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Seller: NUDEL BOOKS, New York, NY, U.S.A.
First Edition
Hardcover. Condition: Good. 1st Edition. One of the most important & eclectic private libraries & collections in America, circa 20 to 30 thousand items (who's counting) books, my manuscripts & others, (copy rights are a separate issue,) art, photos,my internet writing, dust & dreams included. The life work of the legendary exile deep under the underground Jewish-American poet/artist who has spent almost 50 yrs eating thru the endless intestines of the SOHO beast. Among his raft of accomplishments: he's most proud that he has never read at St Marks, taught at Naropa OR read to a Jazz background, He is the last true poet of the beat generation sz Ted Joans the Pope of the beats. Much material of&on the NUDEL BOOKS CIRCLE (this naming is purely descriptive and neither implies or makes the claim that NDL is at the center of this circle.) Housed in two Manhattan condo apartments (one overlooking De Koonings studio & one staring at the Empire State, one loft, on the most expensive commercial block in Soho, thus NYC, thus USA thus THE WORLD, & three separate storage spaces, with at least one hundred boxes of material unsorted for decades. We will only sell to a private buyer who will donate the collection to the HEBREW UNIVERSITY IN JERUSALEM (will fit neatly between the Einstein and Kafka Papers) Hebrew U. can then donate or work with other institutions to share & exhibit the collection. We will be available with a doctorate and 50 yrs experience to affirm for tax purposes that the collection is severely under valued.Serious inquiries only, no discounts, no haggling. Moved by buyer who will provide funds for support. At least a quarter of the proceeds will be donated to Israeli causes, promoting the integration of African Jews into Israeli Society,support for lone soldiers in the IDF, collaborative, non political po art projects between Muslim & Jewish Israelis. The NDL CRCL encompasses in small part:Lori,Lorraine Reinstein, Steve Dalachinky, Erik La Prade, Bob Creeley, Ted Joans, Robert Frank.Tuli Kupferberg, Clayton Patterson, Kyle Void, Jonas Mekas, Alan Kaufman,Gerard Malanga, Robert Quine, Tram Coombs, Charles Henri Ford, Ed Clark, David Hammons, Jonathan Demme, Nam Jun Paik,David Matlin, Adam Davis, Jack Micheline,Jackie Brookner, Paul Morrissey, Jaap Reitman, Adnan Sirhan, Gait Froge, Thurston Moore,Etan Patz, Richard Hell, Buddy Wirtschafter, George Whitman,Carter Burden, Paul Blackburn, John Logan, Richard Foreman & Kate Manheim, June Leaf,Susan Sontag,Adrian Piper, Erica Jong.Simone Forti, Arlene & Jessica Jordan, Julie Garfield,Maggie Newman Thelma Blitz, Raschid Ali, , D.J.Spooky, Matt Shipp, Charles Gayle,James 'Blood' Ulmer, John Farris & & in absentia the spirits of Margaret Bonds & Langston Hughes. The perfect adjunct to the Morgan Library for the Soho Generation, for the Tenement Museum on how later immigrants lived & altered Industrial Loft Space, for the Grolier Club: collecting on a short shoe string, for the Tel Aviv Museum of art for the diasporic Yid post holocaust experience, for the German National Lib. & its exile collection, for the Schomburg Center & The Studio Museum on the interaction of Jews/Blacks during SOHO'S go go yrs, for the Jewish Museum, Yid Peddlars:ART&PO, Tuli/Dalachinsky/NDL, for The Museum of the City of NY, Street vs Castelli: street artists NDL TO HMMNS to SAMO, the Soho yrs. This last will&testament is not an encomium NDL ( born 75 yrs ago 40 miles from Auschwitz in a D.P. 'lager') but for those Polish Jews, my mother, father, uncle & aunts, grand mother, grand father & their friends( those who survived the Siberian Death Labor Camps & those who didn't )without whose unrelenting hard work, courage and determination, & hope for the American Future, none of this collection would have been possible (credit card,check, paypal or cash) Easily the most important modern poets library in existe.
Unknown Binding. Condition: 1999 Book Club Edition. Hardba. Is for Outlaw [Hardcover] Sue Grafton.
Condition: Near fine. Paul McCartney's handwritten, working manuscript (as Beatle) for "Lovely Rita," from the album Sgt. Pepper's Lonely Hearts Club Band. the most famous album in the entire panorama of modern music. This is the very first (rough) draft, 10 lines (in ink), all in Paul's handwriting and all written on a single side of an irregular scrap of lined paper (7 1/2" X 5") torn from a spiral notebook. 7 lines in black are Paul's first concept. 3 lines of changes have been added later in blue, such as, "writing all the numbers in her little black book" changed to "filling in a ticket with her little blue pen" and still later recorded as "filling in a ticket in her little white book." Near fine condition. Lavishly matted, and framed with a full size, uncorrected, 1st state proof photograph of the album cover, varying in that McCartney is kneeling, the band instruments have been passed around, and 2 people are among the onlookers who would not sign releases, and therefore did not appear on the published album. Ex-Butterfield's, Dec. 12, 1993. Rare. Icon time. Beatles manuscripts from Sargent Pepper held all the rock & roll world records until Bob Dylan's Like a Rolling Stone sold at auction for $2,000,000 in 2014. But it's been a while now and another Sgt. Pepper manuscript will take the record back eventually and someday soon the only way to see one will be in a museum, at the end of a long line, behind velvet ropes. The last authentic Sgt. Pepper manuscript at auction (A Day in the Life, admittedly a greater song), sold for $1,202,500 at Sotheby's in 2010. The last real McCartney manuscript of a Beatles song at auction was an abridged, later, fair copy of 10 condensed lines from Hey Jude that he wrote out to be used as a key by a backup musician at a recording session ($910,000 at Julian's in 2020) and that one, in contrast to ours, was not a working manuscript carrying his thoughts, inner debates, and changes.
Publication Date: 1981
ISBN 10: 8402084508ISBN 13: 9788402084507
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by 41 Maitland Park Road, London, 1. X. 1879., 1879
Seller: Antiquariat INLIBRIS Gilhofer Nfg. GmbH, Vienna, A, Austria
Manuscript / Paper Collectible
8vo. ½ page on laid paper, torn from a notebook, watermark "Joyn[son] Super[fine]". Measures 181:114 mm. Unpublished letter to the Chartist and radical freethinker Collet Dobson Collet (1812-98), in English: "My dear Sir, On my return from the seaside I found your letter d.d. 23 September. You will much oblige me by being so kind as to forward me some of the copies of the 'Revelations', as I have none left. Yours very truly [.]". - In very good condition, with intersecting folds, moderate wrinkling and a few creases; the sheet is bright, the writing dark, precise, and easily legible in spite of Marx's distinctively minute hand. - Marx was a close friend of the Collet family, which included the pioneering feminist activist Sophia Dobson Collet, social reformer Clara Collet, and the recipient of this letter, the editor of "The Free Press: A Diplomatic Review", to which Marx contributed a number of articles. The men became good friends and soon held weekly meetings at each other's houses to recite Shakespeare. The assembled group, which was formally coined as the Dogberry Club, included Marx's daughter Eleanor and Collet's daughter Clara, as well as Edward Rose, Dollie Radford, Sir Henry Juta, and Friedrich Engels. The publication to which Marx alludes, "Revelations of the Diplomatic History of the 18th Century", was originally serialized in the "Free Press" from August 1856 to April 1857. - Not in: Marx/Engels, Werke vol. 34 (Briefe Januar 1875 - Dezember 1880).
Published by D. Pierres/Pissot, Pere & Fils, Libraries, Paris, 1783
Seller: Raptis Rare Books, Palm Beach, FL, U.S.A.
First Edition Signed
First French edition of the Constitution of the United States of America, inscribed by Founding Father Benjamin Franklin who had the translation published and personally distributed each of the 600 copies produced. Octavo, bound in one quarter calf with gilt ruling to the spine, burgundy morocco spine label lettered in gilt. Presentation copy, inscribed by Benjamin Franklin on the front free endpaper, "A Madame, Madame la Presidente de Manieres [sic] de la parte du. B. Franklin." The recipient, Madame Durey de Meinires was a a French writer best known for her translations of Samuel Johnson, David Hume, and Sarah Fielding. On March 24th, 1783, Franklin wrote to the Comte de Vergennes, "I am desirous of printing a translation of the Constitutions of the United States of America, published at Philadelphia, by Order of Congress. Several of these Constitutions have already appeared in the English and American newspapers but there has never yet been a complete translation of them." At Franklin's suggestion, the Duc de La Rochefoucault produced the first French translation, and FranklinÂis believed to have contributed the fifty-plus footnotes.ÂFranklin had 600 copies of Constitutions des Treize Etats-Unis de l'Amerique privately printed by Philippe-Denis Pierres, first printer ordinary of Louis XVI, which were not made available for sale. Franklin distributed them himself, and was happy to fulfill the request of Madame Durey de Meinires, who wished to receive a copy. On August 31, 1783, Franklin sent a copy of the newly published volume to Madame Durey de Meinires, along with a letter, "I send with great Pleasure the Constitutions of America to my dear & much respected Neighbour, being happy to have any thing in my Power to give that she will do me the honour to accept, and that may be agreeable to her." The inscribed page included in the present volume was previously sold as a loose flyleaf by Charles Hamilton in 1959, and it has since been professionally tipped into an edition of the book with which it was originally sent. The book contains the Constitutions of each of the thirteen States of America, the Declaration of Independence of the 4th of July 1776, the Friendship and Commerce Treaty, the Alliance Treaty between France and the United States, as well as the treaties between the United States and the Netherlands and Sweden. The title page contains the first appearance of imprint of the United States seal in a book. Franklin's grand gesture in publishing and distributing these constitutionsâ about which there was intense interest and curiosity among statesmenâ was one of his chief achievements as a propagandist for the new American republic. In good condition. Benjamin Franklin earned the title of "The First American" for his early and indefatigable campaigning for colonial unity, initially as an author and spokesman in London for several colonies. As the first United States Ambassador to France, he exemplified the emerging American nation. Franklinâ s contributions to science and politics were immense and his passion for making books more available to a broader audience prompted him to establish North Americaâ s first subscription library. In 1731, Franklin convinced the members of his Junto (a mutual improvement club he founded) to pool their money to purchase books they would collectively share. The collection became the Library Company of Philadelphia and is now regarded as the predecessor to the public library. Franklin was also instrumental in the establishment of the Library of the Pennsylvania Hospital (North Americaâ s first medical library), the Pennsylvania State Library, The Library of the American Philosophical Society, and the Library of the University of Pennsylvania.
