PDF - Donald A. Heald

Donald Heald Rare Books
A Selection of Rare
Books and Manuscripts
Donald Heald Rare Books
A Selection of Rare
Books and Manuscripts
Donald Heald Rare Books
124 East 74 Street New York, New York 10021
T: 212 · 744 · 3505 F: 212 · 628 · 7847
info@donaldheald.com
www.donaldheald.com
All purchases are subject to availability. All items are guaranteed as described. Any purchase may be
returned for a full refund within ten working days as long as it is returned in the same condition and
is packed and shipped correctly. The appropriate sales tax will be added for New York State residents.
Payment via U.S. check drawn on a U.S. bank made payable to Donald A. Heald, wire transfer, bank
draft, Paypal or by Visa, Mastercard, American Express or Discover cards.
1
(AGRICULTURE).
Patent Churning Machine [caption title of partly printed broadside accomplished in manuscript,
accompanied by an engraving of the machine].
[Hartford]: 27 August 1804. Letterpress partly-printed broadside, accomplished in manuscript,
paper covered wax seal at the lower left, 8x10 1/2 inches. Engraving of the churn, approximately 6
1/2 x 5 inches. [With:] Two additional engravings of the churn.
The first American patent on a dairy churn.
Isaac Baker, of Amherst Massachusetts received the earliest American patent for improvements to the churn.
His machine used a series of levers to ease the turning of butter inside a barrel. Shortly after receiving
the patent, Baker seems to have sold the rights to the manufacturing and distribution of the invention in
Connecticut to Joel Johns of Hartford. Johns, in turn, exclusively licensed the manufacture and distribution
of the machines within the state to various individuals within specific towns. The present partly-printed
document licenses Baker’s churn to William Green of Grafton, Connecticut within the town of Northbridge
in Worcester County, in exchange for $50 paid to Johns. OCLC cites but two examples of this ephemeral
partly-printed form (AAS and Historic Deerfield).
(#28816) $ 900
2
(ALEXANDER I, Emperor of Russia).
Szkola zolnierza konnego z rozkazu Jego Cesarzowiczowskiey Mosci Wielkiego Xiecia Konstantyna dla
jazdy polskiey wydana.
Warsaw: Drukarnia Wiktora Dabrowskiego, 1815. 8vo (6 1/2 x 4 inches). 58pp. Contemporary red
morocco, covers bordered in gilt, flat spine decorated in gilt, green endpapers, gilt edges. Provenance:
Alexander I, Emperor of Russia (inked stamp, Bibliotheque de Tsarskoe Selo); Plaza Book Auctions
(November 24, 1933, lot 509); Calvin Bullock (bookplate).
Manual of cavalry exercises and orders, published during the Napoleonic Wars: from the library of Alexander
I, Emperor of Russia.
This work on cavalry exercises was compiled by Grand Duke Constantine Pavlovich of Russia, the elder
brother of Alexander I, the commander-in-chief and de facto viceroy of Poland.
(#29022) $ 3,850
3
ANONYMOUS.
Franz Hanfstaengl.
Dresden & Leipzig: Published by C. Naumann & Rudolph Weigel., 1843. Lithograph. Printed on
chine colle on large wove backing sheet. In excellent condition with the exception of some faint
foxing in the margins. Two small tears on right margin of sheet. Faint creases along bottom margin
of sheet. Image size (including text): 15 ½ x 13 inches. Sheet size: 27 ¾ x 20 5/8 inches.
A lovely portrait of the celebrated photographer Franz Hanfstengl.
Franz Hanfstaengl (1804-1877) was one of the most noted photographers in Europe. In addition to his
celebrated photographs, Hanfstaengl was also a gifted lithographer and produced a wealth of excellent
portraits of some of the most noted figures of the day. He worked primarily in Munich but executed likenesses
of celebrities across Europe and England.
(#16114) $ 450
4
[ARIZONA, Mining] - COPPER CREEK MINING
CO.
[A photographically illustrated typescript describing
and depicting the operations of the Copper Creek
Mining Company in Southeastern Arizona].
