public voraciousness for his work inspired Milne to follow WHEN WE WERE VERY YOUNG with WINNIE THE POOH, NOW WE ARE SIX, and THE HOUSE AT POOH CORNER. Some of the most cherished and beloved verses of our time rest on the charmingly illustrated pages of this first volume in the series of books that have become timeless classics. This book is dedicated to Milne’s son, Christopher Robin Milne, who “prefers to call himself Billy Moon.” The second book in the series is WINNIE THE POOH and the one included here is a beautiful copy of the most famous of the four Pooh books. Milne’s classic story, all about Christopher Robin, Winnie-The-Pooh, and their friends Eeyore, Piglet, Rabbit, Owl, Kanga, and Baby Roo. WINNIETHE-POOH came into being in the wake of his first book of verse, WHEN WE WERE VERY YOUNG, which was the first collaboration of Milne’s words and E.H. Shepard’s delightful illustrations. Milne and Shepard truly ascended to harmonious heights with the cast of characters in WINNIETHE-POOH based on the stuffed animal collection of Milne’s own son, Christopher Robin, who also became immortalized as one of the main characters in the Pooh series. “E.H. Shepard’s illustrations to A.A. Milne’s POOH stories form without doubt one of the great classics of children’s book illustration. $17,500.

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With Three Original Woodcuts By the Artist Joan Miró Engraver - Limited and Beautifully Produced 80 [Miró, Joan] Dupin, Jacques. MIRÓ ENGRAVER I. 1928-1960 (Paris: Daniel Lelong, 1984) First and limited edition, one of 2700 numbered copies printed in English and including the three original woodcuts by Joan Miró. With three original full-colour woodcuts especially executed by Miró for this edition printed Joan Barbarà’s Atelier in Barcelona and with 290 photogravure reproductions of Miró’s works printed by Jean-Paul Vibert and with several other black and white illustrations from photographs. Folio, publisher’s original blue cloth lettered in white on the upper cover and spine and in the original dust-jacket printed by Joan Barbarà and cut from wood by Joan Miró. 184, [6] pp. A fine copy, the book essentially as new and pristine, the jacket in excellent, as pristine condition. BEAUTIFULLY PRODUCED Catalogue Raisonné OF THE EARLY WORKS OF THE GREAT SPANISH SURREALIST, JOAN MIRó. WITH THREE ORIGINAL full-colour WOODBLOCK PRINTS MADE ESPECIALLY FOR THIS EDITION. Earning international acclaim, Miró’s work has been interpreted as Surrealism, a sandbox for the subconscious mind, a re-creation of the childlike, and a manifestation of Catalan pride. In numerous interviews dating from the 1930s onwards, Miró expressed contempt for conventional painting methods as a way of supporting bourgeois society, and famously declared an “assassination of painting” in favour of upsetting the visual elements of established painting. This catalogue features works from 1928 to 1960. $495.

East of the Sun and West of the Moon Norwegian Fairy Tales Illustrated by Kay Nielsen With 24 of His Most Unforgettable Colour-Plates 81 [Nielsen, Kay, illus.]. EAST OF THE SUN AND WEST OF THE MOON: Old Tales From the North (New York: George H. Doran, nd [1914]) First edition, U.S. distribution issue from the English printing as printed in larger format. Illustrated with 25 tipped-in colour plates, numerous black and white illustrations, and elaborate decorative endpapers by Kay Nielsen. 4to, orignal black boards, lettered in gilt and with a pictorial illustrated pastedown on the upper cover, the spine bound in lavender cloth and lettered in gilt. 205. A sound copy with some overall abrasion and wear to the binding. The plates and text block however are unusually fresh and well-perserved. Expertly repaired at the hinge of the front endpaper. This is the scarce large-format edition of Kay Nielson’s greatest illustrated children’s book, EAST OF THE SUN AND WEST OF THE MOON. Fifteen old Norwegian folk-tales from Asbjornsen and Moe’s ‘Norske Folkeeventyr’, have been selected and magnificently portrayed by Nielson. Only his second book commission, this collection of paintings earned him enormous public recognition and equal standing with Dulac and Rackham as a leading children’s book illustrator. Here, in its larger format, we are offered the luxury of viewing all 25 illustrations with utter clarity. “In these elegant paintings, he combined qualities of Oriental design with those unique features of his native Scandinavia: The melancholic mystery of a bleak Nordic twilight seemed to cast a magical spell on the images themselves. If it were not for the outbreak of war that year, there is no doubt that Nielsen would have continued to produce many more of these remarkable paintings for children, to establish him as a great master of the Northern fairy tale.”Susan Meyer. These captivating old tales at once exotic and somehow familiar, of princes and princesses, giants and mythic goats, all combine to give us a glimpse into the Norwegian imagination. And we cannot help but agree that: “The quaintness, the tenderness, the grotesque yet realistic intermingling of actuality with supernaturalism, by with the original Norske folkeeventyr are characterized, will make an appeal to all, as represented in the pictures of Kay Nielsen. And these imperishable traditions, whose bases are among the very roots of all antiquity, are here reincarnated in line and colour, to the delight of all who ever knew or now shall know them.”-Preface. $1750.

Kay Nielsen’s Fairy Tales of Hans Andersen Superb in the Deluxe Vellum - Signed by the Illustrator 82 [Nielsen, illus.] Andersen, Hans. FAIRY TALES OF HANS ANDERSEN (London: Hodder and Stoughton, [1924]) The beautiful Edition de Luxe, limited and numbered 225 of 500 copies. Signed by the illustrator, Kay Nielsen. With 12 tipped-in color plates and numerous black & white illustrations as frontispieces to each tale all by Kay Nielsen. 4to, the publisher’s original deluxe vellum binding with elaborate gilt pictorial designs on the upper cover and spine. This copy retains the original glassine wrapper, still largely intact and is housed in a folding velvet-lined chemise and morocco backed slipcase designed with attractive raised bands and handsome gilt lettering. 197. An extraordinary copy, pristine and perfect. LIMITED TO 500 COPIES AND SIGNED BY THE ARTIST KAY NIELSEN. This collection of sixteen tales was initiated by Nielsen in 1912, though it was not published until 1924. Hodder & Stoughton, in an effort to promote sales after the war, began publishing gift books again with beautiful illustrations and bindings. This is one of there very best and in the scarcest and most desirable de Luxe format. Nielsen is regarded along with Rackham and Dulac as one of the triumvirate of masters of the illustrated gift book. This is no small achievement considering he only produced four such books in comparison to the dozens of titles produced by the other two gentlemen. Had he more time to enlarge his reputation he may well be considered the greatest master of the genre today. Although frequently compared to Rackham and Dulac his style is very different and altogether unique. Danish born and Parisian trained he was far more influenced by the Art Nouveau. His greatest

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influences as a student were the Japanese woodcuts of Hokusai and Utamaro and the black and white decorative line work of Aubrey Beardsley. Nielsen was among the most highly regarded illustrators of his day but produced only five books in total. He was lured away from the profession by Walt Disney, for whom he became an animator. These five books are more then enough however to secure his reputation for generations to come. Of the lasting appeal of Hans Andersen’s ‘Tales’ nothing more needs to be said. $10,000.

A Beautiful and Rare 19th Century Folio Palladio With a Total of 233 Fine Copperplate Engravings The Scamozzi “Opera” of Andrea Palladio 83 Palladio, Andrea. LE FABBRICHE E I DISEGNI DI ANDREA PALLADIO E LE TERME. Nuova Ed. Italiana Foggiata Sulla Vicentinese di Bertotti Scamozzi Ampliata e Fornita di Note da Celestino Foppiani (Genova: G. Decamilii, 1845) Five volumes bound in three. A beautiful 19th Century edition of the monumental critical “Opera” of Palladio of Ottavio Bertotti Scamozzi, expanded with the commentary and notes of Celestino Foppiani. With a total of 233 impressive folio copper engraved plates. Large folio, finely bound in morocco backed boards with titles and numbers on the handsomely decorated spine in gilt. 3 cc., 135; 3 cc., 88; 3 cc., 72; 3 cc., 92; xiv, 28. Engraved Plates: LII, LI, LI, LIV, XXV. A very handsome and pleasing copy of this important and beautiful book, with some expected evidence of wear and use, some typical or occasional staining to some leaves because of use. SCARCE AND BEAUTIFUL PRINTING of the magnificent “Scamozzi Palladio” with the commentary Ottavio Scamozzi first written between 1776 and 1785. Containing full commentary and notes on each building and the commentary and notes of architect Celestino Foppiani. Palladio’s designs and work to this day remain the central pillar of classical architecture and all architecture which followed. ‘Palladio’s lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through this, his textbook. The book is divided into four sections: orders and elementary problems, domestic building, public building and town planning and temples. Palladio’s style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Palladio followed the rules of classical Roman architecture more closely than any other architect...In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century. As a practicing architect Palladio worked mainly in Vicenza, Venice and the Venetian countryside, especially along the Brenta River. His Villa Capra (known as La Rotonda) near Vicenza became virtually a prototype of the Palladian style, and it was widely and faithfully copied. At the end of his life he left plans for the tour de force of trompe l’oeil, the Teatro Olimpico in Vicenza, which was finished by his pupil Vincenzo Scamozzi.’ $11,500.

A Copy with Fine Provenance and Original Drawings Palladio - Isaac Ware’s Magnificent Edition The Great Master of Western Architecture Beautifully Engraved Plates Bound in Antique Morocco 84 Palladio, Andrea. THE FOUR BOOKS OF ARCHITECTURE... Literally Translated from the Original Italian, by Issac Ware (London: by Isaac Ware, 1738) First edition of Isaac Ware’s translation, highly important and perhaps the best of all the early English translations. This copy with FINE PROVENANCE, having been owned by both Edward Cresy and Joseph Gwilt. With notes and architectural renderings in their hands and with additional architectural drawings by Cresy tipped in. With 4 engraved architectural title-pages, 204 engraved plates, 7 engravings within text and additionally decorated with engraved head and tale pieces by William Kent. Complete and perfect. Large folio, 405mm x 270mm, handsomely bound in later antique red morocco over marbled boards, the spine with raised bands bordered with gilt rules, head-cap gilt ruled, one compartment gilt ruled and lettered, others with central ornamental device gilt. [xiv, with the ad leaf], 110, the many plates on folio pages, a profusion of them being bound at the end of each of the four books, over 300 pages plus blanks. A very handsome copy with only expected mellowing from time and a touch of wear to occasional page edges, some occasional old stains from use, the binding is handsome and expertly strengthened at the hinges, title page edge reinforced. A HANDSOME AND IMPORTANT COPY OF THIS RARE BOOK. WITH SIGNIFICANT PROVENANCE, HAVING BEEN OWNED BY BOTH JOSEPH GWILT AND EDWARD CRESY, AND WITH ORIGINAL NOTES AND ARCHITECTURAL RENDERINGS. Produced with the assistance of Lord Burlington, Ware’s translation surpassed all earlier English editions in its faithfulness to the original. The divisional titles are reverse reproductions of the original woodcuts of 1570. A very skilled draughtsman and engraver, Ware exactly traced and engraved the plates for his edition from Palladio’s original drawings in Burlington’s collection.