Published by Paris Imprimerie Royale for Pillet Aine -44, 1824
Book First Edition
First edition. 12 vols comprising: 8 vols 4to text, plus 4 large folio volumes (1 atlas, 3 of plates), three engraved titles, 354 engraved plates and maps, contemporary green morocco-backed boards, atlas in original blue-green marbled boards, modern morocco-backed fold-over box. A fine fresh set, minor defects noted below. The set comprises: FREYCINET, L.-C. de S. de. Historique, 1825-37. 3 vols: 2 vols 4to text, large folio (49 x 33 cm) plate volume. Atlas: engraved title with integral vignette, 11 pages of letterpress text at back, Table explicative, 12 engraved maps or plans (2 double page) and 100 views, and portraits(41 hand-coloured). Occasional light spotting. QUOY, Jean R.C.; GAIMARD, Joseph P. Zoologie, 1824. 2 vols: 1 vol. 4to text, large folio plate volume. Atlas: engraved title on india paper mounted, 13 pages of letterpress text at back, Table Explicative, 96 engraved plates (77 hand-coloured or printed in colour and finished by hand) after Chazal, A. Prevost. Huet, Taunay, P. Oudart and others, by Coutant and others. The subjects include 27 birds, all coloured, 23 fish, most coloured, crustaceans, mammals, insects and others. Occasional light spotting, corners bumped. GAUDICHAUD, Charles. Botanique, 1826. 2 vols: Text, 1 vol. 4to, plate volume large folio. Plate volume: engraved title 22 pages of letterpress text at back, Table explicative, 120 engraved plates, unsigned but by A. Ploiret fils. The plates include 32 Hawaiian plants and 20 plates of newly described plants from New Holland. FREYCINET, L.-C. de S. de. Navigation et Hydrographie, 1826. 3 vols: Text: 1 vol. bound in 2, 4to; Atlas, large folio (59.5 x 40 cm). Text: 3 engraved plates. Atlas: letterpress title and 1p. Table des cartes et plans, 22 engraved maps and charts, after Duperrey, Labiche and Berard. Original tissue guards. FREYCINET. L.-C. de S. de. Observations du Pendule, 1826. 1 vol. 4to. Half-title, title with wood-engraved vignette. FREYCINET, L.-C. de S. de. Magnetisme terrestre, 1842. 1 vol. 4to. Half-title, one folding engraved map. FREYCINET. L.-C. de S. de. Meteorologie, 1844. 1 vol. 4to. Half-title. A rare complete set of the official account of Freycinet's voyage of scientific exploration. During the nineteenth century, a large part of ornithological interest was taken by the description and discovery of new species. A number of large works were produced in France as a result of scientific expeditions sent out to gather materials to be brought home and described. These works were profusely illustrated with colour plates by the finest artists. One of the most important of these is the present work. The zoological section was written by Quoy and Gaimard. It contains a good deal of ornithological material including 27 fine plates: 'it included, probably 8 10 new species of Australian birds' - Andrew Black et al, British Ornithologists' Club, 2013. 'The Uranie, with a crew of 1123 men, entered the Pacific from the West to make scientific observations on geography, magnetism, and meteorology. the expedition. visited most notably Australia, the Hawaiian Islands, Tonga, and Tierra del Fuego. The original ship wrecked off the Falkland Islands, was replaced by the Physicienne which visited Rio de Janeiro. Captain. Freycinet's wife, Rose, was smuggled on board at the advent of the voyage and made the complete journey, causing a great deal of discord among the crew. Freycinet named an island he discovered after her - Rose Island among the Samoa Island' (Hill). Anker p 44; Hill 425; Ferguson 941; Fine Bird Books p75; Nissen (ZBI), 1425; Sabin 25916; Whittell p260; Wood 349.
Published by London: Henry G. Bohn, 1841., 1841
Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.
4 volumes, Atlas and Text: 2 atlas volumes, broadsheets (26 1/4 x 21 in.; 66.7 x 53.3 cm). 2 engraved title-pages with handcolored vignettes, 218 MAGNIFICENT etched plates of birds by and after W.H. Lizars, Robert Mitford, William Jardine and Selby, with richly saturated original handcoloring, all heightened with gum arabic, 4 uncolored plates at the end of volume one; title-pages creased and strengthened on verso, pl. LXXXVII (Solan Gannet) shaved at bottom slightly affecting caption, long vertical creases to 2 plates and a few plates with corners creased towards the end of volume II, 2 guard sheets with closed tears. Contemporary full maroon morocco panelled gilt with numerous filets and decorative roll tools, the spine in seven compartments with six raised bands, lettered gilt in two, the others decorated with fine gilt tools, gilt dentelles, marbled endpapers, edges gilt, by White of Pall Mall; Atlas: extremities scuffed, color unevenly darkened, gutters of free endpapers repaired and fore-edges and bottom margins extended in facsimile; 2 text volumes, 8vo (8 1/2 x 5 1/4 in.; 21.6 x 13.3 cm). One or two spots. Bound uniformly with the atlas volumes in full maroon morocco by White of Pall Mall; unevenly darkened. THE "ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK" (Mullens and Swann). A fine copy of the Bohn reissue of Selby's magnum opus, first published in parts at irregular intervals in Edinburgh in 1834. Prideaux John Selby "was very gifted as an artist, and the two volumes of 'Illustrations of British Ornithology' are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, 'Illustrations of British Ornithology', was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, 'Land Birds' in 1825 (revised in 1833) and 'Water Birds' in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800-1874) with the descriptions, drawings, and etchings for their joint publication, 'Illustrations of Ornithology' (1836-43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's Library'. Together, in conjunction with George Johnston, Selby and Jardine founded the 'Magazine of Zoology and Botany' in 1836, which was widened in scope in 1838 when the name was changed to 'Annals of Natural History'. Selby remained an editor until his death, contributing notes and articles up to 1841. He joined the Berwickshire Naturalists' Club soon after it was founded in 1831 and served as its president in 1834 and again in 1844. Between 1832 and 1859 he contributed many papers to the 'History of the Berwickshire Naturalists' Club'. Further papers were published in other journals between 1.
Published by Late 1940s to 1971, New York, 1940
Seller: Second Story Books, ABAA, Rockville, MD, U.S.A.
First Edition
A collection of approximately 2,000 photographs and negatives, taken by African-American independent photographer Malcolm Downes Thomas (c. 1900 - c. 1972) from the late 1940s to 1971. Thomas photographed various aspects of New York City street and family scenes in both Manhattan and Harlem, Eastern Long Island landscapes and wildlife and a variety of images taken on various Caribbean islands. The collection also includes over a hundred original photographs and negatives of Bettie Page in a private session taken in 1952. In its entirety, this collection represents a vision of nature, street scenes, human interest, and erotica as seen from the perspective of an affluent African-American. Thomas focused his photographs of human subjects on his fellow African-Americans, taking not only numerous study series of portraits but also spontaneous shots of everyday life. Children playing, people watching television on the couch, and social gatherings are all represented. New York local events are recorded in this collection, including Wrestling Matches (3/29/53), a New York fire and efforts to extinguish it (1/7/53), African-American's swimming in the ocean (1953), and outdoor Ice-Skating (12/51). His cityscape work is not limited to either the narrow or the broad, allowing both views of facades and paint as well as skylines. The nature work follows a similar trend, with close-ups of grasshoppers, rabbits, flowers, and others, followed by islands and landscapes. His early travels included Mexico in 1951/52, St. Thomas in 1953, and Nassau in 1953 where he and his wife participated in various photographic contests and won awards or citations for specific images. Fashion and erotica are represented as well. Thomas photographed an unknown African-American woman modelling various outfits in various poses (12/20/52). His erotica images include a private Bettie Page session dated 3/8/52 with over a hundred negatives and an unknown East-Asian woman photographed nude on at least three different occasions, 2/16/52, 12/18/53 and 12/19/53. Thomas was a Navy radar installer and later a Master Electrician. In 1943 he married his third wife Velma Henry who was a registered nurse. Together they took up photography as a hobby, traveling frequently to the Caribbean and Mexico searching for photographic opportunities. They both preferred Leica cameras for their shots. Thomas developed his own work in their kitchen, some birds and flowers were done in color, the rest were black and white. They subsequently built a home in Quoque, Long Island for weekend trips and vacations. They had no children. According to family lore, during the 1940s Malcolm Thomas became a member of the Pioneer Photography Club, comprised of black friends. There is a story that one of the members (Jerry Tibbs) was on a New York beach and saw this beautiful woman (Bettie Mae Page) who agreed to pose for him and other members of the Pioneer Photography Club. This story is similar to the one told by Bettie Page herself, that in 1950, while walking along the Coney Island shore, Bettie met NYPD officer Jerry Tibbs. Jerry was an avid photographer and gave Bettie his card. He suggested she'd make a good pin-up model, and in exchange for allowing him to photograph her, he'd help make up her first pin-up portfolio, free of charge. Tibbs introduced Page to other Harlem photographers like the legendary Jamaican nude photographer and jazz musician Cass Carr. Carr hired her as a model in 1952 for his nude "Camera Club Outings" in which amateur and professional cameramen would pay her ten dollars to pose. By 1955 Bettie Page had become the most photographed glamour model in the United States and was the January 1955 Playboy magazine Playmate of the Month In addition to the photographic archive, the owner of the collection, Malcolm Thomas' nephew Louis P. Brown, has created an uncorrected oblong folio proof copy of Malcom Thomas' photographic works titled "Malcolm Thomas: Photographic Memoir" He is interested in assigning the proof and copyright to the publication of the book along with the copyright and physical images of the photographs as an entirety transaction. Purchase of this collection includes all related rights. 1342967. Special Collections.
Published by The Crime Club, Collins, UK, 1936
Seller: Brought to Book Ltd, London, United Kingdom
Book First Edition
Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. The ABC Murders by Agatha Christie First Edition The Crime Club Collins 1936. A fine book, completely free of inscriptions or signs of previous ownership. Covers are unmarked. In like original bright dust jacket that has no closed tears or creasing. Scarce. For further images please see the Brought to Book homepage.
Publication Date: 1930
Seller: Between the Covers-Rare Books, Inc. ABAA, Gloucester City, NJ, U.S.A.