[Copper Creek, Arizona: [circa 1910-1915]. Small
8vo (approximately 7 x 4 inches). 39 gelatin silver
print photographs (approximately 3 1/2 x 5 3/4
inches each), includes a couple duplicate images.
The typescript 28pp, recto only. [With:] A blueprint
assay map of the Old Reliable Mine. Period sheep
three-ring binder.
Early industrial photographs of mining operations in
Arizona.
The photographs show mine and town buildings,
machinery, settlers, and views from the mountains
of the settlement of Copper Creek in Pinal County,
Arizona. Copper Creek, its mines and town are
located in the Galiuro mountains in the South East
corner of Pinal County near Arivaipa Valley. This area
produced silver as early as 1863, when ore was hauled
to Yuma and shipped to Wales for reduction. Despite
the relatively rich ore, factors including the remoteness
of the area, the cost of transporting the ore, and the
threat of Indians combined to limit mining activity in Copper Creek. But at the turn of the century, as
interest in extending railroads to other mines and towns in eastern Pinal County brought the potential of
carrying ore by rail, interest in Copper Creek rose once again.
The Copper Creek Mining Company was organized in 1903, and in its first two years of operation yielded
49,000 pounds of copper. A narrow gauge railroad was constructed in 1912, and one of the images depicts
the small locomotive being hauled overland by a team of horses. The Company went bankrupt in 1914.
The present notes accompanying the photographs are of a promotional nature, envisioning the future of the
settlement, perhaps as a way of attracting investors. It would seem likely that the photographs and typescript
were produced for some official Company purpose.
An early example of American industrial vernacular photography, of the sort which would have profound
influence on a host of artists and photographers of the New Objectivity Movement.
(#28112) $ 2,800
6
BERLINER, Ald; and SIMON.
Jean Guttenberg de Mayence Inventeur de l”Imprimerie. 1436 à Strasbourg.
Strasbourg: Published by Simon fils, circa 1836. Lithograph. Portrait by Simon fils, calligraphic
border executed by Ald. Berliner. Printed on wove paper. In excellent condition with the exception
of being slightly trimmed. Some very marginal foxing in margins. Small tear on bottom right corner.
Unevenly trimmed on sides of sheet. Sheet size: 19 ½ x 14 inches.
A stunning calligraphic portrait of Johann Gutenberg the inventor of the printing press.
Johann Gutenberg (1400?-1468), was a pioneer in the use of movable type, and is credited with the invention
of the printing press. Detailed records of Gutenberg’s life and work are scant since his name does not appear
on any of the works attributed to him. He was born around 1400 in Mainz, where he trained as a gemstone
cutter and goldsmith. In 1438, after moving to Strasbourg, Gutenberg entered into a partnership with
Andreas Dritzehn, which enabled him to conduct experiments in printing. After returning to Mainz he
formed another partnership, with the German merchant and moneylender Johann Fust, in which he set up
a press. He then began the printing of a large Latin Bible, which would come to be known variously as the
Gutenberg Bible, Mazarin Bible, or 42-Line Bible. In 1455 Fust demanded repayment of the money he had
invested in the enterprise which led to a subsequent lawsuit against Gutenberg in which he surrendered his
share of the firm. Following his break with Fust, Gutenberg continued printing with the aid of the German
statesman Adolph II, who became his patron. Gutenberg’s contribution to the development of mechanical
printing remains unrivalled and he is credited with being the father of modern printing.
(#4817) $ 650
7
BINDING.
[French morocco wallet-style secretary binding
with silver clasp].
France: 19th century. The interior divided
into compartments via silk moire lining,
with sections for incoming and outgoing
correspondence, as well as blank leaves of
stationery. Period purple morocco, tooled in
blind in diamond panelled design, silver clasp
surmounted by a silver bee ornament.
(#28298) $ 675
8
BLAKE, William (1757-1827).
America, A Prophecy.
Paris: Trianon Press [for the William Blake
Trust, London], 1963. Small folio (14 x 10 1/2
inches). Frontispiece, illustrated title and 16
plates, all printed in colours. Commentary
by Geoffrey Keynes. Publisher’s dark blue
morocco backed marbled boards, publisher’s
slipcase.