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This is a fine and beautiful folio edition of the master’s four books on architecture. Palladio’s designs and work to this day remain the central pillar of classical architecture and all architecture which followed. Such early antique editions are truly scarce and here retains its original sophistication. ‘Palladio’s lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through this, his textbook. The book is divided into four sections: orders and elementary problems, domestic building, public building and own planning and temples. Palladio’s style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Palladio followed the rules of classical Roman architecture more closely than any other architect...In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century. As a practicing architect Palladio worked mainly in Vicenza, Venice and the Venetian countryside, especially along the Brenta River. His Villa Capra (known as La Rotonda) near Vicenza became virtually a prototype of the Palladian style, and it was widely and faithfully copied. At the end of his life he left plans for the tour de force of trompe l’oeil, the Teatro Olimpico in Vicenza, which was finished by his pupil Vincenzo Scamozzi.’ PMM 92 Ware (d. 1766) is reported “to have been originally a chimney-sweeper’s boy whom an unknown patron found drawing with chalk at Whitehall. He was sketching the elevation of the banquet house upon the basement walls of the building itself, and is said to have made similar sketches of the portico at St. Martin’s-in-the-Fields” (DNB). He developed into an eminently competent architect, among whose works were counted Chesterfield House, South Audley Street, of which Philip Dormer Stanhope, fourth earl of Chesterfield, took possession in 1749; he also built, for his own use, No. 6 Bloomsbury Square, which was inhabited later by Isaac D’Israeli. An excellent presentation of Palladio’s magnificent work. A remarkably fresh and clean survival. With the fine provenance of Edward Cresy, highly regarded British architect and engineer (1792-1858) and author of several important books on engineering, including the TREATISE ON BRIDGE BUILDING; ACCOUNT OF STONE CHURCH and AN ENCYLOPAEDIA OF CIVIL ENGINEERING. Joseph Gwilt was another famous British architect and writer of the period. After a visit to Italy in 1816, he published in 1818 Notitia architectonica italiana, or Concise Notices of the Buildings and Architects of Italy. In 1825 he published an edition of Sir William Chambers’ Treatise on Civil Architecture; and among his other principal contributions to the literature of his profession are a translation of the Architecture of Vitruvius (1826), a Treatise on the Rudiments of Architecture, Practical and Theoretical (1826), and his valuable Encyclopaedia of Architecture (1842), which was published with additions by Wyatt Papworth in 1867. In recognition of Gwilt’s advocacy of the importance to architects of a knowledge of mathematics, he was a member of the Royal Astronomical Society. DNB; Britannica 11th edition. $12,500.

Andrea Palladio’s Great Work on Architecture The Very Fine Folio Printing - From the Original Blocks Printed in Venice by Carampello - 1616 85 Palladio, Andrea. I QUATTRO LIBRI DELL’ARCHITETTURA (Venice: Appresso Bartolomeo Carampello, 1616) Extremely early printing, only the fourth ever issued and using the plates of the original 1570 printing. The type has been re-set by the same printer of the 1581 and 1601 printings and the initials re-cut from wood as in the earlier issues. General and divisional titles within woodcut historiated architectural border, over 200 woodcut illustrations (including over 150 full page folio sized). Folio, finely bound in handsome period antique Italian decorated calf over boards, the covers and spine pleasingly tooled in gilt in contemporary panel designs. The covers incorporate gilt tooled corner devices. (68), 78, [1 blank leaf], 46, [2], 133, [colophon], (same as the 1601, except for the presence of the blank leaves KK4, and RRRR4 in this issuance). A very pleasing, large, handsome, clean and crisp copy with especially fine and dark impressions of the engravings. The textblock is solid and tight, the binding, still strong, is in excellent order with some care taken for preservation of the original spine panel now restored. An excellent and very well preserved example of this rare book. VERY RARE FOLIO PRINTING OF THE ORIGINAL PALLADIO, USING THE BLOCKS OF 1570. A very fine and handsome folio printing of Palladio’s great work. Palladio’s designs and work to this day remain the central pillar of classical architecture and all architecture which followed. Sixteenth century editions are truly scarce and retain the original sophistication and in this case, the exact replication of the prior issue. ‘Palladio’s lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through this, his textbook. The book is divided into four sections: orders and elementary problems, domestic building, public building and own planning and temples. Palladio’s style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Palladio followed the rules of classical Roman architecture more closely than any other architect...In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century. As a practising architect Palladio worked mainly in Vicenza, Venice and the Venetian countryside, especially along the Brenta River. His Villa Capra (known as La Rotonda) near Vicenza became virtually a prototype of the Palladian style, and it was widely and faithfully copied. At the end of his life he left plans for the tour de force of trompe l’oeil, the Teatro Olimpico in Vicenza, which was finished by his pupil Vincenzo Scamozzi.’ PMM. Fowler 215. PMM (First Edition). $19,500.

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Italian Villas and Their Gardens - With Fine Provenance Maxfield Parrish and Edith Wharton The Magic of the Italian Garden 86 [Parrish, Maxfield]. Wharton, Edith. ITALIAN VILLAS AND THEIR GARDENS (New York: John Lane: The Bodley Head, 1904) First edition and First Issue. A COPY WITH SUPERB PROVENANCE and especially so as regards its association with garden design and garden ornament, This copy was owned by and comes from the home of Nancy Lancaster and her husband, Arthur Ronald Lambert Field Tree. Lancaster has been called “the most influential English gardener since Gertrude Jekyll.” Profusely illustrated with 52 illustrations, 27 of which are colourplates or half tones by Maxfield Parrish, the rest being photographs and drawings by E. Denison, Malcolm Fraser and C. A. Vanderhof. Tall 8vo, publisher’s original dark forest green cloth decorated and lettered in gilt on the spine, cover design by Decorative Designers with elaborate pictorial decorations after Maxfield Parrish in an all over design, upper cover stamped in gilt and blocked in light green, blue, purple, gilt and rust, showing a villa garden. 270 pp. A fine copy with only light evidence of age or use, an uncommonly bright and appealing copy, internally clean and fresh, firm and solid, the binding with only minor evidence of age, the gilt bright and the colours unfaded. SCARCE FIRST EDITION, FIRST ISSUE AND A COPY WITH VERY FINE PROVENANCE. One of the most well written books on Italian garden design. The combination of Wharton’s liquid descriptions and Parrish’s romantic paintings, makes for an extremely delightful book. Special attention is given to the gardens found at Florentine, Sienese and Roman villas. The relationship of the buildings to the natural surroundings is explored in detail. “The Italian garden does not exist for its flowers; its flowers exist for it: they are a late and infrequent adjunct to its beauties, a parenthetical grace counting only as one more touch in the general effect of enchantment. This is no doubt partly explained by the difficulty of cultivating any but spring flowers in so hot and dry a climate, and the result has been a wonderful development of the more permanent effects to be obtained from the three other factors in garden-composition - marble, water and perennial verdure - and the achievement, by their skillful blending, of a charm independent of the seasons”. This copy was owned by and is from the home of Nancy Lancaster and her second husband, important Conservative MP Ronald Lambert Tree. It has his engraved library plate on the front endpaper. Nancy Lancaster (Nancy Keene Perkins Fields Tree Lancaster) was a leading 20th-century tastemaker and the owner of Sibyl Colefax & John Fowler, an influential British decorating firm that codified what is known as the English country-house look. Nancy was first married, in 1917, to Henry Field, the heir to the Marshall Field department store fortune. He died five months later, and in 1920 she married his bisexual cousin, journalist and investor Arthur Ronald Lambert Tree. The couple moved to England where they took a 10-year repairing lease on Kelmarsh Hall near Market Harborough in Northamptonshire, which Nancy redecorated with help from Mrs Guy Bethell of Elden Ltd. In 1933 the Trees bought Ditchley Park near Charlbury in Oxfordshire, and it was the decoration of this house which earned Nancy the reputation of having “the finest taste of almost anyone in the world.” She worked on it with Lady Colefax and the French decorator Stéphane Boudin of the Paris firm Jansen. In November 1933 Ronald Tree became Conservative Party member of Parliament for Harborough. Tree was among a small group who saw the rising Nazi party in Germany as a threat to Britain, and he became a member of the anti-appeasement MPs (who included Eden, Duff Cooper etc.) who would meet at his house in Queen Anne’s Gate. Winston Churchill was not really part of this group, but he and his wife Clementine dined at Ditchley on numerous occasions. During the war there was considerable concern over the visibility of Churchill’s retreat home at Chequers, so Tree offered Churchill use of Ditchley, which thanks to its tree coverage and no visible access road made it an ideal site which Churchill was happy with. Churchill first went to Ditchley in lieu of Chequers on 9 November 1940, accompanied by Clementine and his daughter Mary. The Trees divorced in 1947 and Nancy shortly thereafter married Lieutenant Colonel Claude Lancaster and began working under the name of Nancy Lancaster. Lancaster was a former military officer, country squire and member of Parliament who owned Kelmarsh Hall near Market Harborough, Northamptonshire. Renowned today for its gardens, it is a popular tourist site and said to be Nancy Lancaster’s favorite home of all despite their divorce after only five years in 1953. The renowned British interior designer David Hicks called Nancy Lancaster “the most influential English gardener since Gertrude Jekyll.” She was often referred to as the doyenne of interior decorators and smart gardeners. She, together with business partner John Fowler, created much of the English country house look. Nancy Lancaster: English Country House Style, by Martin Wood, Frances; DNB; John Fowler: Prince of Decorators, by Martin Wood; The Churchill Centre. $4500.