Condition: Very Good. A large, fully catalogued collection of over 600 early guidebooks published throughout the continental United States. This remarkable collection of highly detailed and multi-purpose ephemeral guides, many of which contain folded maps, spans the entire 19th Century from 1796 up through the First World War and early 1920s. The collection includes over 145 guidebooks to New York City alone: "the Commercial Metropolis of the United States" of which over 100 were published between 1807 and 1898, the year of consolidation of the city of New York. The majority of the guidebooks in the collection are bound in the original publisher's bindings and printed wrappers, which are particularly important for the additional bibliographical and historical information they provide about these uncommon guidebooks which were heavily used (both on the road and at the places they describe), and often discarded when no longer needed. Most are well-preserved in good or very good condition: about thirty have been professionally re-backed with matching period style calf or cloth, and about twenty have a folded map neatly backed or mended at the folds with Japanese paper. Among the guidebooks in original wrappers, about fifty show signs of heavy use with chipped or torn covers. The collection documents the nation's great expansion throughout the 19th Century and reveals how each city or town sought to attract both immigrants and visitors to support and further develop local businesses and industries. Here for example is a headline from Nathan Parker's 1867 *Stranger's Guide to St. Louis*: "To Immigrants & Strangers! Nathan H. Parker . may be consulted . Respecting Judicious Investments in Farming, Fruit Growing, Mining, Manufacturing, &c." Included among the collection's many guides with historically important folded maps are several maps of New York City and Philadelphia dating from the 1820s by Benjamin Tanner and Henry S. Tanner, including John Melish's 1819 map of Philadelphia and William Hooker's 1828 map of the city of New York. Also included is H.W. Faust's 1882 map of San Francisco, and 19 "Travellers Guides" to the United States dating from 1826-58 that contain important maps by Henry S. Tanner and Samuel A. Mitchell. The guidebooks combine up-to-date information and narrative descriptions of civic and cultural institutions, hotels, clubs, churches, etc., street, water and railway transit systems, together with insider tips and advice relative to the history and spirit of the place. Most include one or more folded maps, plans, directories, etc., along with illustrations and copious advertisements. As noted by one modern scholar: "The roughed conditions of travel insured much destruction of these little documents which were sold at inns and stations and called â Traveller's Companion' or â Stranger's Guide.' They were often updated, sometimes an undetermined number of times within a single year, because demand for the best information was startlingly real." The collection also includes several city directories from the early Republic which served as the nation's first guidebooks because of the additional information they contained, such as: *Stephen's Philadelphia Directory for 1796*; John Paxton's *The Stranger's Guide. An Alphabetical List of All the Wards, Streets, Roads, Lanes, Alleys, Avenues, Courts, Wharves, Ship Yards, Public Buildings &c. in the City and Suburbs of Philadelphia* (which includes the important 1819 "Map of Philadelphia County" by John Melish); and Charleston's (South Carolina) first *Directory and Strangers' Guide* from 1831. An examination of the collection's New York City guides shows how they evolved from civic resources for New York residents in early America to "insider" and promotional guides for both local residents, visitors, and â strangers' to the city before and after the Civil War. Other big cities well represented in the collection include Washington D.C., Philadelphia, Boston, Chicago, and New Orleans. Also included are multiple guides to San Francisco, Los Angeles, and Salt Lake City, and to several smaller cities and towns throughout New England, the mid-west and northwestern states, and a few southern states. An historically important collection featuring many scarce surviving Stranger's and related guidebooks. While all are uncommon, over 130 show fewer than 10 printed copies in *OCLC*, of which 29 record only one copy, and 25 are unrecorded. Each guidebook has been carefully catalogued and described. A detailed catalogue follows with photographs of all 614 titles. Reference: Andy McCarthy, *Old Time Tours: New York City Guidebooks* (May 7, 2020).
Published by Parlophone, UK, 1967
Seller: rareandsigned, LEEDS, United Kingdom
First Edition Signed
The Beatles, Sgt Peppers Lonely Hearts Club Band AUTOGRAPHED vinyl LP. This is an incredibly rare FULLY SIGNED presentation. This is the iconic LP by The Beatles. Presented here AUTOGRAPHED by all four band members in pen to the inner gatefold sleeve as shown. Each musician has signed the sleeve in biro pen. This is not a preprint or reproduction. This is a very rare set of original signatures by hand from perhaps the most famous music band of all time. The album has usual wear and marks over the years but overall in good condition, given the age. The inner sleeve and card cut outs are also included as shown. Signatures are clean and recognisable. Highly collectable and a surefired investment. Signed.
Condition: Very good. First edition run of all 24 novels in the Tarzan series, including TARZAN OF THE APES in the rare original dust jacket and five inscribed books - along with Burroughs's rare 1917 AUTO-BIOGRAPHY and two further Tarzan titles. Tarzan is one of the most recognizable pop cultural icons of the 20th century. Beginning with the novels, but quickly translating to film and beyond, Tarzan soon had his own merchandise, piracies, and international adaptations (including Bollywood films and Japanese manga). Tarzan's relationship with the movies - beginning in 1918, during the early years of popular film - was especially rich. One producer of Tarzan films, Sol Lesser, described Tarzan's global market saturation with only slight hyperbole that "there is always a Tarzan picture playing within a radius of 50 miles of any given spot in the world - in Arab villages, African bush theatres and in pampas settlements down the Argentine way" (quoted in Abate & Wannamaker, 3). But Tarzan enjoyed many revivals in print as well; in 1963 "one out of every thirty paperbacks sold was a Tarzan novel" (Torgovnick, 42). For over 100 years, Tarzan has remained a vivid figure in our popular imagination. Tarzan's world is not all boyhood innocence: it also "embodies a powerful emblem of past white Western imperialism and, correspondingly, of the present colonialization of the world by American culture" (Abate & Wannamaker, 5). But alongside this, Tarzan has remained internationally beloved as a potent mix of the Rousseauian "noble savage" and the Swiftian "stranger in a strange land," - a mythic figure like Romulus and Remus (one of Burroughs's inspirations) or Robinson Crusoe (also an early literary phenomenon). Above all, the books were fun: as Ray Bradbury recollected, "we may have liked Verne and Wells and Kipling, but we loved, we adored, we went quite mad with Mr. Burroughs" (intro to Porges, xviii). This complete collection of the Tarzan novels features one of the rarest and most sought after books in Modern Firsts collecting: a first edition of TARZAN OF THE APES in the original dust jacket. Of the five books inscribed by Burroughs, two are among the earliest in the series: BEASTS OF TARZAN (#3) and SON OF TARZAN (#4). In addition to the novels of the main series, this collection includes the scarce early piece of Burroughsiana, a short memoir commissioned by the Republic Motor Truck Company on one of Burroughs's transcontinental journeys; only a few copies were bound in the deluxe suede binding, apparently for the personal use of the author. The final two included books are TARZAN AND THE TARZAN TWINS, which collects two Tarzan novellas for younger children; and THE OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA, published by Burroughs as a manual for organizing and running a Tarzan fan club. Altogether, these books form an exceptionally comprehensive monument to the Tarzan phenomenon. 27 volumes, most 7.25'' x 5''. Original cloth bindings. All in original dust jackets except RETURN, BEASTS, and SON; EARTH'S CORE in a later Grosset & Dunlap jacket. TARZAN OF THE APES in rarest state, per Currey: title page cancel, W.F. Hall imprint in Gothic lettering, binding without acorn. Additional first editions outside the Tarzan novels: AN AUTO-BIOGRAPHY (1917); TARZAN AND THE TARZAN TWINS (1963); and OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA (1939). Jackets of TARZAN OF THE APES, JEWELS, TERRIBLE, GOLDEN LION, and ANT MEN restored; a few others with tape repairs or chipping to edges. Condition ranges from fine copies (TRIUMPHANT, FORBIDDEN CITY) to very good minus (JUNGLE TALES, LORD); overall very good. Five inscribed books: BEASTS, SON, GOLDEN LION, INVINCIBLE, and LEOPARD MEN. AUTO-BIOGRAPHY and FOREIGN LEGION in custom clamshell boxes. A full inventory is available upon request.
Published by Emecé Editores, 2008
ISBN 10: 8484531856ISBN 13: 9788484531852
Seller: Juanpebooks, MIAMI, FL, U.S.A.
Book
Condition: New. Libro nuevo, sellado, fisico, original. Enviamos a todos el mundo por USPS, Fedex y DHL. 100% garantia en su compra. Sealed, new. Unopened. 100%guarentee. We ship worldwide.
Published by Betty Ballantine, London, 1965
Seller: Festival Art and Books, Machynlleth, GWYNE, United Kingdom
Art / Print / Poster First Edition Signed
No Binding. Condition: Fine. No Jacket. Barbara Remington (illustrator). First Edition. Betty Ballantine and now Barbara Remington have passed away making this a true historic piece. It was the cult status Tolkien first achieved in America on sale of millions of paperbacks, not in Britain, that would make him a household name by the late 60's. The Hobbit for example was not produced in paper inUK until 1961, Until 1966 his books only sold a few thousand copies a year, hardly a best seller. In fact the Tolkien society fan club first started in America, some five years before. Note, we were recently asked: we own the piece and as the seller, we left the letter addressed anonymously for the next buyer rather than to us. We are pleased to offer for sale, perhaps the most important original Tolkien related art piece. It is truly deserving as a museum piece representing a key turning point in the history of Professor Tolkien popularity. While Tolkien 's own art was used only in the Hobbit This is the original concept art submitted to Mrs Betty Ballantine for the 1965 Ballantine Books first paperbacks of The Hobbit and The Lord of the Rings books in America. It was also used for the promotional posters and banners for what was to become very popular editions. It was produced by artist Barbara Remington as a concept proof before the final colour version was approved. The medium is gouache on card, glued on illustration board with the original stock sticker on the reverse, It comes with a personal COA letter produced on my request . This iconic illustration also has a slightly infamous reputation as Tolkien did not like it initially, but this does not alter its importance to Tolkien lore as we know it today. In 1965 Ace Paperbacks in America released unauthorised editions of the Lord of the Rings Trilogy. This was due to a loophole in US copyright. The rush was then on for Houghton Mifflin, Tolkien' s US publisher in collaboration with Ballantine books to release authorised paperbacks of both The Hobbit and The Lord of the Rings. To close he copyright loophole, a new version of the LotR text was needed, in which Professor Tolkien set out to make changes eventually for the 1966 2nd edition. As was often the case, these revisions were quite delayed, forcing Ballantine Books to rush out a new edition of the Hobbit and using Barbara Remington artwork before she had actually read the books. Thus some of the strange figures in the artwork are not in the book. There was even a lion on the cover of the Hobbit PB until it was airbrushed out. During an interview with N Marion Hage and Andwerve, Barbara said- "I worked for Ballantine, and as a practice, always read the books before doing the artwork. I didn' t have this luxury with the Tolkien Books, Ballantine was in a hurry to get these books out right away. When they commissioned me to do the artwork, I didn 't have the chance to see either book, though I tried to get a copy through my friends. So I didn't know what they were about. I tried finding people that had read them, but the books were not readily available in the states, and so I had sketchy information at best." (As noted above, Barbara did make sketches relative to the books, afterwards, but she couldn' t get the publishers to see the point, something which is very regretful). Professor Tolkien was not impressed with the new Hobbit book cover. In a letter to Rayner Unwin, 12 September 1965, Tolkien wrote: I wrote expressing(with moderation) my dislike of the cover for. Please ask for a complete set of photos! Feel free to ask questions about collecting Tolkien books, we are here. Signed by Illustrator(s).