The Trianon Press limited edition facsimile of William’s
Blake’s America.
This copy number 147 of 480, from a total limitation
of 526 copies, printed on Arches pure rag paper
with each leaf watermarked with Blake’s monogram.
“America, A Prophecy was the seventh book executed
by Blake in his Illuminated Printing. Its theme is
intimately related to the historical events taking place
in Europe and North America towards the end of the
eighteenth century” (Keynes). This facsimile is based
on the copy of the original from the Paul Mellon
collection.
(#26364) $ 495
9
BLOSSFELDT, Karl (1865-1932).
First Forms of Art.
Philadelphia: H. C. Perleberg, [circa
1930]. Quarto (13 1/2 x 10 1/2 inches).
Title and contents page, 80 photographs
on 40 sheets after Karl Blossfeldt, contents
loose as issued. Publisher’s half cloth over
patterned paper covered boards, yellow
title label on the upper cover, silk tie
(Library blindstamp).
Scarce American edition of this ground-breaking
work featuring the beautiful photographs of
Karl Blossfeldt: “The plant never lapses into
mere arid functionalism; it fashions and shapes
according to logic and suitability, and with its
primeval force compels everything to attain the
highest artistic form.”
The first edition was published in Berlin in an
edition of 6,000 in 1928, with a second edition
following a year later. The present American
edition followed, with 80 of the plates selected,
printed photographically two images per sheet.
This work, published when Blossfeldt was 65, was the distillation of over thirty-five years of study of the
beauty and infinite variety of plant forms by Blossfeldt using a homemade camera with lenses that allowed
him to work in extreme close-up. His original intention had been to use his remarkable photographs to
educate his students about design elements in nature, but when this work was published it became an almost
instant international best-seller and Blossfeldt was feted as an important photographer. The work has seldom
fallen from its position of prominence, and in 2001 was included in Andrew Roth’s The Book of 101 Books :
Seminal Photographic Books of the Twentieth Century.
The American edition is scarce, with OCLC recording only six copies and with no copies appearing in the
auction records.
Cf. Andrew Roth Andrew Roth’s The Book of 101 Books : Seminal Photographic Books of the Twentieth Century.
(#26671) $ 4,000
10 BOCCACCIO, Giovanni (1313-1375).
Il Decamerone di M. Giovanni Boccaccio nuovamente corretto et con diligentia stampato.
Florence: Philippo di Guntia, 1527 [but Venice: Étienne Orlandini, 1729]. Large 8vo (9 1/2 x 6 1/2
inches). [7], 284 ff. Contemporary vellum, spine lettered direct in gilt (covers a bit soiled and bowed).
The classic masterpiece of early Italian prose.
This series of one hundred novellas set against the background of a plague-ridden Florence would have a
profound influence on Renaissance literature throughout Europe. Although dated 1527 on the title, this
edition, edited by Stefano Orlandinin and printed at the cost of Salvatore Ferrari, was in fact printed in
Venice in 1729 as a facsimile of the Giunta 1527 edition. It is sometimes referred to as the Consul Smith
edition, after Joseph Smith (1682-1770), the British consul at Venice, and noted book collector, who was
involved in its production.
Adams, B 2147; Brunet I, 999; Graesse I, 440.
(#28931) $ 1,100
11 [BOLLMAN, Eric (1769-1821)].
Paragraphs on Banks.
Philadelphia: C. & A. Conrad & Co., 1810. 8vo (8 1/2 x 5 1/4 inches). vi, 73pp. Publisher’s paperbacked blue paper covered boards, spine lettered in manuscript (wear at spine). Provenance: Nicholas
Gilman (signature on front pastedown); later armorial bookplate on the front pastedown.
First edition of a scarce early work on the American banking system.
Bollman, a German physician, was imprisoned in Austria following a brazen attempt to free Lafayette from
jail. After his release he emigrated to America, where he served as Aaron Burr’s agent in New Orleans and
would later be implicated in the Burr-Wilkinson conspiracy.