Pablo Picasso For Ambroise Vollard The 100 Etchings of His “Most Impressive Undertaking” First Edition of this Important Work - 1956 87 [Picasso, Pablo]. PICASSO FOR VOLLARD [Introduction by Hans Bolliger, Translation by Norbert Guterman] (New York: Harry N. Abrams, Inc., [1956]) First edition of the Abrams issue for America, printed and bound by Verlag Gerd Hatje in Germany. With 100 plates from etchings of Pablo Picasso. 4to, publisher’s original black cloth decorated with a Picasso etching on the upper cover and lettered on the spine in silver, in the scarce original clear acetate dustjacket lettered on the upper cover in gilt. xxii, 100 plates. A bright and handsome copy, the book clean and fresh, the cloth unfaded with bright silver, a tiny bit of shelving evidence to the lower edge of the

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outside bottom corners, the scarce acetate jacket with far, far less than the usual yellowing and no warping at all, only a few small chips at the upper edges of the acetate. FIRST EDITION OF THIS VERY IMPORTANT WORK. These 100 superb etchings made by Picasso between 1930 and 1937 for the great art critic and dealer Ambroise Vollard, who commissioned and published them, have long been recognized as one of the supreme productions of the master’s hand. Arising from Picasso’s artistic caprice, from his working experience, or from the very depths of his unconscious, these plates show, more than any of his other works, a man at once inspired by and prey to his dazzling imagination and the demands of his inner demon. - Publisher’s review. $750.

The Book of Pirates Robustly Illustrated by Howard Pyle - 1921 A Very Pleasing Copy in the Dustjacket 88 Pyle, Howard. HOWARD PYLE’S BOOK OF PIRATES; Fiction, Fact and Fancy concerning the Buccaneers & Marooners of the Spanish Main: From the Writing and Pictures of Howard Pyle: Compiled by Merle Johnson (New York: Harper & Brothers Publishers, 1921) First Edition, an early printing. Profusely illustrated by Howard Pyle with a colour frontispiece, and 11 other fine full-page colour plates, 24 black and white full-page plates and a profusion of textual illustrations. Folio, publisher’s original quarter black cloth over beige boards, with a pictorial pastedown and black lettering on the upper cover and gilt lettered on the spine, in the scarce dustjacket with additional colour pastedown on the upper cover. xviii, 247 pp. A very pleasing copy of this classic work, the boards and spine as fresh and clean as one could hope for, very nice indeed, internally with only a very small amount of the foxing and toning to which the book is unfortunately quite prone. The jacket is lacking its spine panel but the upper and lower cover and flaps are fully present with only minor edgewear and a few chips. In all very attractive. SCARCE IN DUSTJACKET AND A FINE WORK, BEAUTIFULLY ILLUSTRATED. One of Pyle’s best and most popular books, and an uncommon find in the dustjacket. “Why is it that the pirate has, and always has had, a certain lurid glamour of the heroical enveloping him round about? Is there, deep under the accumulated debris of culture, a hidden groundwork of the old-time savage? Is there even in these well-regulated times an unsubdued nature in the respectable mental household of every one of us that still kicks against the pricks of law and order? To make my meaning more clear, would not every boy, for instance--that is, every boy of any account--rather be a pirate captain than a Member of Parliament?” - from the Introduction. Pyle’s paintings have been a virtual treasure chest of imagery for roughly a century now. They have been drawn upon, copied, reproduced and borrowed from. They have been an inspiration for costumers from the swashbuckling silent films in the early 1900s to Johnny Depp in the 21st century. $895.

Rackham’s Elusive 1909 Grimms’ Fairy Tales The Best and Finest Edition 89 [Rackham, illus.] The Brothers Grimm. GRIMM’S FAIRY TALES (London: Constable and Company Ltd., 1909) First edition, first printing. 40 color plates by Rackham with additional black and white illustrations throughout. Thick, Royal 8vo, publisher’s original red cloth lettered in gilt and with elaborate gilt pictorial decorations on spine and upper cover. xv, 325 pp.. An especially nice copy, very well preserved, bright and clean, endleaves with antique restoration. VERY SCARCE. A considerably altered edition from Constable and Co.’s 1900 selection of Grimms’ Fairy Tales that had 100 of Rackham’s black and white illustrations. For this edition, Rackham reworked the drawings, “generally overhauling them as a set, supplementing and omitting, with a view to the present edition.” The present edition contains 40 beautifully coloured plates and 55 black and white drawings. One of Rackham’s most elusive and most important titles. In the early 19th century Jacob and Wilhelm Grimm brought together a collection of ancient folk tales that had been passed from generation to generation throughout northern Europe. There are 60 in this edition – ‘Rapunzel’, ‘Red Riding Hood’, ‘Hansel and Gretel’ among them – which features the exquisite illustrations of Arthur Rackham. $3150.

The Fairy Tales of Hans Andersen The First Edition With Arthur Rackham’s Illustrations Classic Tales - A Fine Copy in Original Dustjacket 90 [Rackham, illus.] Andersen, Hans. FAIRY TALES BY HANS ANDERSEN (London: George G. Harrap, 1932) First edition with Rackham’s illustrations, in an especially scarce special binding. With 12 color plates and 59 black and white illustrations in the text by Arthur Rackham. 4to, bound in the very scarce publisher’s best binding of dark green morocco, often used for presentation, lettered and pictorially decorated in gilt on the spine and upper cver, with the fine pictorial endpapers created by Rackham, t.e.g. 288. A fine, fresh copy. The binding exceedingly fresh, the gilt shining.

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ELUSIVE ARTHUR RACKHAM FIRST EDITION IN AN ESPECIALLY HANDSOME BINDING, THE PUBLISHER’S BEST, AND OFTEN USED FOR PRESENTATION. A beautiful collaboration of one of the world’s greatest story tellers with one of the 20th century’s finest illustrators. Here we find a wide assortment of Hans Christian Andersen’s well-loved tales beautifully illustrated by Arthur Rackham. Included in the collection are old favorites such as Thumbelina, The Princess and the Pea, The Emperor’s New Clothes, and The Little Match Girl, all affectionately illustrated by the artist. As his career developed, Rackham worked closely with his publisher to find works of literature which were likely to appeal to seasonal book buyers but which also lent themselves to his artistic proclivities. Hans Anderson’s Fairy Tales offered him this ideal combination. Harrap, excited by the prospect of Rackham’s new endeavor, sponsored a trip for him to Denmark to sketch and imbibe the landscape and architecture. $2500.

With Arthur Rackham’s Superb Illustrations Peter Pan in Kensington Gardens A Superb Copy of His Most Famous Book 91 [Rackham, illus.] Barrie, J. M. PETER PAN IN KENSINGTON GARDENS (New York: Charles Scribner’s Sons, 1908) A very early U.S. issue, retaining the exact format and look of the first issue and made from the English sheets. 50 tipped-in color plates bound in rear as issued, and with several line drawings by Arthur Rackham. 4to, publisher’s original green cloth lettered and decorated pictorially in gilt on the upper cover and spine. 126. A pristine copy, among the best we’ve seen, without any flaws. An absolutely superb copy and extremely unusual as such. A superb and extremely well preserved copy of Rackham’s most famous book. Within, we find many of the artist’s best loved and most easily recognized paintings, masterfully reproduced and bound in the rear and as identical to the first British issue of 1906. Perhaps the Pall Mall Gazette summed it best when they said, “Mr. Rackham seems to have dropped out of some cloud in Mr. Barrie’s fairyland, sent by a special providence to make pictures in tune with his whimsical genius.” All of the early issues in the original format of this title are becoming hard to find, this copy is noteworthy for its fine state of preservation. $1250.

Dell’Architettura Rusconi’s Great Work on Architecture Printed in Venice - 1660 - Folio 92 Rusconi, Giovanantonio. DELL’ARCHITETTURA. Nouamente ristampata. & accresciuta della pratica del fabricar gl’Orologi Solari, LIBRI DIECI, Dedicata All’Altezz Sereniss. Di Sofia Duchessa di Brasuic, e Luneburgh. Con centosessana, epiù figure dal Modesimo, secondo i Precetti di Vitruuio dissegnate, Nelle quali con deligente art ificio si scorgono rappresentati Edificii, Fabriche Rozze, Ciuili, e Magnifiche, Tempii, Fortificationi, Mura, Machine, Istromenti Alberi, Piante, & altre cose toccate da Vitruuio ne’suoi Libri, Con le dichiarotioni di esse vhiare, breui, e necessare per colore, i quali d’Architettura s’intendono,e ne prendono guste, e diletto. Con Due Indici Copiosissimi, Vino delle cose notabili, & l’altro delle Figure. (Venice: Appresso il Nicolini, 1660) The first seventeenth century edition and only the second issue of Rusconi’s great work on architecture. Illustrated throughout with very fine architerctural engravings, very finely engraved head and tail pieces and fine elaborately decorated capital letters. Folio, very finely bound in an Italian binding of the period of half morocco and paper over boards. Spine decorated with gilt tools and two dark green morocco lettering labels gilt. [i-xii], 1-148 including woodcut illustrations. A very fine, crisp and extremely handsome copy. RARE. Rusconi’s superb work on the classical elements of architecture is one of the finest examples of the great Italian works on architecture. The illustrations follow those of the earlier issue, though pages 144-147 contain an article, with woodcut illusrations, on sundials which is not found in the first edition. The woodcut ornamental border of the title page is the same as that in Vitruvius, Venice, 1584 and Alberti, Venice, 1568. Berlin Catalog 2603; Cicognara 641 $4500.

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With Willy Pogany’s Brilliant Illustrations The Rime of the Ancient Mariner - A Very Fine Copy Handsomely Presented in the Publisher’s Best Binding 93 (Samuel Taylor Coleridge) THE RIME OF THE ANCIENT MARINER In Seven Parts, Presented by Willy Pogany (London: George G. Harrap, 1915) The first edition in the publisher’s best binding. Profusely illustrated throughout by Willy Pogany, including 20 tipped-in color plates. A richly colored title page by Pogany begins this enchanting classic. With exquisitely detailed pages of intricately woven text and illustrations, enclosed in ornate borders. 4to, bound in the original dark-tan calf with finely tooled pictorial designs in gilt and colours on the upper cover and spine. [178] pp. A fine copy of this book in the beautiful presentation binding. The interior is virtually flawless and the binding is very handsome and beautifully preserved with virtually no evidence of use or age.e. A SUPERIOR COPY OF THIS GREAT BOOK. One of the most beautiful and decorative books of the period. The binding is quite attractive, the half-title is elaborately printed in gold, red and green; the title-page is a Morris-esque pastiche printed in gold, grey, red, black, purple, green, and yellow; the text is printed in an elaborate script within various woodcut borders, with various pictorial backgrounds in either light gray or green, sometimes accompanied by a vignette illustration. There are, in addition to the color plates, roughly ten full-page illustrations in black and either green or gray; and the pages that have no text or illustrations are filled with decorative elements in various styles and colors. $1750.