Published by Northern France, (Paris), 1490-1510, 1490
Seller: Sokol Books Ltd. ABA ILAB, London, United Kingdom
Manuscript / Paper Collectible
Hardcover. Condition: Good. 209 leaves (plus 2 endleaves at front and back, ruled for main text, those at back loose in volume), wanting a few single leaves throughout (including two miniatures) and with some text leaves misbound at end, collation: i13 (first a cancelled blank, last blank), ii-viii8, ix7 (last leaf, once with miniature, cut away), x-xii8, xii4, xiv-xv8, xvi7 (last leaf, once with miniature, cut away), xvii-xxii8, xxiii2, xxiv-xxv8, xvi6, xxvii2, xxviii6 (including pastedown) with a final blank bifolium tucked into the volume (gatherings xxvi onwards misbound and in part from elsewhere in same volume: see below), single column, 16 lines of a professional French lettre batârde with long ascenders and descenders stretching up and down from uppermost and lowermost line, rubrics in pale blue, initials in liquid gold on red and black grounds, line-fillers formed of tiny panels or woody stems in same, each text leaf with a decorative foliate panel, Calendar in red, blue and gold ink with decorative border panels enclosing roundels with miniatures of the occupations and zodiac symbols, six small square miniatures in Passion Readings and of Virgin and Christ, six three-quarter page miniatures set within wide decorated borders of liquid gold and coloured foliage enclosing snails, drollery animals and humans with animal legs (two of whom wear armour while one shoots an arrow into the other s bottom), warring wildmen with clubs and bucklers, another hairy wildman who rides a polar bear, an angel, knights mounted on imaginary creatures, all on panels of brown, blue or dull-gold in various shapes, four three-quarter page miniature set within elaborate architectural frames, and enclosing another scene in their bas-de-page, slight cockling in places and a few leaves with tears to edges, some scuffing to paint in places with losses to edges of decorated borders, trimmed to edges of these borders, but overall in good and presentable condition, 115 by 78mm., bound in black morocco (circa 1600) tooled with outer frame of gilt dots on boards and floral rollstamps over thongs, separated from top three thongs at front. The volume comprises: a Calendar (fol. 1r); Gospel Readings (fol. 14r); the Hours of the Virgin (fol. 22r); Seven Penitential Psalms (fol. 105r), followed by a Litany; the Hours of the Cross (wanting opening, fol. 128r); the Hours of the Holy Spirit (fol. 131v); the Office of the Dead (fol. 136r); the Suffrages to the Saints (fol. 178r), followed by prayers. To this has been added the prayer to St. Hubert (fol. 199r), followed by blanks (fols. 200-203, once the original end of the book). The volume now finishes with a single leaf with a prayer to the Virgin most probably from the original text block, and added prayers once among the additions at the end of the volume. Illumination: The miniatures here are the work of a notably close follower of the Master of the Chronique Scandeleuse, who flourished in Paris between 1490 and 1510, working for elite patrons there, and the quality and richness of the illumination suggests the direct influence of the master himself. Here are his distinctive ivory-skinned women, figures with half-closed eyes and ruby red lips, as well as his love for gilded architectural frames. The wealth of imagery in the border is impressive, with riotous wildmen fighting and being shot in the bottom with an arrow, men-at-arms with shaggy legs hunting, and perhaps strangest and rarest of all, a white bear on fol. 88v. While elephants, whales and similar are of staggering rarity in medieval manuscripts, no other example of a white bear is known to the present cataloguer. In the medieval world white bears (whether polar bears or albino versions of mainland European breeds) were of astronomical rarity, and where they occur in our records it is always in connection with royal or near-royal status (King Cnut the Great was supposed in the late medieval Ramsey Abbey Chronicle to have given them twelve white bearskins to set before their.
Published by New York, 1946
Seller: Arader Books, New York, NY, U.S.A.
Manuscript / Paper Collectible First Edition
No binding. Condition: Very good. First. THE BIRTH AND DEATH OF THE GREATEST BEAUX-ARTS BUILDING IN AMERICA. Magnanti, Angelo. Pennsylvania Station New York. New York: for McKim, Mead & White; ca. 1946. Graphite, ink and gouache on artist's board (visible: 63" x 32" visible, frame: 73 1/2" x 42 1/2"). A little foxing; not viewed out of frame. WITH Hughson, Hawley (after). Pennsylvania Station, New York City Seventh Avenue and Thirty-Second Street. Philadelphia: Ketterlinus for the Pennsylvania Railroad Co., 1910. Offset chromolithograph on card (sheet: 33 1/4" x 57 1/2", frame: 39 1/2" x 61 3/4"). Water damage to the lower edge, partially matted out. Not viewed out of frame. In 1910, the New York terminus of the Pennsylvania Railroad Company opened on two full blocks between Seventh and Eighth Avenues and West Thirty-First and Thirty-Third Streets. Charles Follen McKim was the lead architect at McKim Mead and White, the firm responsible for some of America's great buildings: the East and West Wings of the White House, Symphony Hall in Boston, the major clubs of New York (Century, Metropolitan, University, Harvard, Harmonie, Racquet & Tennis). The original Penn Station was considered the greatest of them all, a towering monument to American wealth, mobility and progress. Hawley Hughson (1850-1936) was born in London but became one of the preeminent chroniclers of American buildings. Although romanticized, his building portraits and panoramas are among the best documents of a period of rapid change that shaped the cities of the United States. His depiction of the brand-new Penn Station is among his most recognizable, and documents much of midtown Manhattan (the Plaza Hotel at 59th and Fifth is depicted in part at the left-hand side, the Hotel Martha Washington (now the Redbury on 29th St.) is at the right), as well as Queens and Brooklyn beyond. The skyscrapers were still to come; the tallest building in New York in 1910 was the Metropolitan Life Insurance Building. The station's flow of passengers increased and hit its zenith in 1945-1946, precisely when MMW commissioned the "decorator" Angelo Magnanti (1879-1969) to depict their renovation of the station to accommodate the surge of pedestrian traffic. This would eventually be installed as a mural in the station master's office (other surviving Magnanti murals are at the Dollar Savings Bank, the Frick Art Reference Library and the conference room of the U.S. Supreme Court; he also designed mosaic ceiling at the Williamsburg Savings Bank). The New-York Historical Society in its MMW archives holds a less-developed sketch (2":1' scale) executed in color with gilt, presumably as a proposal to the firm, signed and dated "A. Magnanti/ 1946." The present work is drafted quite precisely, with washes of gouache and ink in a quasi-grisaille depiction of a sectional view of the station. At the lower left is a view of lower Manhattan from the South, rendered in near-photographic accuracy. The combination of the age of air travel and the 1956 Federal Aid Highway Act signed by Eisenhower ended the dominance of railroads. The mural stood in the station-master's office until the destruction of the station in 1963, widely considered one of the great architectural travesties, and the proximate cause of modern historical preservation. The new Penn Station is generally reviled; only in 2021 was the sin somewhat redeemed with the opening of the Moynihan Train Hall in the James A. Farley Building across Eighth Ave. -- luckily also designed by McKim, Mead & White. The Magnanti drawing was acquired from the Swann "New York Sale" (lot 306) that took place just two weeks after September 11th, 2001. The Hughson chromolithograph was acquired at Bonham's New York 10 December 2014 (lot 197).
Published by Giovanbattista Pedrezano (for Nicolo Bascarini), Venice, 1548
Seller: Arader Books, New York, NY, U.S.A.
First Edition
Hardcover. Condition: Near fine. First. First complete edition in Italian, first octavo edition. Venice: Giovanbattista Pedrezano (for Nicolo Bascarini), 1548. Small octavo (6 3/8" x 4 1/4", 162mm x 109mm). [Full collation available.] With 60 double-page engraved maps integral with the text. Bound in contemporary stabbed vellum with yapp edges and four pig-skin ties. Author and title manuscript to the spine in an old hand (XVIc?): "ClaudioPtolomeo.Geograf". Lower front tie perished. Binding a little soiled but overall very good. Some repairs to the front joint (end-papers renewed?), with the title-leaf (â 1) re-mounted. Lacking â 3 (dedication to Leone Strozzi). Closed tear to the lower margin of CC8 (not affecting the text). Fresh internally, with good margins. Ink monogram (?) to the lower edge of the title-page. Graphite marking to I3r, I6v and I7r, ink marking to 12 pages, and ink commentary (usually to other sources) to 17 pages. Place-names in maps 9 ("Germania nova tabula MDXXXXII") and 23 ("Polonia et Hungaria nova tabula") highlighted in brushed sanguine ink. Presented in a grey cloth clam-shell box. Claudius Ptolemaeus (usually anglicized to Ptolemy) was a second-century philosopher living in Roman Alexandria in Egypt. In the Greek tradition (Ptolemy wrote in Greek, which was the administrative language of the Roman Empire in the Eastern Mediterranean), philosophy -- the love of wisdom -- bridged what we now divide into the humanities and the sciences; he was a mathematician, natural scientist and geographer-astronomer. No manuscripts of the Geographical Guidance survive from before the XIIIc, but some XIIIc examples survive with maps that bear some relation to those Ptolemy himself drew. Thus, with the exception of some excavated carved maps, Ptolemy is the source for ancient cartography as well as its culmination. It was crucial to explorers; Columbus expected to find the East Indies because of Ptolemy's calculations and assertions about longitude. As the world expanded beyond its ancient bounds, discoveries were integrated into the Ptolemaic maps, distinct with their trapezoidal frames. The 1548 (colophon dated October 1547) edition of Ptolemy stands apart from earlier issues in various ways. It is the first "pocket" issue of the work, making it at least plausible for it to accompany an explorer. The commentary of Sebastian Münster -- a truly pan-European humanist effort -- and the text of Ptolemy were both translated by Pietro Andrea Mattioli (Matthioli), better known as the botanist and translator of Dioscorides. Gastaldi's 60 maps -- he was also responsible for updating and adding modern place names, a massive task reflected in the 127-page index -- are unusually decorative as well as up-to-date, especially given their diminutive size. There is a robust group non-European maps, with particular focus on the Silk Road and India (maps 46-53) and 5 maps of the Americas (54-48) -- including the first regional maps of North America. (Indeed, Nordenskiöld dubs this "the very first atlas of the new world.") The two world maps (one a sea chart) show the turning-point in the understanding of the world. Both continue to conceptualize America as connected to Asia, though the world map proper is beginning to conceive of a break between northwestern America and northeastern Asia. The annotator(s) of the volume was certainly learned, with cross-references to Girava, Pliny, Solinus, Ortelius and Apianus. From the collection of Charles J. Tanenbaum (d. 2009), sold at Sotheby's New York 11 December 2008 (the present item lot 31) to benefit his Pine Tree Foundation, which has granted funds to the John Carter Brown Library, the New York Public Library, the Grolier Club and other major institutions. Adams P 2234; Alden & Landis 548/31; Burden, North America 16 & 17; Edit16 CNCE 47524; Harrisse, BAV 285; JCB(3) I:153; Mortimer, Italian 404; Nordenskiöld 2:214; Phillips, Atlases 369; Sabin 66502; Shirley, Mapping of the World 87 & 88; Streeter sale 1.