An advocate for the renewal of the charter of the first Bank of the U.S., Bollman argues here notes from state
banks to be payable in paper of the national bank, and that notes of the national bank be redeemable for
United States six per cent stock. Bollman’s plan was praised by Matthew Carey, among others.
This example with provenance to Nicholas Gilman (1755-1814), signer of the Constitution from New
Hampshire, and U.S. Senator from that state 1804-1814. Scarce, with no copies in the auction records or
presently on the market.
Sabin 58511; Kress 20130.7
(#28853) $ 1,250
12 BOTANY, Polyclave Genera-Identifier Cards.
A small collection of three sets of polyclave or random-access keys relating to the identification of the
Mosses of Colorado; the Willows of Colorado and Wyoming, and the monocotyledonous plant families
of the world.
Boulder, Colorado, and London, England: University of Colorado and the British Natural History
Museum. Each in original cardboard boxes, two with descriptive text.
The collection Includes the folllowing:
1.[C. K. Rao & R. J. Pankhurst. A Polyclave to the Monocotyledonous Families of the World. British Museum of
Natural History. London: Natural History Museum, pencilled date ‘1986’]. Approx. 220 punched cards (each
3 1/4 x 7 3/8 inches), each with the characteristic they represent noted along the upper margin. Contained
within original card box, with lift off lid, title on label on upper cover.
2. Miriam F. Colson. Polyclave key to the Colorado and Wyoming species of Carex. Boulder: University of
Colorado Museum, 1974. Approx. 200 cards (each 3 1/4 x 7 3/8 inches), in blue, orange or yellow, with
small format title sheet in green, and 2 larger folding sheets of explanatory text and index. Contained within
original card box.
3. William A. Weber and Patricia Nelson. Random-Access Key to the Genera of Colorado Mosses. Boulder:
University of Colorado Museum, 1972-44. Approx. 200 cards (each 3 1/4 x 7 3/8 inches), in yellow or light
green, with small format title sheet in orange, 1 larger folding sheet of explanatory text, and a 16pp. illustrated
booklet and index. Contained within original card box.
An ingenious system, where by identifying a relatively small series of characteristics of an individual
specimen, the identity of the specimen can be confirmed using a process where a diminishing number
of cards are selected until only the card representing a particular species remains. The text maintains that
experience will speed up the process greatly, and will allow the researcher to discard the majority of the cards
before starting on the final selection process. Despite the appearance of the cards, this system is probably
closer to the abacus than the computer.
(#24560) $ 350
13 [BRASS FOUNDRY PATTERN BOOK, English 19th century].
[Early English trade catalogue of brass furniture hardware designs].
[Birmingham: circa 1815]. Oblong 4to (7 1/4 x 11 3/4 inches). 310 engraved plates on 163 leaves
(all but 16 printed on both sides, 10 folding), one plate signed Radclyffe (almost certainly the
Birmingham engraver William Radclyffe, 1783-1855), the other engravers unidentified, printed on
wove paper with occasional watermarked dates between 1812 and 1815. Each item with an engraved
stock number and manuscript price in ink. Contemporary half calf over marbled paper covered
boards, paper label on the upper cover with manuscript numerical notation.
A rarely encountered pattern book or trade catalogue of early 19th century English brass furniture hardware: a
wonderful example with more plates than any we have previously encountered.
By 1770, over thirty different brass foundries operated in Birmingham, England, making it the epicenter
of furniture hardware design at the height of mid-Georgian and English rococo style. At roughly the same
period, trade catalogues, like the present, began to be issued by both furniture and hardware makers alike.
As with most of the brass foundry trade catalogues of this early period, the name of the foundry issuing the
catalogue is not identified. It is believed that as most hardware was sold by middlemen, or agents which
could have represented multiple foundries, that such books were largely bespoke and likely contained
hardware from multiple foundries; furthermore, as the patterns were widely copied, it is believed that the
same engraved plates were used by multiple makers; some have suggested that the agents selling the designs
to prospective buyers would have removed such references to obscure the identity of their supplier. As with
most such extant books, the plates are annotated at a period date with pricing for each piece.