First Edition of One of the Great Books of Architecture Scamozzi’s Exquisite “Architettura Universale” - 1615 With Plates and Textblock in Superb Condition 94 Scamozzi, Vincenzo (1552-1616]. L’IDEA DELLA ARCHITETTURA UNIVERSALE (Venezia: Presso l’Autore, Georgio Valentino, 1615) Two parts in one volume. First edition, dedicated to Massimiliano d’Austria, da Venezia, 6 agosto 1615. Elaborately decorated throughout with a vast profusion of very finely engraved architectural plates, a number being double page. Folio, bound in antique Italian quarter morocco over marbled boards. (8)cc. including a very finely engraved frontispiece, pp. num. 1-90, pp. 91-352 with the known errors in numbering, (16)cc. (Index of the First Part); (6) cc. including the very fine frontispiece engraving to the second part, pp. num. 1-172, (4) pp., pp. 173-269 with the called for errors in pagination, (4)pp. including the title and dedication of the Eighth Book, pp. 271-370, (10) cc. (Index of the Second Part). A fine and excellent copy. The text especially crisp and clean, the impressions bold and dark, the binding with some wear at the hinges which have now started but are easily able to be restored. RARE FIRST EDITION of “the book which gave the final codification of the orders and of Palladian classicism in Vignola’s mathematics based system with its own demonstrable laws. Of ten books planned [on the Vitruvian model] only six were completed: Books 1-3 and 6-8. Of these, book six [frequently reprinted and translated separately] became the leading manual on building according to the Rule of the Orders throughout Europe, while book two provided the basis for subsequent “ideal city” concepts. Scamozzi’s own executed work is illustrated in book three - town houses at Vicenza, Venice and Bergamo and a series of country estates [on the model of the classical villa] including the two related Palladio-based designs for the Villa Pesaro at Lonigo and the Villa Molina at Padua.” As a further note to placing the books: the first book is dedicated to fundamental theoretical premises of and a summary of the history of architecuture; the second part concerns the construction of the city and includes certain studies of military architecture as well; the third part concerns civil architecture with particular regard to the classical house and with interesting notes about the construction of the diverse cities throughout Europe but with an approach to linking the forms created throughout history. In the Second Part, the sixth book is dedicated to the five orders, the seventh to architectural materials, the eighth to directing construction. Fowler 292. $15,000.

Toulouse-Lautrec - Master of the Post Impressionist His Lithographs and Drypoints - Impressively Illustrated 95 [Toulouse-Lautrec]; Adhémar, Jean. TOULOUSE-LAUTREC. His Complete Lithographs and Drypoints (New York: Harry N. Abrams, [1965]) With 368 beautifully reproduced full-page illustrations including 54 in colour. Folio, publisher’s original orange cloth lettered in gilt and white on the upper cover and spine, in the original dustjacket. xxxviii, 370, [22] pp. A fine copy, the book very much so, the jacket with only minor edge wear and one small tear with no loss along the fold of the rear flap. A Beautiful Catalogue Raisonne, certainly no expense was spared in the production. The reproductions, especially those of the colour plates, are of the finest quality. The 22 page list of plates cleverly folds out, thus allowing it to be accessed with the book still opened to any other page. Toulouse-Lautrec is known along with Cézanne, Van Gogh, and Gauguin as one of the greatest artist of the Post-Impressionist period. His immersion in the colourful and theatrical life of fin de siècle Paris yielded an œuvre of exciting, elegant and provocative images of the modern and sometimes decadent life of those times. $275.

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The Paintings of Vincent Van Gogh First Edition in the Original Dustjacket 96 (Van Gogh) Schapiro, Meyer. VINCENT VAN GOGH (New York: Harry Abrams, Inc. , n.d. (c. 1970’s)) First edition. 69 illustrations, 49 of them tipped in colour plates. Large 4to, blue-white linen lettered in gilt on the upper cover and spine, in the original pictorial dustjacket. 131. A fine and very clean and bright copy. Part of Abrams’ “Library of Great Painters Series”. Combining scholarly text with beautiful reproductions of the artist’s greatest work. $195

Great Printers and Printmakers With 100 Fine Plates Including 16 in Full Colourt 97 [Printmaking, Art Prints]; Wechsler, Herman J. GREAT PRINTS AND PRINTMAKERS (New York: Harry N. Abrams, [1967]) First edition, American issue. Beautifully illustrated with 100 plates, 16 of which are fine tipped-in full colour plates, and with a profusion of other illustrations throughout. Folio, publisher’s original blue/gray cloth with gilt lettering and a large pictorial illustration on the upper cover in black, the spine lettered in gilt. 244 pp. A fine copy, internally near as new, very minor uniform mellowing to the gray cloth spine and a tad to the edges, handsome, clean, fresh and sturdy. The plates are all in very fine condition indeed. FIRST EDITION. A beautifully produced, well illustrated and informative study of the art of printmaking from the earliest days of the art form to the mid-twentieth century. It covers wood-printing, metal, lithography, line engraving, mezzotint, et al and includes styles from both the West and the Orient. Expertly printed and bound in Japan for Abrams of Bentveld in the Netherlands, this copy with the New York imprint, there is no precedence between the New York, London and Bentveld issues. $95

The Beautiful Artwork of Andrew Wyeth With 165 Impressive Colour Reproductions 98 [Wyeth, Andrew]; Meryman, Richard. ANDREW WYETH (Boston: Houghton Mifflin, 1968) First edition, second printing. With 165 finely produced full color reproductions of artwork by Andrew Wyeth. Oblong folio, publisher’s original tan buckram backed in terracotta linen, upper cover lettered in dark brown, spine lettered in silver. 174 pp. A fine and very well preserved copy with only vey minimal evidence of age. The essential book on Andrew Wyeth. The very fine and large reproductions were produced at the Triton Press and are of exceptional quality. $245.

Drums - James Boyd - 1928 The First Edition Illustrated by N.C. Wyeth A Pleasing Copy from the Illustrated Classics Series 99 [Wyeth, illus.] Boyd, James. DRUMS (New York: Charles Scribner's Sons, 1928) Scarce First Edition and an early offering in the Scribner's Illustrated Classics series. With 14 colour plates, endpapers, and cover, as well as numerous line drawings all by N.C. Wyeth 8vo, publisher’s original black cloth lettered in gilt on spine, color pictorial paste-down with illustration by Wyeth to the upper cover. 409. 1 ad pp. An attractive copy with the gilt bright, the cloth clean and internally fresh and well preserved.. WITH SUPERB ILLUSTRATIONS, THE FIRST EDITION AND QUITE UNCOMMON AND RARELY ENCOUNTERED. Boyd’s tale of the American revolution and one man’s struggle to find his place, brought to life by the master illustrator N.C. Wyeth. These 14 colour plates and numerous black and white drawings take us back to revolutionary days in America.. $450

Item 99

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History, Travel & Sport, Philosophy, Religion, Science Flatland - The Arion Press Limited Edition Signed by SciFi Legend Ray Bradbury And Also By the Printer, Andrew Hoyem 100 [Arion Press] Abbott, Edwin Abbott [A. Square]. FLATLAND: A Romance of Many Dimensions [With the Introduction “Flatland Revisited” by Ray Bradbury] (San Francisco: Arion Press, 1980) LIMITED EDITION, one of only 275 numbered copies signed by Andrew Hoyem and Ray Bradbury. Printed on T.H. Saundrs hot-press finish, mould-made paper. Illustrated with fourteen line drawings and ten die-cuts by Andrew Hoyem, colours and gray backgrounds done by hand, in Univers, composed of Monotype then reset, initials in Gil Shadow. Folio, accordion style with aluminum covers impressed with black lettering, in a hinged aluminum container with metal clasp, prospectus laid-in. Fifty-six folded panels. A very fine copy, pristine and as mint, with just a bit of the completely inevitable evidence of movement where the aluminum covers slip into the aluminum case. NOW VERY SCARCE, A UNIQUELY DESIGNED AND PRINTED ENTRY FROM THE ARION PRESS. This was the seventh book produced by the press while under the direction of Andrew Hoyem. It was one of the press’ most commercially successful productions, and certainly one of its most aesthetically unusual. “The best introduction one can find into the manner of perceiving dimensions.” - Isaac Asimov. Edwin Abbott Abbott (1838-1926) has been ranked as one of the leading scholars and theologians of the Victorian era. He received highest honors in mathematics, classics, and theology at St. John’s College, Cambridge, and in 1862 began a brilliant career, during which he served as schoolmaster of some of England’s outstanding schools. At the same time he distinguished himself as a scholar, and in 1889 he retired to his studies. One of his few works of fiction, Flatland, has given pleasure to thousands of readers over many generations Unless you’re a mathematician, the chance of you reading a novel about geometry is probably near zero. But this work is a classic and would be considered a great read by most anyone. FLATLAND imagines a two-dimensional world inhabited by sentient geometric shapes who think their planar world is all there is. But one Flatlander, A. Square, discovers the existence of a third dimension and thus the limits of his world’s assumptions about reality. And, in the spirit of GULLIVER’S TRAVELS, FLATLAND comes across as quite a humourous satire on society and the class distinctions of Victorian England. If you’ve ever wondered what a 4th dimension would look like, FLATLAND provides a lens through which you can imagine that extension out of our 3D world. Abbot accomplishes this by describing the eye-opening extension of his narrator’s 2D world when visited by a 3D apparition, a “sphere”. His framing of the foundational issues through the experiences of what you’d expect to be the most “two dimensional” character in fiction are really quite engaging. The story line is as interesting as the mathematics and the mathematics are beyond fascinating. Predating Einstein and the Quantum Theory by decades, FLATLAND may have helped to open the minds of people to the entirely new ways of viewing our reality. The changes which would soon be coming could hardly have been envisioned in Victorian England. The book is a classic of theoretical physics rendered for accessible for layman’s use and it is a classic of science fiction which lays the groundwork for countless such literary explorations in the 20th century and beyond. Preface (Dover edition); Anderson, D.; Asimov, A. $5500.