Vol. I: Engraved frontis. printed in bistre, four hand-colored engraved plates of alternative materials used in making paper. Separate atlas with printed drop-title & 15 leaves of specimens. 6 p.l., 54 pp. Vol. II: Separate atlas with printed drop-title, 19 leaves of specimens, & one hand-colored engraved plate. 6 p.l., 28 pp. Two vols. Small 4to (195x 150 mm.), all vols. uniformly bound in richly gilt contemporary red morocco, covers with large gilt decoration in Rococo style, flat spines gilt, each text and respective atlas in fitted, richly gilt & tooled cont. red morocco slipcases. Regensburg: 1765. [with]: -. Neue Versuche und Muster das Pflanzenreich zum Papiermachen und andern Sachen wirthschaftsnützlich zu gebrauchen. Vol. III: Engraved frontis. printed in indigo & two hand-colored engraved plates (laid-in). Separate atlas with printed drop-title & 21 leaves of specimens, four of which are cloth (the first paper specimen is a large fragment). 6 p.l., 32 pp. Vol. IV: Separate atlas with printed drop-title, 13 leaves of specimens including one made from lace, & one hand-colored engraved plate. 4 p.l., 24 pp. Vol. V: Five engraved folding plates of papermaking machinery. Separate atlas with printed drop-title & nine leaves of specimens (several with orig. hand-coloring). 22 pp. Small 4to, bindings as above. Three vols. Regensburg: 1765-66-67. [bound with]: -. Wiederholte Versuche auf ordentlichen Papiermühlen aus allerhand Pflanzen und Holzarten Papier zu machen. Der sämtlichen Versuche Sechster und lezter Band. Separate atlas with printed drop-title & ten leaves of samples. 2 p.l., 16 pp. Small 4to. Regensburg: 1771. First editions and a magnificent set in contemporary red morocco, with each volume preserved in contemporary red morocco slipcases. I have been looking and waiting for a complete copy for 45 years, and this set is absolutely remarkable: complete and luxuriously bound. The best modern account of this complex book is from the catalogue of the papermaking exhibition held at the Free Library of Philadelphia (15 April-15 June 1968), which featured the great paper collection of Leonard B. Schlosser: "Issued in six volumes over a six year period, this work is the first carefully documented research into the use of materials other than rags for the manufacture of paper in the West. Schäffer's ideas may well have germinated from the writings of Réaumur (1719) and Guettard (1741) who suggested wood and other natural fibers as possibilities for paper, but his work was carried on independently and helped by his considerable abilities as a naturalist. Each of the six volumes of his work on paper contains detailed explanations of the materials and methods used for the experiments as well as a set of the samples produced. The samples have been printed upon, and some have been painted on by Schäffer's daughter, in order to demonstrate their utility. The engravings included in some of the volumes show some of the fiber sources as well as the equipment used to prepare the fiber for papermaking. In all, the six volumes contain 176 pages of text and eighty-seven specimens (Hunter [incorrectly] says ninety-five) including four pieces of cloth and one of lace. There are fourteen plates and one engraved frontispiece."-Leonard B. Schlosser, An Exhibition of Books on Papermaking (Philadelphia: [Printed in 300 copies at the Bird & Bull Press], 1968), no. 17. The samples comprise full-page specimens, with descriptive letterpress captions, of paper made from various materials: wood and/or bark of beech, willow, aspen; hops; grapevines; mulberry; clematis; nettles; various mosses; poplar-seed down; hemp chaff; straw; aloe and tree leaves; cattails; cabbage stalks; burdock; pine cones; lily-of-the-valley leaves; leaves and husks of maize; asbestos; wasps' nests; sawdust; seeds of cotton grass and thistles; skin and pulp of potatoes; and mixtures of scraps from the various other experimental papers. Fine set. Bookplate of A. Lanna. Adalbert Freiherr von Lanna (1836-1909), a Czech industrialist and collector, formed one of the most remarkable private libraries in Mitteleuropa of the late 19th century. This copy of the Schaeffer appeared as lot 331 in one of Lanna's sales in Vienna (Gilhofer & Ranschburg, 3-4 April 1911), purchased for 90 krone. With thanks to Jamie Cumby, the Grolier Club Librarian, for this information. â § Dard Hunter, Papermaking through Eighteen Centuries (1930), p. 54-"This is the rarest work on the specific subject of paper that has ever been published.In his six volume treatise Dr. Schäffer has left a permanent record of his experiments in the search for new papermaking materials, and the actual specimens of his paper establish the fact that he was the pioneer in the use of many vegetable fibres for the fabrication of paper.A number of specimens are sized, and nearly all have been printed upon, showing from what plant or fibre they had been made."-(& see pp. 53-68 for an extended account of this book). Dard Hunter, The Literature of Papermaking 1390-1800 (1925), pp. 34-36.
Publication Date: 1650
Seller: Maggs Bros. Ltd ABA, ILAB, PBFA, BA, London, United Kingdom
London: by T[homas]: W[alkley?]: for H[umphrey]: Blunden, 1650 First Edition. Small 8vo. [157 x 93mm]. [1-7 (inc. engraved title)], 9-110 pp., with the final blank leaf. Emblematic engraved titlepage (a heart of flint struck by a thunderbolt from Heaven), with leaf of explanation in Latin verse opposite. Sidenote on B3r very slightly shaved (heavily cropped in most copies), text lightly browned, minor damp-stain to the inner margin of the first couple of leaves and later affecting the lower margins in a few places and extending further up the page from top to bottom towards the end. Contemporary plain sheepskin, covers with a double blind-ruled border, spine ruled in gilt, slight remains of an early red morocco label reading vertically ?[SAC]RED | [POEMS]?, pastedowns unstuck (upper joint repaired, headcaps renewed; lower joint, lower corners and edges slightly rubbed). In a maroon pull-off case by Riviere. Wing V125. A. F. Allison, Four Metaphysical Poets (Vaughan 8). Hayward, English Poetry, 81. Rare. ESTC records copies at British Library, Brecon Cathedral [this copy], Bodley, Worcester College Oxford (lacks G3-6; original sheep), National Library of Wales (William Cowper?s copy); Harvard (in green morocco by the Club Bindery, ex Hoe ? Hagen ? Jones - Chew), Illinois (first two leaves in facsimile), New York Public Library [false report], Princeton (Robert H. Taylor collection), Williams College, Yale (Tinker copy, without final blank, sidenote heavily cropped). The very rare first edition of Vaughan's important collection of poems. ?Here in hymns and songs and longer lyric verse, Vaughan represents moments in a realization of himself. Part by part, one straining often to reject another, some only loosely bound in place ? yet in their place ? an individual emerges from obscure fragments of his past through pathways of a search for love, knowledge, and peace. At the end the man stands whole and comprehended.? - Thomas O. Calhoun, Henry Vaughan: The Achievement of ?Silex Scintillans,? 1981, p. 18. This copy is larger than the Terry (?the finest copy in existence?) - Houghton ? The Garden - Pirie copy (Sotheby, New York, 3/12/2015, lot 813, $80,000 + premium, original sheep, spine repaired, ?sidenotes cropped on one leaf?) reported as 150 x 90mm) but, even so, the sidenote of B3r has been slightly shaved. The Maggs marked copy of the Bradley Martin sale catalogue (Sotheby, New York, 1/5/1990, lot 3291 (contemporary sheep, upper cover detached, ex Yates ? Bright ? Pershing ? Greenhill), $45,000 + premium) notes that it was ?rather badly? wormed. No other copies are recorded as sold on ABPC or Rare Book Hub since 1950 (Huth ? Harmsworth copy; rebound, sidenote and a few catchwords cropped). A poor copy, lacking the leaf of verses opposite the title and with damage to the engraved title was twice offered at Christie?s in 2017 but was unsold. ?Vaughan?s finest poetry was published in this rare volume. Its sales, however, were not large and unsold copies were re-issued with a second part in 1655.? (John Hayward). The 1655 reissue (with a cancel title, ?The second edition?, sold by Henry Crips and Lodowick Lloyd) is as rare. It has an extra 84-page section of new poems, the engraved title is replaced with a letterpress one, there is an added 11-page preface, ?The Authors Preface to the following Hymns,? in which he bemoans the secular verse of idle wits (including his own early suppressed attempts) dated from ?Newton by Usk, near Sketh-rock, Septem. 1654.? and a verse dedication to Jesus Christ. Leaves B2-3 are cancelled and replaced with a revised version of ?Isaacs Marriage? altering two lines on B2v and three on B3r which, referring to prayer as ?very strange stuffe wherewith to court thy lasse? and ?a Virgins native blush? must have been regretted by the author, and at the end is a 4-page ?Table? to both parts. Silex Scintillans [The Sparking Flint] is the second and greatest collection of verse by Henry Vaughan (1621-95), known as ?The Swan of Usk,? (?Olor Iscanus?) or ?The Silurist? as he termed himself after the River Usk or the Silures, the ancient tribe of his native south-east Wales. It was preceded by Poems, with the Tenth Satire of Juvenal Englished (1646) and followed by Olor Iscanus (1651; reissued in 1679). The work of the Metaphysical Poets, as they were later termed, did not concur with later 17th and 18th Century poetical tastes - ?for they cannot be said to have imitated anything; they neither copied nature nor life; neither painted the forms of matter, nor represented the operation of the intellect? (Samuel Johnson, Life of Abraham Cowley) - and they were little, if at all, reprinted until the 19th Century when, led by the Romantics, they were reappraised. None, though, suffered greater obscurity than Henry Vaughan, whose three collections of poems were not reprinted, even in his lifetime, until in 1847 the hymnwriter (?Abide with me?) The Rev. Henry Francis Lyte produced an edition of Silex Scintillans prefixed by a life of Vaughan which concluded: ?That he will ever become a thoroughly popular poet is scarcely to be expected in this age. But among those who can prize poetic thought, even when clad in a dress somewhat quaint and antiquated, who love to commune with a heart overflowing with religious ardour, and who do not value this the les, because it has been lighted at the earlier and purer fires of Christianity, and has caught a portion of their youthful glow, poems like these of Henry Vaughan will not want their readers, no will such readers be unthankful to have our Author and his Works introduced to their acquaintance.? Subsequently, Alexander B. Gosart edited Vaughan?s Works (4 vols. 1871) and Silex Scintillans was occasionally reprinted (Lyte?s edition was reprinted at Boston in 1856 and London in 1858 and 1883) and some his better-known poems began to appear in anthologies. A facsimile edition of the first issue of Silex Scintillans, with a preface by The Rev. Wi.