This is among the most comprehensive pattern books that we have ever encountered. Besides the usual array
of drawer pulls, hooks, knockers and casters, this catalogue includes lamps, candlesticks and wall-sconces,
wax taper stands, escutcheons, locks, caddee pendants, miniature table cannon, fishing reels, cow-horn tips,
glass supports, bed caps and bed post ferrules,clock case ornaments and balls, dish warmers, pulley wheels,
curtain rods, thumb latches, bell cranks, levers and rings, chimney or jamb-hooks, cast and stamped door
or finger plates, hinges, capitals and bases for clocks, tongs, a tinderbox, coffin handle and bottle jack crane,
fender footmen, boot heels, nut-crackers, and more.
Interestingly, at least three of the plates show designs evidently intended for an American market: a framed
medal bearing the likeness of Washington or Jefferson (the illustration within the book being portraits of
Charles James Fox and Admiral Nelson, but with a note offering the frames “with the Head of Nelson, Pitt,
Fox, Washington, Jefferson or Bonaparte”); a clock ball design bearing a circular portrait of Washington
surmounted by a large American eagle; and a fingerplate decorated with an American eagle with the motto
E Pluribus Unum and with the shield design from the seal of the United States.
Such pattern books “illustrate the beginning of what was then a new movement in the conditions of the
crafts, namely, the growth of the organised factory as a means of production and distribution, as compared
with the earlier limitation of these functions to the efforts of individuals” (Young).
Cf. Hummel, Charles F. “Samuel Rowland Fishers Catalogue of English Hardware.” Winterthur Portfolio, Vol 1 (1964): 188-197;
cf. Symonds, R. W. “An Eighteenth-Century English Brassfounders Catalogue.” Magazine Antiques (Feb. 1931): 102-105; Young,
W. A., comp. Old English pattern books of the metal trades: a descriptive catalogue of the collection in the V&A Museum. London:
HMSO, 1913.
(#28288) $ 22,500
14 BRIVOIS, Jules.
Guide de l’Amateur Bibliographie des Ouvrages Illustrés du
XIXe siècle principalement des livres a gravures sur bois.
Paris: Librairie P. Rouquette, 1883. Octavo (9 7/8 x 6 5/8
inches). Title in red and black, half title. Expertly rebacked
to style, over contemporary marbled paper-covered boards,
marbled endpapers, top edge gilt.
An unusual copy of this important work: an “Exemplaire d’auteur”
initialled by the author.
The regular limited edition consisted of 900 copies on papier vergé
and 50 copies on grand papier de Hollande - all initialled by the
author. The present copy is printed on papier vergé, but was one
of an unspecified number of copies reserved for the author. A
valuable work, being a continuation of Cohen/ de Ricci’s work on
the French 18th-century illustrated books.
(#23544) $ 275
15 BROOKSHAW, George (1751-1823).
A New Treatise on Flower Painting, or Every Lady Her Own
Drawing Master: containing familiar and easy instructions
for obtaining a perfect knowledge of drawing flowers with
accuracy and taste: also complete directions for producing
the various tints.
London: printed for Longman, Hurst, Rees, Orme, & Brown
[and others], ‘1816’ [plates watermarked 1814-1817; text
watermarked 1816-1814]. 1 uncoloured engraved plates of
practice strokes, 12 hand-coloured stipple engraved plates
after Brookshaw, the first 11 of these hand-coloured plates
also present in a second uncoloured state, the final handcoloured plate faced by an uncoloured pencilled version of
the final plate on early Whatman paper (25 plates in total),
8 text pages with integral hand-coloured examples of tints.
(Title with old crease).
[Bound with:]
Supplement to the Treatise on Flower Painting, consisting of eight
plates of flowers, accurately drawn and coloured from nature.
London: printed for Longman, Hurst, Rees, Orme, & Brown and
John Lepard, 1817 [plates watermarked 1817]. 8 hand-coloured
stipple-engraved plates after Brookshaw, plus each plate present in
a second uncoloured state (16 plates in total).
2 works in one volume, royal quarto (11 1/8 x 9 inches). Expertly bound to style in half green straightgrained morocco over contemporary marbled paper-covered boards, flat spine in six compartments divided
by roll tools and fillets, lettered in the second compartment, the others with a repeat floral decoration in gilt.