A Treatyse of Fysshynge wyth an Angle A Beautiful Book from the Ashendene Press From the Wynkyn de Worde Printing of 1496 Dame Juliana Berners -From The Boke of St Albans 101 [Ashendene] Berners, (Dame Juliana). A TREATYSE OF FYSSHYNGE WYTH AN ANGLE (Chelsea: The Ashendene Press, 1903) One of 150 copies, printed in ‘Subiaco’ type, with one initial in red, on Japanese paper. With the famous woodcut frontispiece of a man fishing and decorations ‘after the text of Wynkyn de Worde in ‘The Boke of St. Alban’s empynted at Westmester in the yere of thyncarnacion of our Lorde mcccclxxxxvi (1496’ by St. John Hornby and Meysey Turton”. Fine textual illustrations throughout. 8vo, bound in the original full limp vellum. 48 pp. An especially fine copy, beautifully preserved. A BEAUTIFUL COPY OF ONE OF THE MOST PLEASING BOOKS PRINTED AT THE PRESS. This work reprints in “exact” facsimile the first printing of any book on fishing ever printed in England. The interest of the “Treatyse of Fysshynge Wyth an Angle” lies not only in its priority in the field of fishing literature, but also because it has served as a literary quarry to many succeeding writers on fishing, and it also established a high moral value for the craft of fishing and is responsible for “having assigned in popular estimation to the angler his meditative and gentle nature”. The Renaissance designed plates are famous for showing the first illustration of a person fishing with hook and line, and for the additional

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cuts throughout the text depicting hooks, all manners of fishing tools, types of lines for floating or sinking, and various and sundry other fishing devices. Juliana Berners (or Barnes or Bernes) (b. 15th century), English writer on heraldry, hawking and hunting, is said to have been prioress of Sopwell nunnery near St Albans. Her book on fishing was the first known book on fishing by a woman. She was probably brought up at court and, after she adopted the religious life, she still retained her love of hawking, hunting and fishing, and her passion for field sports. She is the supposed author of the work generally known as the Boke of St Albans, of which the first and rarest edition was printed in 1486 by an unknown schoolmaster at St Albans. The only clue to the authorship of the Treatise, and the documentary evidence of her, is an attribution at the end of the original 1496 book which reads “Explicit Dam Julyans Barnes in her boke of huntying.” Her name was changed by Wynkyn de Worde to “Dame Julyans Bernes.” $3850.

The 1634 English Bible - In Period Calf Binding A Distinguished Quarto Copy 102 Bible. THE HOLY BIBLE, CONTAINING THE OLD TESTAMENT AND THE NEW. Newly Translated Out of the Original Greek and with the Former Translations Diligently Compared and Revised. By His Majesty’s Special Command. Appointed to be Read in Churches (London: Robert Barker and the Assignes of John Bill, 1634-6) Early edition with the Speed title. With a fully engraved titlepage using multiple vignettes in sections and head pieces for both the New and Old Testaments, engraved title with vignettes for the New Testament. 4to, in a handsome antique period binding of paneled calf, lettered in gilt on a red morocco lettering label on the spine, and with blind tooling between the raised bands, the covers ruled in blind. (16), 718, (2), 721-904. A handsome copy, with the antique back sometime renewed to style, corners refurbished, the endpapers renewed. Minor corner repairs, the corner of the New Testament title-page restored with some loss to the decorative border, other minor repairs; some edge wear with small losses to page numbers., some expected and minimal age mellowing to some leaves. A SCARCE ENGLISH BIBLE. The Old Testament title and the colophon at the end of the New Testament give 1635 as the date but the New Testament title gives 1636. Old owner’s names on versos of the title pages: J Hayes, born 27 June 1779 age 1824-45; Thomas Cartlidge His book November 26, 1837 Nottinghamshire; John Booth His book 1744. Herbert 942 (735), Dibdin, $2250.

Ballantyne Press’ Beautifully Printed Three-Decker Bible A Fine Production of the Private Press Movement In the Deluxe Hand-Tooled Morocco Bindings 103 [Bible, King James Bible], Illustrated; Private Press; Press Books. THE HOLY BIBLE Containing the Old and New Testament & the Apocypha. Translated Out of the Original Tongues in the Year of Our Lord MDCXI (London and Edinburgh: The Ballantyne Press, [c. 1911]) 3 volumes. A very handsome printing and a beautifully illustrated and finely bound King James Bible in appealing triple-decker format. With steel engraved frontispieces to each volume and a great profusion of lovely full-page plates throughout, reproduced in colour from paintings by various artists. Large 8vo, publisher’s original and very best bindings of full sienna morocco, the volume covers beautifully decorated, tooled and lettered in an all-over paneled arts-and-crafts style, the tooling, framing and stamping accomplished in black and in gilt, the spines gilt lettered with the panel decorations in black and the framing in gilt, marbled endpapers and t.e.g. 1472; 1230; 1374 pp. A very beautiful set in finest early 20th century private press style. The set with only very minor age evidence to the extremities and tips. FIRST EDITION OF THE PRESSING AND BINDING AND AN EXCELLENT PRODUCTION OF THE ENGLISH PRIVATE PRESS MOVEMENT OF THE EARLY 20TH CENTURY. A finely produced Bible representing the printer’s arts in the tradition of Morris, Cockerell and St. John Hornby. In the words of tThe Right Reverand The Lord Bishop of London, “Why should not the Bible be printed as well as the best of other books? That is the question answered by the present splendid edition.” The colourplates are numerous and bring to mind the fine books produced by Adam & Charles Black and Hodder & Stoughton. The Ballantyne Press has long been recognized as one of the finest in Scotland. This set is in the best of their available bindings, sets in cloth are far more common. $795.

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A Most Impressive Victorian American Bible Containing both the Authorized and Revised Versions Extensively Decorated with Thousands of Illustrations 104 [Bible], [American Bible]. THE HOLY BIBLE Containing the Authorized and the Revised Versions of the Old and New Testaments, Arranged in Parallel Columns; with Complete Concordance. A Comprehensive Bible Dictionary.... (Boston: George V. Jones, Circa 1873) “The Parallel Bible”. Extensively and beautifully illustrated with over 3000 illustrations including full colour lithographic plates, many of which burnished in gold, large steel engraved plates as well as wood engraved illustrations by Gustave Doré, illustrations throughout the text, colour maps of the biblical lands throughout historty, portraits of founders and heads of the various denominations, reformers, translators, images of ancient coins and gems, biblical items, etc., etc., etc. Large, thick folio, in the publisher’s beautifully produced binding designed to mirror the hand-bound bibles of earlier centuries while incorporating newer full Victorian design elements. The Bible is of full burgundy morocco on thick boards heavily embossed in a cross panel creating seven raised areas around the central panel. The central panel gilt lettered and decorated and each of the raised areas pictorially decorated in extensive and highly detailed gilt depicting biblical scenes, the lower cover matching the upper and the volume decorated with two large and wide silver clasps decoratively engraved and with large silver hinge and clasp pieces. The spine with richly gilt decorated compartment separated by wide and tall raised bands. Board edges and turn-ins gilt decorated, moire silk end-leaves and a.e.g. A beautiful copy, well preserved and very useable, the paper toned as expected but clean and without spots or foxing, the plates bright, the binding with just a bit of edge-wear. A MAGNIFICENT AMERICAN BIBLE. The edition contains both the authorized “King James” text and the Revised version and additionally copious pages of useful scholarly material and study aides. Additionally there are thousands of illustrations, both informative and decorative and all of this in a binding of the best Victorian style. $950.

Beautifully Bound in Full Brilliant Regency Morocco Gilt The Holy Bible - Three Volumes - 1815 With Superb Engraved Illustrations by Richard Westall 105 [Bible], [Westall, Richard, Illustrator]. THE HOLY BIBLE, Containing the Old and New Testaments, and the Apocrypha (London: For White, Cochrane, and Co., 1815) 3 volumes. A very impressive early 19th century edition illustrated with the very beautiful designs of Richard Westall, one of the most important British illustrators of the Regency period. Embellished with 30 impressive steel-engraved plates and engraved vignette title-page by Charles Heath from designs by Richard Westall Tall, think, 4tos, in superb, very impressive and unusually handsome bindings of full Regency russet morocco, the boards decorated with central gilt decorations within panels. The central decoration to the covers incorporates a beautiful and elaborate gilt motif of a finely detailed cathedral within multiple borders elegantly tooled and rolled in gilt and blind, the spines with wide raised gilt tooled bands creating compartments beautifully and fully tooled in blind , two compartments with fine gilt lettering, gilt ruled board edges and turn-ins, a.e.g. With the handsomely engraved 19th century bookplate of Doctor William Pollok of Edinburgh. An extremely fine set in beautiful contemporary full bindings, the paper is fresh and bright, the bindings in an absolutely excellent and original state of preservation. Some of the upper blank margins of the plate pages have evidence of runoff from the gilding process. A GRAND AND BEAUTIFUL ILLUSTRATED REGENCY BIBLE IN EXTREMELY FINE BINDINGS OF FULL DECORATED REGENCY MOROCCO. WITH THE SUPERB ILLUSTRATIONS OF RICHARD WESTALL. The engravings after Richard Westall, one of the two most significant illustrators in England at that time, add to the historical significance of this work. His works caused great interest in the 18th century when he was considered by his chief patron, Richard Payne Knight, to be the outstanding artist of the picturesque. He painted works in a neoclassical style for John Boydell’s Shakespeare Gallery and for Henry Fuseli’s Milton Gallery. His painting of John Milton and his daughters hangs in Sir John Soane’s Museum in London. A number of scenes in which Westall depicts events in the life of Horatio Nelson are at the Maritime Museum. The bindings are exquisite. $2450.