Published by The Crime Club, Collins, UK, 1937
Seller: Brought to Book Ltd, London, United Kingdom
Book First Edition
Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. Murder In the Mews by Agatha Christie First Edition The Crime Club Collins 1937. A fine book that is free of inscriptions. Very light foxing to edges. Covers completely unmarked. In bright original Robin Macartney designed dust jacket. The jacket is fine and has no nicks, closed tears or creasing. Scarce. For further images please see the Brought to Book homepage.
Published by [London: by the author], 1748 [first plate]-1759 [plate 15]., 1759
Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.
First Edition
16 leaves, large folio (20 6/8 x 12 6/8 inches). 15 hand-colored engraved plates by and after Ehret, plate 15 with a facing page of text, "The history and analysis of the parts of the Jessamne, which flowered in the curious garden of R. Warner, Esq; at Woodford, July 1758", an uncolored engraved vignette of the Rondeletia by Ehret at the foot of this page, all plates but two on laid paper bearing the watermark of STRASBOURG LILY with "G" and maker's countermark I. TAYLOR, plate 4 on unwatermarked heavy wove paper, the letterpress on laid paper marked IV (plates 1, 10 and 11 with small repaired tears in lower margins, a few minor nicks at edges and plate 12 with a creased margin, some showthrough and a little paper discoloration throughout). Disbound and loose in modern red quarter morocco clamshell box. Provenance: The bookplate of Harry Wearne (1852-1929); memorial gift bookplate The Art-in-Trades Club. First edition. The "Plantae et papiliones rariores" has no title-page or text other than a caption title at the top of the first plate, and engraved Latin descriptions of the plants. (English text appears in trompe l'oeil on plate 8). The letterpress leaf accompanying the Jasminum plate 15 appears to have been published independently of the engravings. The work was published in parts by subscription, subscribers including Sir Hans Sloane and the Duchess of Portland; Ehret dedicated plate 14 to the latter, who had the Ginger plant cultivated in her greenhouse in September 1754 (Calman). During his years in Regensburg Ehret's drawings came to the attention of the physician and botanist Christoph Jakob Trew (1695-1769), who asked him "to paint for him as many plants as he could on large fine paper" (Henrey, p. 63). Trew had planned to publish a book of engravings based on his own collection of Ehret's drawings the project was delayed and Ehret, growing impatient, decided to publish his own book of engravings, containing "newly introduced species which had rarely if ever been previously represented" (Calman). Ehret's "approach was a fine compromise between that of the artist and that of the scientist: he did not slavishly imitate what he saw nor did he allow his feeling for color and design to distract him unduly from the fundamentals of plant structure. Artists and botanists alike, therefore, join in praising his work. he has. his own particular qualities-- a sureness of touch, vigor of handling, and an unerring instinct for design" (Blunt & Stearn, p. 163). Trew remained a patron and friend of Ehret for the rest of his life, and they eventually collaborated on Trew's magnum opus "Plantae selectee" (1750-1773), which confirmed Ehret's reputation as a master of botanical illustration. EXTREMELY RARE: not in the Plesch or de Belder collections. The Massachusetts Horticultural Society copy (sold, Sotheby's New York, 1 October 1980, lot 116) and the present copy are the only two copies recorded by ABPC since 1965. Only two copies are recorded in American institutions: Arnold Arboretum, Harvard University, and the Library of the United States Department of Agriculture, Washington D.C. Blunt & Stearn, pp. 164-166; Calman, Georg Ehret, "Flower Painter Extraordinary", 93-94; Dunthorne 109; "Great Flower Books", p. 93; Henrey 150; Nissen BBI 583; Pritzel 2641; Stafleu & Cowan (recording the publication in 1761-1762 of three supplementary plates, citing one known copy, at the Arnold Arboretum); TL2 1644. Catalogued by Kate Hunter.
Published by The Crime Club, Collins, UK, 1933
Seller: Brought to Book Ltd, London, United Kingdom
Book First Edition
Hardcover. Condition: Fine. Dust Jacket Condition: Fine. 1st Edition. Lord Edgware Dies by Agatha Christie First Edition The Crime Club Collins 1933. A fine copy with no inscriptions and no age toning or foxing to contents or edges. Covers are bright, unblemished and have no toning or darkening to spine. In a bright fine dust jacket with no creasing or closed tears, completely unfaded. An excellent copy.
Published by London: C. Nourse, 1782., 1782
Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.
First Edition
2 volumes, folio (18 2/8 x 11 2/8 inches). Engraved throughout: two engraved title-pages (that to volume two with discreetly repaired tears), two dedicatory leaves, one leaf commendation from the Royal College of Physicians, one leaf of 'Publick Recommendation', two leaves of 'English index', 2 leaves 'Catalogus Plantarum.', 125 leaves of explanatory text and 500 EXCEPTIONALLY FINE hand-coloured plates (one or two margins of a few plates very lightly browned). Contemporary diced russia gilt, covers with outer border of 'greek-key' roll, Botfield arms in the centre, early-19th century spine in seven compartments delineated by fillets and a double-helix roll tool, lettered in the second compartment, numbered in the fourth (expertly rebacked and cornered in the early 19th century, upper inner hinges reinforced, lower inner hinge cracked, spines slightly faded). Provenance: Supra libros of Beriah Botfield (1807-1863) bibliographer, book-collector and industrialist, on each front cover; engraved armorial bookplate of Arthur Cuthbert on the front paste-down of each volume. First edition, Henrey's sixth issue and AN EXCEPTIONALLY ATTRACTIVE TALL COPY. Both titles are dated 1782, but according to Lisney 'the remaining leaves, including the plates, have been printed from the blocks used' for the first issue of 1737. Henrey says: "There is no uniformity with regard to the number of dedications contained in the various issues, or in the order in which the preliminary leaves are arranged". From the distinguished library of Beriah Botlfield who wrote a number of books about early printed books and manuscripts, including "Notes on Cathedral Libraries of England" (1849), "Catalogues of the Library of Durham Cathedral" (1840, for the Surtees Society), and edited a number of books for the Roxburghe Club and other celebrated bibliographic societies. He set up a private printing press at Norton Hall and printed some of his own works in limited editions. He was also a notable book collector, and his collection, mostly of early printed and colour plate books, were bequeathed on his death to the Thynne family of Bath, where they remained at Longleat, the Thynne family home, until they were sold in a series of sales in 1979 and 1994. Elizabeth Blackwell rented a house opposite the Chelsea Physic Garden, at 4, Swan Walk, at the suggestion of Isaac Reed, in order to draw and engrave the plants there. Her husband helped by supplying the common names of the plants in various languages. "After finishing the drawings Elizabeth engraved them on copper herself, and coloured the 500 prints individually by hand. Initially published in weekly parts, the first volume, which contained commendations from the Royal College of Physicians, was completed in 1737, the second in 1738 or early 1739. The work was an enormous success, her husband went to Sweden where he was employed as an agricultural expert (Linnaeus visited him in 1746), but he unfortunately became involved with a political intrigue and was execute in 1747. Henrey 455; Lisney 175 & 180.
Published by London: Henry G. Bohn, 1841., 1841
Seller: Arader Galleries - AraderNYC, New York, NY, U.S.A.
2 atlas volumes only, broadsheets (25 3/4 x 20 1/2 in.;65.4 x 52.1 cm). 2 engraved title-pages with hand-colored vignettes, 2 engraved title-pages with handcolored vignettes, 218 MAGNIFICENT etched plates of birds by and after W.H. Lizars, Robert Mitford, William Jardine and Selby, with richly saturated original handcoloring, all heightened with gum arabic, 4 uncolored plates at the end of volume one; long vertical creases in left margin of both title-pages; VOL I: title discolored and strengthened along fore-edge, vertical creases affecting 5 plates in vol. 1 (pl. I*, XXXIII, XLVIII, and uncolored pls. II-IV), fore-edges of first three plates in vol. I strengthened, small marginal repair at top of uncolored plate II. VOL. II: title soiled and margins repaired, long vertical creases in left margin of first 2 plates, flattened horizontal crease midway through pl. XLVII*, plate number and caption of pl. LXXVI (Norther Diver) cropped, pl. LXXXVII* (Solan Gannet, Old) caption shaved, some spotting to background of pl. CII (Fulman Petrel). Contemporary half green morocco over marbled boards, the spines in 8 compartments, 7 raised bands, 2 with citron morocco lettering-pieces, the others decorated with small gilt tools, edges gilt; rebacked preserving the original spines, extremities quite scuffed, hinges and endpapers renewed. THE "ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK" (Mullens and Swann). A fine copy of the Bohn reissue of Selby's magnum opus, first published in parts at irregular intervals in Edinburgh in 1834. Prideaux John Selby "was very gifted as an artist, and the two volumes of 'Illustrations of British Ornithology' are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, 'Illustrations of British Ornithology', was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, 'Land Birds' in 1825 (revised in 1833) and 'Water Birds' in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800-1874) with the descriptions, drawings, and etchings for their joint publication, 'Illustrations of Ornithology' (1836-43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's Library'. Together, in conjunction with George Johnston, Selby and Jardine founded the 'Magazine of Zoology and Botany' in 1836, which was widened in scope in 1838 when the name was changed to 'Annals of Natural History'. Selby remained an editor until his death, contributing notes and articles up to 1841. He joined the Berwickshire Naturalists' Club soon after it was founded in 1831 and served as its president in 1834 and again in 1844. Between 1832 and 1859 he contributed many papers to th.