Very rare: no examples of this combination are listed as having sold at auction in the last thirty-five years.
The publishing history of the New Treatise is complicated: Brookshaw appears to have published up to three
editions in parts, anonymously or using the pseudonym G. Brown, between 1797 and 1803. In 1816, the first
edition to be published under Brookshaw’s own name appeared, and in 1818 an expanded edition appeared.
The Supplement is particularly rare: only one edition is known and only the Plesch copy is recorded as
having sold at auction. The present volume includes a hitherto unrecorded variant of the first work, dated
1816 but issued in 1817, probably to accompany the brand new Supplement (as here).
Brookshaw paired the coloured and uncoloured plates intending that the coloured plates should be used as
models by the aspiring artist to colour the facing page. The present examples avoided that fate, although,
intriguingly, one of the uncoloured plates is executed in pencil rather than being printed.
cf. Dunthorne 52 (1818 edition of the first work); Henrey III, cf.518 (1816 edition) & 520; cf. Lowndes I, p.284 (mentions the
Treatise with a Supplement); cf. Nissen BBI 246 (1818 edition of the first work).
(#23846) $ 2,400
16 CARTWRIGHT, George William (1785-1867).
[Small archive relating to Cartwright’s inventions].
[Westchester County, NY: 1823-1836].
A noted New York civil engineer and surveyor details his
inventions and ideas for improving the printing press, the
steam engine and carriage sleighs.
The archive is comprised of:
1) Cartwright’s American Printing Machine or Improved
Roller Press. Sing-Sing, NY, November 1827. Small
letterpress handbill (4 3/4 x 4 1/8 inches). The text of the
handbill continues: “The machinery of this Press is very
simple; it may be worked by any mechanical power, or by
hand, with a crank, handle, or jack, when the application
of the same power that is required with the old presses, to
carry the bed and form under the platten, will, with this
machine, ink the type, give the impression and carry the sheet on the tympan free from the form and roller,
ready to be taken off, and a fresh one place on to receive an impression, as the bed is moved back again;
producing an impress, as the bed alternatively moves from one side of the roller to the other. This press will,
it is presumed, do as much work as the most compleat in use, while its cost will not be more than one eighth
or less. It may be worked by one person only. With fixed tympans added, and assistance to feed on and take
off, an able boy may work it and produce 1800 impressions per hour.” An early example of printing on a
“duplicating” or reciprocating roller press with a flexible tympan.
2) Pen-and-ink drawing of Cartwright’s reciprocating roller press, depicting the flexible typan and two
illustrations of the press, with numerous lettered references with explanations on either sides of the image,
signed G.W.C. in lower left corner, docketed on verso “This is to certify that the within is a true copy of a
drawing lodged in the Patent office and on which a patent was granted to George W. Cartwright, April 29th
1828.” 1p., with docketing on verso, 9 3/4 x 8 inches.
3) Autograph manuscript signed, caption titled: An Improved Steam, or Elastic Vapour Engine. Mount
Pleasant, NY, 26 June 1823. 4pp, folded sheet. Signed by Cartwright at the bottom of p.3, also signed by
three witnesses as well as a Justice of the Peace.
4) Manuscript with caption title: Description or Specification of an Improved or a New Rotary Engine
working by Steam By Geo. W. Cartwright, Sing Sing. 3pp, folded sheet. A contemporary true copy, with an
attestation dated 1836.
5) Autograph manuscript signed, caption titled: Description or Specification of a Moveable Improved Sleigh
Shoe, or runner, to be applied either to two or four wheel carriages, in order to convert them into temporary
sleighs. [Mount Pleasant, NY: October 1829]. 1p., with 1/2 page attestation on conjoined sheet.
(#29028) $ 1,250
17 CHELONIIDAE Press. - Edgar Allan POE (1809-1849).
The Raven by Edgar Allen Poe Etchings and wood engravings by Alan James Robinson.