The Birds of California - Limited Issue- The Patron’s Edition William Leon Dawson’s Monumental Ornithology In the Deluxe Morocco With Colour Morocco Inlays 106 [Birds; California; Natural History] Dawson, William Leon. THE BIRDS OF CALIFORNIA A Complete, Scientific and Popular Account of the 580 Species and Subspecies of Birds Found in the State... (San Diego, Los Angeles and San Francisco: South Moulton Company,

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1923) 4 volumes. First edition, THE FORMAT DELUXE PATRON’S EDITION, limited to 250 copies signed and hand-numbered by the author, William Leon Dawson. This set also with Chamber’s Bibliographic Notes on Dawson’s Birds of California laid-in. Magnificently illustrated by 30 photogravures, 120 full-page duotone plates and more than 1100 half-tone cuts of birds in life, nests, eggs and favorite haunts from photographs. Together with 44 drawings in the text and a series of 110 full-page plates. Large 4tos, in the Deluxe Patron’s binding of full green morocco boldly lettered in gilt on the upper covers, the spines with multicolored pictorial morocco inlays of birds positioned between tooled bands of birds in flight, lettered in gilt within the compartments, the thick boards with beveled edges, pictorial endl-eaves decorated with birds in flight, t.e.g. A very beautiful set, near to pristine but for the lightest age mellowing. THE LIMITED PATRON’S DELUXE EDITION of Dawson’s monumental work on California birds. The author gives popular yet comprehensive descriptions of 580 species, their eggs and their habitats. Most impressively however he has lavishly illustrated them; the colourplates and drawings are chiefly by Major Allan Brooks, the photogravures and duotones are chiefly by Donald Dickey, Wright M. Pierce, William Finley and Dawson himself. This beautiful Patron’s edition was available by subscription only and involved the efforts of five major printers plus the Leather Products and Finishing Company of Los Angeles. Included with the set is W. Lee Chambers’ Bibliographic Notes on Dawson’s Birds of California, reprinted from the THE CONDOR (Vol XLI, number 6, 1939) which includes eight additional illustrations. Ayer, Ornithological Library, p. 162. Nissen, Birds 225. Wood, Vertebrate Zoology, p. 313. $3500.

Voyages and Travels - Beautiful Victorian Scene Books Featuring Plates by Bartlett and Many, Many Others - 1887 107 Colange, Leo De, Editor. VOYAGES AND TRAVELS Or Scenes in Many Lands. With Eight Hundred and Fifty Illustrations on Wood and Steel...... With Original Descriptions by the Best Authors (Boston: E. W. Walker & Co., [1887]) 2 parts in 4 volumes as issued. First Edition. With 850 illustrations on wood and steel comprising views from all parts of the world. Many being full page plates and the cuts within the text all are all exceptionally large. The books here include many tissue guarded steel engraved plates by W.H.Bartlett, folio, in the publisher’s original pale green cloth beautifully decorated and featuring pictorial vignettes in gilt, red and black on the upper covers and the spines in all-over designs, t.e.g. viii, 290; 291-576; viii, 346; 347-576 pp. Extremely handsome and well preserved, the cloth bright and vivid and the text solid, clean and fresh. Only a very minimal bit of any expected sign of age to the entire set. A BEAUTIFULLY ILLUSTRATED AND DECORATED VICTORIAN TRAVEL BOOK, FEATURING MANY ENGRAVED PLATES BY BARTLETT AND OTHERS. This is a truly fine example of the well illustrated view books of the period. The reader could enjoy the world through both image and text. Every continent but Antarctica is represented and the images range from simple rural views and people to great cities and famous landmarks both natural and man-made. $650.

The Rarely Encountered First Edition - 1820-1825 Lavishly Illustrated Throughout - Super Folio - Three Volumes Voyages Pittoresques et Romantiques dans L’Ancienne France 108 [Didot Printer] Taylor J., Nodier, Charles, De Cailleux, A., [France; Normandy]. Voyages Pittoresques et Romantiques dans l’Ancienne France Par MM. Ch. Nodier, J. Taylor et Alph. De Cailleux [NORMANDIE] (Paris: P. Didot L’Ainé, chevalier de l ordre Royal de Saint Michel, imprimeur du Roi, 1820, 1825) Two volumes bound as three. First edition. A copy with fine provenance being the Baron Northwick copy. Volume I Illustrated with 16 fine engraved vignettes to the chapters and 85 lithographs, with a number being in two states; Volume II with 21 engraved vignettes to the chapters and 101 lithographs on 100 plates. The first volume with illustrations of Louviers, the Château of Robert le Diable, Jumièges, Caudebec, the Abbey of St Wandrille, the Château d’Harcourt, Lillebonne, the Château de Tancarville, Harfleur, the Port of Havre, Graville, Montivilliers, Fécamp, Dieppe, the Château d’Arques; the second volume with illustrations among others of the cities of Eu, the Tréport, the Manoir d’Ango, Aumale, Gournay, St Georges de Bocherville, Rouen, Darnetal, Léry, Château Gaillard, les Andelys, Gisors, Vernon, Gaillon., Mortemer, Evreux etc. etc. Super Folio, in contemporary three-quarter tan russia over marbled boards, the spines lettered in gilt. (8, including the title-page with the medallion of Rollon, first Duke of Normandy), 131 including the table of the artists; (with the title-page vignette and the Fragonard engraving), 190 including the table of the artists, the list of subscribers and supplemental list of subscribers, pp. a well preserved copy internally with some of the inevitable foxing to which the volumes are prone, the bindings with some wear or rubbing and some cracking to the hinges. All in all, a very decent set of this important and extravagantly illustrated work. RARE FIRST EDITION OF WHAT IS STILL CONSIDERED TO BE THE MOST IMPORTANT AND MOST LAVISHLY ILLUSTRATED WORK ON NORMANDY AND ONE OF THE GREAT ILLUSTRATED FRENCH BOOKS OF THE 19TH CENTURY. ‘John Rushout, 2nd Baron Northwick (16 February 1770-20 January 1859) was an English peer, landowner and collector of art works.

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He was born at St James’, Westminster, London and was educated at Neuchâtel in Switzerland. In 1790 he visited Italy and while touring the continent became friends with many eminent men including Edward Gibbon, Horatio Nelson, Sir William Hamilton and his wife Emma Hamilton, Richard Payne Knight, and the Italian artists Antonio Canova, and Vicenzo Camuccini. While he was living at the Bay of Palermo the HMS Vanguard was stranded there, and as a result he was the first man in Europe to receive the news of the victory of the Battle of the Nile, hearing it from Nelson himself. He was also party to a less glorious incident of Nelson’s career, as he was at Nelson’s table in the flagship when a gun announced the execution of Caraccioli. Rushout developed a love of antique art from Sir William Hamilton and with Hamilton and Payne Knight purchased several collections of coins and other works of art. His art collection was to include paintings by contemporary artists as well as Old Masters, miniatures, enamels prints, coins and other collectable items. He returned from Italy in 1800 when, on the death of his father, he succeeded to the titles of 6th Baronet Rushout, of Milnst and 2nd Baron Northwick. He became a Fellow of the Society of Antiquaries (F.S.A.) in 1800. In 1832 he built a gallery for his collection at Northwick Park, near Moreton-in-Marsh, Gloucestershire, but this became too small. Northwick was a landowner behind many property developments in Cheltenham and purchased Thirlestane House there to allow access to any art lovers who wanted to admire his collection. He also had a gallery at Connaught Place in London, which he sold with its contents in 1838. He died at Northwick Park in 1859 aged eighty-eight.’ Wikipedia $3500.

Doré’s Magnificent Bible - Super Folio - Edition De Luxe Two Volumes In the Superb Original Bindings Gilt Extra With Spectacular Illustrations - Rare in this State 109 [Doré, Gustav. Illus]. THE HOLY BIBLE containing the Old and New Testaments, according to the Authorised Version. With illustrations by Gustav Doré. (London: Cassell and Company, Limited, [c. 1875]) 2 volumes. The Edition De Luxe. The best edition in the best bindings. This was a special issue of only 485 hand-numbered copies. With 220 full page engravings by Gustave Doré. Super Folio, publisher’s best bindings of full rich dark brownblack morocco gilt, covers with ornate blind tooled and gilt rolled borders and elaborate gilt designs in arabesque patterns across the entirety of both covers, spines with raised bands and gilt lettering in two compartments, elaborate gilt tooled decorations in the other compartments, turn-ins gilt tooled, marbled endleaves, a.e.g. [12], 968; iv, 969-1116, 188, 318. A beautiful and outstanding set of this great Doré creation in its most exemplary format. The volumes are clean and bright in the very best binding. The binding extremely handsome with just a touch of nearly invisible and highly expert restoration along the hinges as is often the case due to the massive text blocks. RARE LIMITED EDITION AND THE SUPER FOLIO PRINTING IN THE MOST DELUXE BINDING ISSUED. One of the most magnificent of the Doré illustrated books. A huge testament to Doré’s talent and a most impressive set in size and scope. These books are not commonly found in such condition due to the stress caused by the bulk of the text, but this copy is nearly as mint, and pristine, bright and solid as the day it was made and surely as beautiful a copy as one can possibly hope to find. $4950.

A Scarce and Impressive Title in the Dorè Oeuvre Spain - With Over 230 Fine Engravings In Beautifully Decorated Original Red Cloth 110 [Dorè, Illus] D’Avillier, The Baron Ch. SPAIN Translated by J. Thomson, F.R.G.S. (London: Bickers and Son, 1881) A very early printing of this scare title in the Dorè oeuvre. With 111 full page engraved plates and 123 engravings with in the text, many of which are very large, all by Gustave Dorè. Folio, in the publisher’s original red cloth, the upper board lettered and decorated in an all-over design featuring Arabesque architectural elements, trees and birds in fountain magnificently rendered in gilt and black, the spine lettered and decorated in an all-over design of similar motif in gilt and black. xiii, 520pp. A very beautiful copy, solid and firm which is unusual for this title due to the massive text block, the paper fresh and free of the commonly found foxing but for a few tiny spots at the prelims only, the cloth bright and fresh and only slightly mellowed at the spine. ONE OF THE SCARCEST OF GUSTAVE DORÉ’S MAGNIFICENT ILLUSTRATED BOOKS. It is vastly decorated with over 230 of his impressive engravings. While many such books of the period would have been content with only providing views of landscapes, scenery and landmarks, Dorè also provides us with vivid glimpses into the life, work and recreation of the people. Of especial note are views of the Alhambra, flamingo hunting, bull fighting, musicians, dancers and beggars. Serving as a perfect complement to the illustrations is the text by Baron D’Avillier. Dorè and D’Avillier toured Spain extensively together for the express purpose of producing this book. It was a long tour, and the seem certainly to have made good use of their time. The two gentlemen seem to have seen, and then reproduced here in words and pictures, nearly everything worth seeing. $1250.