Published by William Mackenzie, Glasgow, Edinburgh and London, 1863
Seller: ERIC CHAIM KLINE, BOOKSELLER (ABAA ILAB), Santa Monica, CA, U.S.A.
First Edition
Francis Frith (illustrator). Deluxe Edition. Two volumes, folio (450 x 330mm). [16], 1344pp., 57 unnumbered leaves of albumin prints (230 x 160mm), mounted on card stock. Crimson morocco over wooden boards, elaborately tooled in gilt and blind; edges mounted in brass, double brass clasps with thistle motif; covers with a broad, blind-stamped border around a recessed central panel with the crowned cipher of Queen Victoria in gilt; gilt tooled spine with 5 raised bands; a.e.g., marbled endleaves with gilt dentelles. Covers with some mild traces of use; single crease in each marbled endleaf (partially detached in second volume); occasional light to moderate foxing, mostly confined to the plate mounts; albumin prints in fine condition (often with foxing extending about 5mm from the edges into the mount). Overall a very good set, with a fine series of photographs, notable for their technical achievment. Deluxe edition, one of 170 copies, complete with all 57 albumen prints. Produced for the 1862 International Exhibition, and dedicated to Queen Victoria, then recently in mourning for the death of Prince Albert, this work appeared at a time when photography, though still a laborious and expensive process, was just beginning to become a popular activity. Victoria, herself, was an amateur photographer, and "[t]he royal couple had been enthusiastic supporters of photography in England from the beginning; in 1853, they became founding patrons of the Photographic Society Club" (K. Fiedorek). Francis Frith (1822-1898), the devout Quaker whose photographic images grace the present work, was one of the best-known photographers to work in the Near East, and the most commercially successful photographer of the nineteenth century. Finding his elementary studies tedious, Frith left school at the age of ten, apprenticed with a grocer, and eventually started his own business. He later went into printing, sold the grocery business to a competitor at a substantial profit, and went on to devote himself to photography. "The growing Victorian interest in the East and its exotic and historic attractions caught the attention of this astute businessman" (Perez). Between 1856 and 1860, Frith made three photographic expeditions to Egypt, Ethiopia, Sinai, and the Levant, accompanied by the engineer Francis Herbert Wenham who provided technical assistance in mechanics and optics. While Perez notes that Frith's "approach was always a strictly commercial one, and his concern was to make truthful and accurate views of the area" he readily concedes that "[t]he technical quality of Frith's photographs is superior." Frith employed the new wet collodion process in which glass plate negatives were sensitized, exposed, and developed while still wet. While technically demanding, the process yielded rich detail and broad tones. "Frith's were the first original wet-plate photographs of Jerusalem and the Holy Land to reach a wide English-speaking audience, and his pictures of the small Palestinian towns were most likely the first published anywhere" (Nir, p.66). Perhaps the most novel aspect of this celebrated edition of the Bible, and certainly a harbinger of things to come, was the way in which the photographer "presented the radical possibility of seeing photographs of the biblical sites alongside related verses of scripture. he sought to defend and promote his faith by conscripting the veracity of science and materialism to his cause and considered photography to be the most effective medium for his campaign" (Foster et al.). This vision is manifest even in such details as the re-captioning of prints previously offered for sale, so that the new descriptions would more clearly reference the King James text. It should be noted that while the printing was still done by hand, this was one of the earliest books for which machinery was used for composing. Original publisher's price = 50 guineas. Another version of this work was published at London in 1860-1862 by Eyre & Spottiswoode; sometimes confused with the present work, it was issued in 20 parts, each containing a single photographic print by Frith. K. Fiedorek, A Photographic Bible Fit for a Queen, NYPL Blog, 2014. Foster, Heiting and Stuhlman, Imagining Paradise, pp. 68-69. Gernsheim, Incunabula of British Photographic Literature, 1839-1875, p.36, no.184. Herbert, The English Bible, 1940 (1217). Y. Nir, The Bible and the Image, The History of Photography in the Holy Land, 1939-1899, esp. chap. 3: "Early Traveling Landscape Photographers". N. Perez, Focus East: Early Photography in the Near East 1838-1885, pp.163-165.
Published by Berlin: Wasmuth, 1910
Seller: Wittenborn Art Books, San Francisco, CA, U.S.A.
Art / Print / Poster
Condition: Good. Folio. 40.5 x 64 cm; 16 x 25 inches sheet sizes.2 vols., text vol.: 30pp. unbound as issued. Folio: 72 lithograph plates on thick wove paper (1 printed in gold) and 28 plates on translucent paper (with a total of 100 different plates), each with the blindstamp of Frank Lloyd Wright. The leaves loosely inserted in 2 original printed board portfolios with cloth ties.Plates are very good to fine since this set was sold by Wasmuth and never made it to Taliesin, where most were water damaged or destroyed. Provenance: From the Collection of the important Dutch architect Jan Wils,who was a member of the modernist De Stijl movement. His bookplates on the inside covers of the 2 portfolios. Wils became an admirer and great advocate in the Netherlands of Wright's work and wrote about the master.See: Jan Wils, Frank Lloyd Wright e De Stijl by Ezio Godoli. Calenzano : Modulo, 1980. In 1916, Wils established his own architectural firm in The Hague.The Papaverhof is a housing complex in The Hague that was designed by Jan Wils. Built between 1919 and 1921, the project was Wils' breakthrough as an architect. Today the Papaverhof is a Rijksmonument that is one of the Top 100 Dutch heritage sites. Frank Lloyd Wright's Lexington Terraces (1894) project in Chicago, Illinois was the inspiration for the Papaverhop design.Wils was one of the founding members of the De Stijl movement, which also included artists as Piet Mondrian, Theo van Doesburg and Gerrit Rietveld.Among other works, Wils designed the Olympic Stadium for the 1928 Summer Olympics in Amsterdam. His design was also entered in the Olympic art competition, and won the gold medal. Following is a list of the plates: VOLUME I: 1: Plates 1-33)1) Tafel I (1T) Tissue Winslow Detail;2) Tafel I (1) Plate Winslow Perspective;3) Tafel II (2)Plate Devin Perspective and Floor Plan;4) Tafel III (3)Plate Winslow Stable Perspective and Floor Plan;5) Tafel IV (4)Plate Heller, Detail; Husser Perspective, Floor Plan, Detail;6) Tafel V (5)Plate Francis Apartments Perspective and Floor Plan;7) Tafel VI (6)Plate Frank Lloyd Wright, Oak Park Perspective and Floor Plan;8) Tafel VII (7T) Tissue Lexington Terrace Floor Plan;9) Tafel VII (7)Plate Lexington Terrace Perspective;10) Tafel VIII (8T) Tissue Mcafee Floor Plan;11) Tafel VIII (8)Plate Mcafee Perspective;12) Tafel IX (9T) Tissue Metzger Perspective and Floor Plan;13) Tafel IX (9) Plate Metzger Perspective;14) Tafel X (10T) Tissue Hillside Home School Floor Plan;15) Tafel X (10)Plate Hillside Home School Perspective;16) Tafel XI (11)Plate River Forest Golf Club Perspective and Floor Plan;17) Tafel XII (12T) Tissue Study for Concrete Bank Cut-Away Perspective;18) Tafel XII (12)Plate Study for Concrete Bank Perspective and Floor Plan;19) Tafel XIII (13)Plate Quadruple Block Plan House Perspective;20) Tafel XIIIa (13a)Plate Quadruple Block Plan Perspective and Floor Plan;21) Tafel XIV (14) Plate Concrete House For LHJ Perspective;22) Tafel XIVa (14a)Plate Concrete House For LHJ Perspective and Floor Plan;23) Tafel XV (15T) Tissue Hardy Floor Plan;24) Tafel XV (15T) Tissue Hardy Perspective;25) Tafel XV (15)Plate Hardy Perspective;26) Tafel XVI (16T) Tissue Ullman Floor Plan;27) Tafel XVI (16)Plate Ullman Perspectives (2);28) Tafel XVII (17T) Tissue Heath Floor Plan;29) Tafel XVII (17)Plate Heath Perspective;30) Tafel XVIII (18)Plate Thomas Perspective and Floor Plan;31) Tafel XIX (19)Plate Martin Perspective and Floor Plan;32) Tafel XX (20)Plate Heurtley Perspective and Floor Plan;33) Tafel XXI (21)Plate Martin Perspective and Floor Plan;34) Tafel XXII (22)Plate Bradley Living Room Perspective and Detail;35) Tafel XXIII (23)Plate Curtis Publishing Company Perspective and Floor Plan;36) Tafel XXIV (24)Plate Hickox Perspective and Floor Plan;37) Tafel XXV (25) Plate Willits Perspective and Floor Plan;38) Tafel XXVI (26)Plate Martin Perspective and Floor Plan;39) Tafel XXVII (27)Plate Henderson Perspective and Floor Plan;40) Tafel XXVIII (28)Plate Little Perspective and Floor Plan;41) Tafel XXIX (29)Plate De Rhodes Perspective, Floor Plan & Detail;42) Tafel XXX (30T) Tissue Cheney Floor Plan;43) Tafel XXX (30)Plate Cheney Perspective;44) Tafel XXXI (31T) Tissue Dana Floor Plan;45) Tafel XXXI (31)Plate Dana Perspective;46) Tafel XXXIa (31a) Plate Dana Perspective;47) Tafel XXXIb (31b)Plate Dana Interior and Detail;48) Tafel XXXII (32T) Tissue Martin Floor Plan;49) Tafel XXXII (32)Plate Martin Perspective;50) Tafel XXXIII (33T) Tissue Larkin Perspective Interior;51) Tafel XXXIII (33)Plate Larkin Perspective and Floor Plan;52) Tafel XXXIIIa (33a)Plate Larkin Perspective and Floor Plan;(VOLUME II: Plates 34-64)53) Tafel XXXIV (34T) Tissue Shaw Floor Plan);54) Tafel XXXIV (34)Plate Shaw Perspective;55) Tafel XXXV (35)Plate Tomak Perspective and Floor Plan;56) Tafel XXXVI (36)Plate Larkin & Browne's Perspectives and Floor Plan;57) Tafel XXXVII (37T) Tissue Robie Floor Plan58) Tafel XXXVII (37)Plate Robie Perspective;59) Tafel XXXVIII (38T) Tissue Horse Shoe Inn Floor Plan;60) Tafel XXXVIII (38)Plate Horse Shoe Inn Perspective;61) Tafel XXXIX (39)Plate Clark Perspective and Floor Plan;62) Tafel XL (40)Plate Waller/Fuller Perspectives and Floor Plan;63) Tafel XLI (41)Plate Pettit Perspectives and Floor Plan;64) Tafel XLII (42) Plate River Forest Tennis Club Perspective and Floor Plan;65) Tafel XLIII (43)Plate Glasner Perspective and Floor Plan;66) Tafel XLIIIa (43a)Plate Summer Perspectives (2);67) Tafel XLIV (44)Plate Millard Perspective and Floor Plan;68) Tafel XLV (45)Plate Gale Perspective and Floor Plan;69) Tafel XLVI (46T) Tissue Como Orchards Plot Plan;70) Tafel XLVI (46)Plate Como Orchards Areal Perspective;71) Tafel XLVII (47)Plate Como Orchards Club House Perspective;72) Tafel XLVIIa (47a) Plate Como Orchards Cottages (3) Perspectives;73) Tafel XLVIII (48T) Tissue Waller Houses (3) Floor Plans;74) Tafel XLVIII (48)Plate Waller Houses (3) Perspectives;75) Tafel IL (49T) Tissue City National Bank Perspective and Floor Plan.