[Easthampton, Massachusetts: Cheloniidae Press, 1980]. 2 volumes (including a chemise with an
additional suite of plates), folio (15 x 11 inches). Bound volume: title in red and black with integral
wood-engraved vignette of a quill pen, text in black with one red initial, colophon leaf signed and
numbered with text in red around a wood-engraved vignette of the Raven’s head. 5 etched plates by
Robinson, each titled and signed in pencil by the artist, and 2 wood-engravings (duplicates of those
printed on the title and colophon leaf) signed and numbered in pencil, printed on thin small format
Kitakata paper; Chemise: an additional suite of the 5 etched plates, unbound, signed, numbered
and titled in pencil, extra-illustrated with an original pencil portrait of Poe signed by Robinson; an
original pencil drawing of the raven’s head signed by Robinson (on a bi-folium including the titlepage in red and black); a 1p. printed prospectus signed in pencil by Robinson; a 1p. note signed by
Robinson on Cheloniidae Press headed note-paper; a 1p. photocopied wholesale price list. Bound
volume: black and red marbled rag paper-covered boards, the backstrip titled in gilt; Chemise:
unbound as issued in original black cloth chemise. All contained within the original red moroccobacked black cloth box, spine lettered in gilt.
This copy is one of five artists proofs which contain an extra suite of plates, and this particular copy also contains
two additional drawings
A unique copy with original drawings of the first book from Alan James Robinson’s Cheloniidae Press: a
thoughtful design, beautiful plates and illustrations, immaculate execution. In this copy the bound volume
is numbered 5/100 and is signed by Robinson, the unbound additional suite of etchings are numbered 17/50,
but as Robinson’s typed note makes clear, this is actually one of only five “artists proofs” which can be
recognized by the “red leather spine to the accompanying box.”
According to the prospectus: “This book was designed by Alan James Robinson. The five original etchings
were printed by the artist at the Cheloniidae Press ... Harold McGrath printed the text ... and the two wood
engravings at The Hampshire Typothetae in Northampton, Massachusetts. The type ... is 24pt. Centaur,
all hand-set. The edition, hand-bound by David Bourbeau at Thistle Bindery, Northampton, has a special
marbled cover design by Stephen Auger. The book is printed on Arches Cover in an edition of 125 copies,
signed by the artist and numbered 1-100 with a deluxe edition I-XXV ... A separate edition of fifty prints has
been taken from each [etched] plate and an edition of two hundred from each of the two wood engravings.”
“All of the books are designed and illustrated by Robinson, however, it is a unique collaborative press.
The finest craftsmen and the highest quality materials have been sought out to create works of the utmost
integrity and beauty ... The Press endeavors to create beautiful yet scholarly renditions of contemporary and
antiquarian texts. The books are produced as they might have been one hundred or more years ago, using
handmade inks, marbled endpapers, hand-set type, and handsewn design bindings. The works are printed
by Harold P. McGrath, a Master Printer for over 55 years who has worked with such artists as Leonard
Baskin, Fritz Eichenberg, Clare Leighton, and Barry Moser. The result of this attention to detail are works of
art ...” (Alan James Robinson’s website).
(#24056) $ 8,250
18 CLAUDE Gellée, dit le Lorrain (c.1600-1682, artist). - Richard EARLOM (1742-1822, engraver).
Liber Veritatis; or A Collection of Prints after the original designs of Claude le Lorrain; in the collection
of [vol.I-II] His Grace the Duke of Devonshire [vol.III: the Duke of Devonshire, Earl Spencer, Richard
Payne Knight, Benjamin West..., Charles Lambert, Edward Turnor, George Gosling, and Joseph
Farrington]. Executed by Richard Earlom, in the manner and taste of the drawings. To which is added a
descriptive catalogue of each print; together with the names of those for whom, and the places for which,
the original pictures were first painted ... and the present possessors of many of the original pictures.
London: [vols.I-II] published by Messrs. Boydell & Co, printed by W.Bulmer & Co; [vol.III:] published
by Hurst, Robinson & Co., printed by Thomas Davison, [1774-1775]; [1775-1777]; [1802]-1819. 3
volumes, small folio (16 1/4 x 10 3/4 inches). 2 mezzotint portraits (of Claude and Earlom), 1 stippleengraved portrait of John Boydell. 300 etchings with mezzotint, all printed in bistre, all by Earlom
after Claude. Expertly bound to style in half russia over period marbled paper covered boards.