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Pristine in Original Dust Wrapper and Publisher’s Box The Egyptian Book of the Dead - A Superb Folio Printing With 99 Plates Reproducing the Turin and Louvre Papyri A Wonderful Copy - 1895 - Davis’ Important Translation 111 [Egyptology; Egyptian Book of the Dead]; Davis, Charles H. S. M.D., PH.D. THE EGYPTIAN BOOK OF THE DEAD The Most Ancient and Most Important of the Extant Religious Text of Ancient Egypt. Edited, With Introduction, A Complete Translation and Various Chapters on Its History, Symbolism, Etc., Etc. (New York and London: G.P. Putnam’s Son at the Knickerbocker Press, 1895) First Edition, 1895 title-page. With 99 plates, several of which are folding, reproduced in facsimile from the Turin Papyrus and the Louvre Papyrus, additional illustrations within the text. Folio, publisher’s original green cloth, the upper cover boldly lettered in gilt and decorated with a papyrus facsimile in earthen gray and dark brown, the spine lettered in gilt, IN THE VERY RARE ORIGINAL DUSTJACKET AND PUBLISHER’S BOX of red paper covered boards retaining the original printed paper title label. 186pp, plates. An as mint, extraordinary copy, the book pristine, the very rare dustjacket with virtually no evidence of use or wear, absolutely complete, the very rarely seen protective box with some wear but still present and serving its original purpose. AN ABSOLUTELY EXCEPTIONAL COPY OF THE VERY SCARCE FIRST EDITION, A BEAUTIFUL BOOK, THE ONLY COPY WE KNOW OF WITH THE DUSTJACKET AND PUBLISHER’S BOX RETAINED. We can safely say there is no finer copy available. In this impressive work 20 plates reproduce the text of the Hieratic Ritual from the Louvre Papyrus, the remaining 79 plates are from the Turin Papyrus. Davis’ important translation is from Pierret’s “Livre Des Morts” but including important new introductory material on the Egyptian Pantheon, the mythology and religion of Ancient Egypt and those of more primitive peoples. The Book of the Dead brings to light today the belief of the ancient Egyptians that these chapters would give the deceased the power to have and to enjoy life everlasting, to give everything that would be required in the life beyond the grave, to ensure victory over foes, the power to go wherever, and the guarantee of preservation of the mummy intact and finally, to enable the soul to enter into the bark of Ra or into the abode of the blessed that had been conceived for the deceased. $2850.

The Great Herbal of John Gerarde - In Contemporary Calf A Very Fine Copy With Over 1800 Fine Woodcut Engravings Published in London - 1633 - The Best of the Editions 112 Gerarde, John. THE HERBALL OR GENERAL HISTORIE OF PLANTES. Gathered by John Gerarde of London Master in Chirvrgerie, Very Much Enlarged by Thomas Johnson Citizen and Apothecarye of London (London: Printed by Adam J. Slip et al, 1633) The scarce second edition, which is the first edited, greatly enlarged and corrected by Thomas Johnson. With engraved allegorical title-page by John Payne and with nearly 2800 woodcut illustrations throughout text. Folio, a superb, very large copy in a very handsome contemporary full calf binding, the boards with multiple ruled line borders, at some time expertly refurbished at the spine in perfect period style with tall, thick, raised bands ruled in blind, dark brown morocco label in one compartment gilt ruled and lettered. [xxxiv], 1631, index, table and errata. An extremely handsome copy of this scarce book, the antique covers with some minor expert refurbishment. Internally very fresh, crisp and clean, and with only very insignificant occasional evidence of age, one leaf of the table and final errata leaf with minor paper repairs not affecting the text. AN UNUSUALLY FINE AND TRULY EXCELLENT COPY OF THIS HIGHLY IMPORTANT PRINTING. A RARELY ENCOUNTERED COMPLETE COPY IN CONTEMPORARY BINDING of the great herbal of Gerarde, one of the finest and most important botanical works printed. John Gerarde served for some time as Master of the Barber-Surgeons company and was considered one of England’s finest Herbalist. The title “Herbalist to James I’ appeared on many of his papers. Among his chief accomplishments was the establishment of a medicinal garden for the BarberSurgeons but it was his great herbal which made his name a household word. In December of 1597 appeared the first folio volume of the herbal. The work contained more then 1800 woodcuts. Along with the more specific information such as names, genus and usage, it also gave the locations to hunt for scarce plants in England and, although primarily a scientific endeavor, it also included much folklore. The edition of 1633 was the first to be edited, enlarged and corrected by Thomas Johnson and was a tremendous success. This edition is essentially a reprint, word for word, issued only 3 years later. Johnson’s edition is considered a great improvement over the original, being half again as large as the original and in every way a superior printing. Johnson’s edition brings the number of plants described to over 2800 with more then 2700 being illustrated. Interestingly, this edition was of special importance in the New World. Far from the medical science of civilized Europe, the early American colonist had been forced to come up with a medical science all their own. This work, plus the herbal knowledge of the indigenous peoples, was the primary basis for early American medical studies. So important was it that the genus Gerardia was named for Gerard and of its 30 or so species most are North American.

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In our century, medical science has advanced to a degree Gerard could only have dreamed of, but it is just beginning to rediscover the value of botanicals in health care. The scientific groundwork established by Gerard over 400 years ago is once again of interest and importance. Gerarde’s was “the best-known and most often quoted herbal in the English language. Its lasting repute is due not so much to its originality and accuracy, which are ofttimes questionable, as to its entertaining Elizabethan descriptive style, its interspersed anecdotes and comments, and antique remedies, and its woodcuts” (DSB).The apothecary Thomas Johnson was commissioned to revise Gerarde’s original book within one year, a task he accomplished with marked success, adding a balanced and comprehensive historical introduction, and a set of 2766 woodcuts, several hundred more than previously. His revised edition appeared in 1633, and this third edition three years later. “The care bestowed by Johnson in correcting what Raven calls ‘the errors of Gerard’s book, the misplaced pictures, the confused species, the blunders of fact’ and in adding much new material made his edition...a popular and standard work, which proved of especial value in promoting the study of the British flora well into the eighteenth century” (DSB). In our century, medical science has advanced to a degree Gerard could only have dreamed of, but it is just beginning to rediscover the value of botanicals in health care. The scientific groundwork established by Gerard over 400 years ago is once again of interest and importance. Please Inquire.

A Leaf from the “King James” Bible The Book of Psalms X - XVII From The Editio Princeps of the Famed 1611 Bible 113 [King James Bible], [1611 Bible]. A LEAF FROM THE 1611 KING JAMES BIBLE, a Leaf From Psalms containing part of Psalm X, all of Psalms XI, XII, XIII, XIV, XV, XVI and part of XVII ([London: Robert Barker, 1611]) A single leaf from the First Edition or the Editio Princeps of the King James’ Bible. Printed double-column with headlines and chapter lines, this leaf with six fine five line ornamental capital initials, text within woodcut rules, in both gothic and roman letter. Royal Folio, single leaf. A very fine and well preserved leaf with no staining or wear whatsoever. A large leaf showing the original stab marks for sewing from the original time of binding. A LEAF IN PERFECT CONDITION FROM THE BOOK OF PSALMS FROM THE EDITIO PRINCEPS OF KING JAMES’ BIBLE, COMMONLY KNOWN AS THE ‘AUTHORIZED’ VERSION, A LANDMARK OF PRINTING AND THE MOST FAMOUS OF ALL ENGLISH BIBLES. The King James Bible was described by W. A. Jackson as “perhaps the single most important influence upon the development of English prose style.” It was royally commissioned, in the hopes of reconciling or ameliorating the conflicts between the Bishop’s Bible, officially read in services, and the Geneva Bible, much more popular among the laity, but mistrusted within much of the Church hierarchy as being aggressively radical, especially in its annotations. $550.

Sir Isaac Newton’s Principia Mathematica - 1713 The Great Monument to Human Intelligence A Foundation Stone to All of Modern Science 114 [Newton, Isaac]. PHILOSOPHIÆ NATURALIS PRINCIPIA MATHEMATICA Auctore Isaaco Newtono, Equite Aurato. Edition Secunda Auctior et Emendatior (Cambridge: (University Press), 1713) The second edition, the first to include the General Scholium in which Newton gives a general resume of the work. One of about 750 copies printed, of which 250 were sent to Holland and France. Engraved vignette on title, one folding engraved plate, and numerous woodcut diagrams and illustrations in the text. Large 4to, bound in full English contemporary polished calf, the spine fully gilt and very handsome, morocco lettering label gilt, compartments handsomely gilt between raised bands of the spine. 14 leaves, 484, [8]. A very handsome copy, the back expertly and exquisitely restored to style, title with usual offset from binding turn-ins in fore-margin, foremargin of title very slightly frayed, small neat repair to upper inner corner of title. ONE OF THE GREATEST BOOKS EVER PENNED, AND A FOUNDATION OF ALL MODERN SCIENCE. THE CORNERSTONE TREATISE ON DYNAMICS AND GRAVITATION, “THE MOST INFLUENTIAL SCIENTIFIC PUBLICATION OF THE 17TH CENTURY” (Horblit) A pleasing and handsome copy of the PRINCIPIA. “Richard Bentley, Master of Trinity College, was instrumental in bringing out this second edition, which was edited by Roger Cotes, F.R.S. In his important preface, Cotes attacks the Cartesian philosophy then still in vogue in the universities, and refutes an assertion that Newton’s theory of attraction is a causa occulta. It contains a second preface by Newton and considerable additions, the chapters on the lunar theory and the theory of comets being much enlarged” (- Babson 12). Newton, in the PRINCIPIA, stated the three laws of motion that establish the relationship of mass, force, and direction; he also discussed the

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movement of bodies through gases and liquids, and defined mass and force and the corpuscular theory of light. But most importantly, he established the principal of universal gravitation and the motion of the planets. “Copernicus, Newton, and Einstein are the three corner-stones of our conception of the universe. Few could grasp Newton’s reasoning at the time, and his fame was spread on the Continent by Voltaire’s ELEMENS DE LA PHILOSOPHIE DE NEUTON, 1738” (PMM). Roger Cotes, 1682-1716, “was not only able enough to see where Principia could be improved, but also able to criticise Newton and correct his errors without ever antagonising him - no mean feat ... [Cotes’s Preface contains] a strong attack against Cartesian physics in general and the vortex theory of planetary motion in particular ... The most significant feature remains the number of changes introduced into this edition [including] the propositions on the resistance of fluids, the lunar theory, the procession of the equinoxes, the theory of comets ... On [Cotes’s] death Newton bestowed on him the tribute he had denied him in his life: if he had lived we might have known something”. Wallis 8: see PMM, Horblit Dibner &c. for the first edition. $35000.