[4], 90, VI, [2] pp.First and only edition of a superb work, the finest work on falconry that has ever been produced both on account of the beauty of the plates and general accuracy of the text. The lifesize illustrations of the birds are by far the finest ever produced in any book on falconry. "It is impossible to describe the mellowness and beauty of the colourings" (Schwerdt). This famous book on falconry by H. Schlegel and A.H. Verster van Wulverhorst is known chiefly for its lifesize coloured illustrations of birds of prey, lithographs after watercolours by Josef Wolf. The extensive research in the literature and the description of procedures by two laymen in the field of falconry still cause amazement among falconers.The work contains 17 illustrations: successively the tinted title-page, two coloured plates with hunting gear and falconer's equipment, two tinted plates of pictures of the activities of the Loo Hawking Club (not present) and 12 coloured plates with images of birds of prey in their natural surroundings.The last twelve plates show magnificent figures of hawks. Perhaps the most famous is that of the "Groenlandais" or white gyrfalcon, which Tuijn shows to have been based on a portrait of the bird by Pierre Louis Dubourcq (1815-73). The other plates are from originals by Josef Wolf (1820-99) the "German artist who ranks among the world's finest animal painters" (Jackson).Covers of portfolio somewhat rubbed and stained; spine cloth and extremeties professionally restored. Some foxing and browning in the plates; several marginal tears and chips professionally repaired; rebacked. Lacks 2 lithographed hawking scenes by J. Dillmann after Sonderland. Still an attractive set, rarely encountered in the original portfolio as issued.l Harting, p. 194 ("The finest work on falconry which has ever been produced"); Nissen IVB 832; Schwerdt II, 150; Thiebaud 833; Zimmer p. 554; Pieter Tuijn, "On the Traité de fauconnerie (1845-53)", in: Quaerendo, 25 (1995), pp. 289-306.
Published by the photographer, San Francisco, etc., 2010
A major photographic archive containing over 10,500 original photographic negatives and slides and more than 700 original prints. These photographs, many of which were taken for the groundbreaking sex-positive magazine On Our Backs, document San Francisco's lesbian leather community and the rise of sex clubs during the feminist sex wars, as well as San Francisco's wider queer community as reflected in Theatre Rhinoceros, AIDS fundraisers, the Gay Games, gay weddings, political activism and music festivals. Also included in the archive are an additional 3000+ negatives/slides and 100+ prints showing Shelby's artistic growth and her concurrent work as a professional photographer for the San Francisco Giants. Although many of these photographs were taken on assignment, the considerable majority have never been published or exhibited, and, with a handful of exceptions, are offered here without restrictions. Shelby (b. 1959) is an overlooked presence in the histories of this period, in part, perhaps, because of her youth at the time. She graduated from San Francisco's Academy of Art in 1984, with a strong student portfolio, included here, that demonstrates her proficiency as a photographer as well as many of the themes represented in the archive as a whole: lesbian erotic photography, gender queering, BDSM, butch/femme identification, political activism, AIDS, and the portraiture that would become her stock in trade for the next 35 years. In 1985 her first photographs were accepted for publication by the then-fledgling On Our Backs (OOB), with whom she would be published until 1996 over the course of eight assignments, including cover shoots and featured articles, and in Nothing but the Girl: The Blatant Lesbian Image, edited by OOB's Susie Bright and Jill Posener (New York: Freedom Editions, 1996). Shelby also joined the production staff of Theatre Rhinoceros in 1985 and, over the course of the next 11 years, photographed production images for nearly 40 different shows; almost 4,000 negatives and 240 prints from this work are included in the archive. Of particular significance are the approximately 1100 negatives and 50+ prints of lesbian BDSM photography, many of which were taken on assignment for OOB, Rack Productions and Spectator. These include over 400 negatives taken at BDSM-themed erotic and fashion shows sponsored by Rack Productions at Amelia's Bar on Valencia St., some from which were published in OOB and Bay Area Reporter; over 100 negatives of mid-'80s Pride parades featuring the Cogent Warriors, a local women's leather/biker group with whom Shelby was involved; over 200 negatives of the 1987 San Francisco Ms. Leather contest and first ever International Ms. Leather contest, held the same year; nearly 300 negatives from a risky erotic photoshoot for OOB featuring Bobbie Wilkes, Sky Renfro, Shadow Morton, and Debby (last name unknown) performing butch/femme BDSM sex at night in public areas on the north side of the Golden Gate Bridge; and nearly 100 negatives from an erotic photo shoot for Spectator of porn star Kym Wilde with an anonymous Stanford doctor in a fetish hood. These photos - taken with the same professionalism, artistic sense, and ability to make her subjects feel at ease in front of the camera that Shelby brings to all of her work, regardless of whether those subjects are children posing for school pictures, or porn stars in strap-ons - capture with an inherently humanizing eye a variety of the ways in which lesbian practitioners of BDSM explore issues of power, gender, and representation. Shelby was one of few women photographers working in this area at the time, a fact that is important with respect to her non-erotica work as well, both in terms of the breadth of her work and the perspective she brought to bear on it. Her photographs of Gay Games II, for example, held in San Francisco in 1986, are almost entirely of women competitors, yet most of the photos published in A Sense of Pride: The Story of Gay Games II, by Roy M. Coe, the quasi-official history of the event, are of male competitors. Similarly, Shelby is able to capture nuances of parenting and pregnancy - she had a son with her partner in 1988; a nude photo of the two of them during her partner's pregnancy is included in Nothing but the Girl - of feminism and sex-positivism, and of the financial constraints of being a woman working photographer not available to most others. Particularly after the birth of her son, Shelby's focus turned more toward developing her portraiture business, including many studio sittings of gay and lesbian couples. Several thousand more negatives, prints and digital files from this portion of her career are included in the archive, although they are not in the above tally; these are under restriction, due to the fact that many of the studio portraits include minors. A remarkable photographic archive, offering a unique look at San Francisco's lesbian BDSM, erotic, and queer communities during the feminist sex wars and the AIDS crisis. Interested parties may request an itemized listing of the archive, as well as sample galleries of photographs. Arrangements may be made to examine it in person as well.
Seller: Jonathan A. Hill, Bookseller Inc., New York, NY, U.S.A.
First Edition
148 leaves, including the final blank), Roman letter (except for the two-line title in gothic type), 51 lines & headline, capital spaces with guide letters. Folio (290 x 188 mm.), late 17th-cent. panelled English speckled calf (rebacked with the orig. spine laid-down, minor staining to a few leaves in blank upper margins). Basel: J. Amerbach, 1494. First edition of the "first bibliography to be compiled as a practical work of reference."-Grolier Club, Bibliography, 7. Tritheim (1462-1516), one of the leading polymaths of his age, was appointed the 25th abbot of the monastery at Sponheim in 1483. "One of the first of his many self-imposed tasks was the reorganization and cataloguing of the monastic library, if one can call reorganization the process of transforming forty-eight mongrel volumes into a splendid collection of 2,000 printed books and manuscripts, many of great importance and rarity. "It was during the progress of this work, no doubt, as his exceptional knowledge of books caused inquiries frequently to be addressed to him, that he conceived the notion of compiling a new and ambitious bibliography of ecclesiastical writers. He began work in 1487, and by the spring of 1492 he was able to send the complete manuscript to the bishop of Worms. He then revised it, and in 1494 the Liber de scriptoribus ecclesiasticis, a folio of nearly 300 pages, issued from the Basle press of Johann Amerbach. "From Alexander, bishop of Cappadocia, down to himself, Tritheim sets out in chronological order nearly a thousand writers, largely but not exclusively ecclesiastical, giving a short account of each followed by a list of his (or her) writings. Nor are these lists merely perfunctory: it is obvious from such a heading as that for St. Augustine, under which he enumerates 277 works, that Tritheim must have lavished an immense amount of genuine research on his bibliography. In all about 7,000 books are recorded. An alphabetical index of authors, arranged of course by Christian names, is added. The contrast between the feeble theological bibliographies of the manuscript age and this first attempt in the printing era is very striking."-Besterman, The Beginnings of Systematic Bibliography, pp. 7-8. The title of the book is somewhat misleading since the work is not restricted to ecclesiastical writers but also includes authors such as Dante, Poggio, and Sebastian Brant. A fine and crisp copy of a book which has become uncommon on the market, preserved in a box. Bookplate of the Society of St. John the Evangelist, Cowley, Oxford. With a note on the rear paste-down referring to "Derby" (the Earls of Derby?) and a shelf-mark. â § Goff T-452.