Sir Walter Raleigh - The History of the World - 1736 A Handsome Folio Set with Plates and Maps A Rare Offering in Contemporary Calf Bindings 115 Raleigh, Sir Walter. THE HISTORY OF THE WORLD, In Five Books. To Which is Prefix’d, The Life of the Author, Newly Comil’d, From Materials more ample and authentick than have yet been published; By Mr. Oldys. Also his Trial, with some Additions: Together with A new and more copious Index to the whole Work. (London: for G. Conyers, J.J. and P. Knapton, D. Midwinter, A. Bettesworth and C. Hitch et.al., 1736) 2 volumes. A very early edition, printed from a copy revised by the author himself, and the First Edition to include the Life and Trial of Raleigh by Mr. Oldys. Engraved frontispiece of Raleigh, title-pages in red and black, six finely engraved double-page maps, 2 double-page engraved plates, a chronological table, finely engraved head and tail pieces, engraved and decorated capital letters. Folio, handsomely bound in full contemporary paneled calf, the spines divided into seven compartments separated by raised bands on comportment with black morocco labels lettered in gilt. Engraved frontispiece, Title-page to Vol. 1; ccxxii (The Life of Raleigh) - ccl (The Trial), (7) Authors Cited, (1) ads, xxxii (Preface), (24) Contents, 370; Title-Page to Vol. 2, (371)-817, (2) To the Reader, (26) A Chronological Table, (19) Index. An exceptional copy, the text essentially pristine, bright and fresh and unpressed, the bindings very handsome, the backs sometime restored to perfect style and preserving the original morocco labels, a most handsome and proper set, as fine as one could wish for. FINE ANTIQUARIAN FOLIO PRINTING AND THE BEST EDITION OF THIS CLASSIC WORK, BEAUTIFULLY ILLUSTRATED WITH ENGRAVED MAPS AND DOUBLE-PAGE PLATES. These are the only books published of the massive history Raleigh planned and begun while the author was imprisoned in the Tower of London after the accession of James I. Raleigh was one of the principal figures of the English Renaissance. As well as being a poet of wide repute and a successful soldier, he was one of the earliest explorers of the New World (one of its cities still bears his name). This ambitious book, which Raleigh worked on with the help of several assistants, ostensibly deals with Greek, Egyptian, and biblical history up to 168 B.C., but the preface summarizes modern European history and represents one of the earliest English views of the world and its history. It has become a classic of English Renassaince literature. This edition of 1736 was the first to include the Life and Trial of Raleigh by Mr. Oldys. $5500.

A Handsome Printing of the Torah - The Five Books of Moses In a Beautiful Custom Binding of Full Red Morocco 116 [Torah; Bible; Five Books of Moses], [Fine Binding]. THE TORAH [‫ ]הרות‬The Five Books of Moses. A New Translation of The Holy Scriptures According to the Masoretic Text First Selection (Philadelphia: The Jewish Publication Society of America, 1962) First edition, fourth impression. Large 8vo, in a beautiful and fine binding of full red crushed morocco, the boards framed in gilt with a double gilt fillet rules, the spine with gilt stippled raised bands forming gilt framed compartments, one with bold gilt lettering, the board edges gilt ruled and with fine and ornate gilt tooling on the turn-ins, finely marbled end-papers and all edges gilt. [xiv], 393, 10 pages for notes. A fine and beautiful copy, all pristine and as new. A BEAUTIFULLY PRODUCED AND WONDERFULLY BOUND TORAH. The Jewish Publication Society was founded in 1888. Their legacy includes two acclaimed translations of the Hebrew Bible, esteemed biblical commentary, and over 120 years of scholarly and popular works of history, philosophy, and literature that have stood the test of time. $350.

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With Very Fine Maps of Japan and Africa 1726 - Valentyn’s Oud en Nieuw Oost-Indien Folio - 20 Superb Engravings - Printed in the Netherlands 117 Valentyn, Francois. OUD EN NIEUW OOST-INDIEN. BERSCHRYVING VAN’T NEDERLANSH COMPTOIR OP DE KUFT VAN MALABAR, EN VAN ONZEN HANDEL IN JAPAN, MITSGADERS EEN BESCHRYVING VAN KAAP DER GOEDE HOOPE EN’T ELAN MAURITIUS. (Dordrecht & Amsterdam: Joannes Van Braam & Gerard Onder de Linden, 1726) Volume 5, Part 2. First Edition. With all plates present and ‘Directions to the Binder’ at end. Illustrated with 7 folding plates, 4 full page plates and 9 plates within text, all very finely engraved. The Cape of Good Hope section occupies 170 pages including 7 maps and 11 copper plates. Folio, contemporary embossed vellum, raised edges, leather lettering label gilt titles on the spine, speckled edges. 116, 160, (36 pages), 2 pages misnumbered. Vellum missing from front cover, backstrip defective, internally very fine, very crisp and clean and bright, nearly pristine, plates in excellent condition, highly unusual thus. “One of the most important and comprehensive works on the East. It deals with the Dutch commerce in the Indies, as well as the natural history and the history of the places described. Sometimes called the Encyclopedia of the Dutch Indies, this volumes deals with Malabar, Japan Cape of Good Hope and Mauritius. Valentyn visited the cape in 1685, 1695, 1705, and 1714; he was supplied by the government with a great amount of information, including charts and copies of several important documents. Using this as a basis he added to it from personal observation and from communications, oral and written, from many of the principal residents of the colony.” ‘The description of Japan occupies 166 pages in the volume with the very fine large folding map of Japan and two additional engravings while the description of the Cape of Good Hope occupies 170 pages including 7 maps and 11 copper plates, “worked into an admirable description of the country.”’ Plates Map of Japan (p.3) folding 1/2 page plate Cooies and Sedan Chair p. 98 1/2 page plate Coolies and Sedan Chair p. 136 Folding map of the Cape of Good Hope p. 2 Folding map of Table Bay p. 5 Folding plan of Cape Town and Mountain p. 7 Folding view of Cape Town - Gezich van Kaap p. 10 Folding plan of Companies Garden p. 29 1/2 page plate of Natives with Lion p. 98 Full page plate of Hottentots p. 112 1/2 page plate of Zebra p. 114 2 plates of birds (ostrich and flamingo) p. 115 1/2 page plate River in Madagascar p. 145 Full page map of island Anzuary p. 148 1/2 page plate Natives on Madagascar p. 149 1/2 page plate Houses Settlement p. 150 Folding map of Mauritius p. 151 1/2 page plate fort on Mauritius p. 151 1/2 page plate view of Harbor Maruritius p. 152 1/2 page plate Fort Frederick Hendrik Mauritius p. 153 $6250.

Item 116.

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Select Index of Authors, Illustrators and Printers Abbott, Edwin Abbott 47 Aldrich, Thomas Bailey 8,  26 Andersen, Hans 43, colour insert Arion Press 47 Ashendene Press 9,  47 Ayrton, Michael 14 Ballantyne Press 48 Barrie, J.M. 44 Barrymore, Lionel 30 Berners, Juliana 47 Beardsley, Aubrey colour insert Berry, Wendell 9 Bible 48,  49,  51,  53, colour insert Bible, Manuscript 29 Bibliophile Society 21 Birds 49, colour insert Blake, William 9,  10 Boccaccio, Giovanni 10 Bonet, Paul. Binding colour insert Book of the Dead 52 Boyd, James 46 Bradbury, Ray 47 Bürger, Gottfried 14 Burton, Sir Richard Francis 3, 24, colour insert Caxton Club 10 Chagall, Marc 34 Cockerell, Sidney 27 Coleridge, Samuel Taylor 13,  19,  45 Cosway Style Binding 10 Dante Alighieri 11,  13 Da Vinci, Leonardo 34 Davis, Charles H. 52 Dawson, William Leon 49 Defoe, Daniel 12 Detmold, Edward J. 24 Dickens, Charles 1,  12,  20 Didot Printer 50 Doré, Gustav 12,  13,  14,  35,  51, colour insert Dryden, John 14 Dulac, Edmund 35,  37 Edwards of Halifax 36 Edwards, William and Thomas 36 Egyptology 52 Elgood, George S. 37 Ethiopian Manuscript 24 Euripides 14 Fitzgerald, F. Scott 15 Fontaine, Jean La 14 Fore-Edge Painting 36 Frost, Robert 15 Gerarde, John 52 Goldsmith, Oliver 16 Grimm, Brothers 43 Hawthorne, Nathaniel 16 (617) 536-4433

Hemingway, Ernest 7,  25,  26 Hugo, Victor 16 Illuminated Manuscript 8 Indians, American colour insert Japan 55 Jefferson, Thomas 27 Jekyll, Gertrude 37 Johnson, Arthur (Binder) 35 Johnson, Samuel   17, colour insert Johnson, Thomas 52 Joyce, James 4,  17,  18 Kelmscott Press 19,  27 Kennedy, John F. 9,  28 Koran (see also Qur'an) 28 Le Mair, H. Willebeek 38 Limited Editions Club 14,  23 Livingstone, David 29 Malory, Thomas colour insert Mayer, Louis 30 Milne, A.A. 38 Milton, John 13,  30 Miró, Joan 39 Morris, William 19 Na-Haub, Siuol 8 Native Americans colour insert Newton, Isaac 6,  53 Nielsen, Kay 30,  39, colour insert Palladio, Andrea 2,  40,  41 Parrish, Maxfield 42 Picasso, Pablo 42 Pogany, Willy 19 Pyle, Howard 43 Qur’an (see also Koran) 28 Rackham, Arthur 1,  20,  43,  44 Raleigh, Sir Walter 54 Riccardi Pres 10 Rodin, Augueste 35 Rusconi, Giovanni 44 Scamozzi, Vincenzo 45 Shahn, Ben 9 Shakespeare, William 10,  20, colour insert Shepard, E.H. 38 Spenser, Edmund 9 Square, A. 47 Stanley, Henry M. 31 Styron, William 21 Tassos, A. 23 Tennyson, Alfred Lord 12 Thoreau, Henry David 7,  21,  31 Tolkien, J.R.R. 8,  31,  32 Torah 54 Toulouse-Lautrec 45 Twain, Mark 22,  33 Valentyn, Francois 55 Van Gogh, Vincent 46 Verne, Jules 33 Vinci, Leonardo Da 34 Vollard, Ambroise 42

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Wagner, Richard 20 Walpole, Horace 36 Ware, Isaac 2,  40 Warner, Charles Dudley 33 Wells, H. G. 33 Westall, Richard 49 Wharton, Edith 42 Whitman, Walt 5,  23 Wyeth, Andrew 46 Wyeth, N.C. 46 Xenophon 23 Zaehnsdorf, Joseph W. 34

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