“The first complete edition, with the engravings [sic.] in the best and final state, embodying the important
drawings from the great English collections of the period” (Abbey)
“This capital work, a landmark in the history of the reproduction of master drawings, is ... an important
forerunner of later publications on [Art Collections]... It contains 300 etchings of drawings by Claude
Lorrain, pastoral, mythological, and biblical subjects, and was called Liber Veritatis [Book of Truth] for the
purpose of identifying Claude’s genuine works from forgeries, or from drawings wrongly attributed to the
master. They are all printed in a warm bistre colour to aid the resemblance ... The catalogues in each volume
give a comprehensive description of each drawing, indicating also for whom they were executed, which
pictures were painted from them, and the ownership at the date of publication of the book - in short, a real
catalogue raisonné” (Abbey).
Abbey Life 200; Lowndes II, p.1398
(#26090) $ 19,500
19 COLEBROOKE, Sir Henry Thomas (1765-1837).
A Grammar of the Sanscrit Language ... Volume 1 [all published].
Calcutta: Printed at The Honorable Company’s Press, 1805. 4to (9 5/8 x 7 1/2 inches). Printed in
English and Sanskrit types. xxii, 369, [1], [4]pp. 4pp. errata in rear. (paper toned). Period clothbacked paper boards, rebacked with leather, spine lettered in gilt. Provenance: College of Fort William
(period inscription on verso of title).
“The first European work to be based on the indigenous linguistic tradition” (ODNB).
Colebrooke, a noted Orientalist, first arrived in India in 1782. After several government posts and a
diplomatic mission, he devoted himself to the study of Sanskrit and was appointed an honorary professor
of Hindu law and Sanskrit at Calcutta’s new Fort William College in 1801. Interestingly, the present volume
was at one time part of the library of that institution.
“[His] principal work ... was his Sanskrit Grammar. Though it was never finished it will always keep its
place, like a classical torso, more admired in its unfinished state than other works which stand by its side
finished, yet less perfect” (Thomas E. Colebrook, The Life of Henry Thomas Colebrook, London: 1872).
“Colebrooke’s volume stands as a monument marking the beginning of the study of traditional Sanskrit
linguistics (vyakarana) by non-Indians, and in due course that study was to bring vyakarana into the global
development of linguistics” (ODNB).
Brunet 11742
(#26698) $ 7,800
20 COMMUCK, Thomas.
Indian Melodies ... Harmonized by Thomas Hastings, Esq.
New York: Lane & Tippett, 1845. Oblong 8vo (6 x 9 inches). 114, [2]pp. Contemporary half calf over
publisher’s printed boards. Housed in a dark red chemise and morocco backed slipcase. Provenance:
Ann Burritt (early inked stamp).
The earliest published anthology of American Indian songs, composed and collected by a Narragansett Indian
residing in Wisconsin Territory.
The work consists of music and English text for over one hundred religious hymns, each named for a
different North American tribe, chief, place name, etc. The first hymn is entitled “Pequot S.M.,” followed
by “Shenandoah,” “Cummanche,” “Quapaw S.M.,” “Huron,” “Flathead,” “Iroquoi,” and so on through
“Tallahassee” and “Shoshonee.” In the preface, which is dated “Manchester, Wisconsin Terr., March 7, 1845,”
Commuck states that his song collection is the product of seven years of work, and that his intention in
publishing it was to earn a little money to help support his household of seven souls. Although the NUC
locates twenty-one copies of this work, it is very rare in commerce, and this is the first copy we have seen. A
curious early collection of religious music by a Narragansett Indian, the first such work known. Commuck
also wrote “Sketch of the Brotherton Indians,” which appeared in the report of the Wisconsin State Historical
Society for 1857-58.
Sabin 14999.
(#28937) $ 3,750
21 (CORN LAWS) - Sir John GLADSTONE (1764-1851) or Sir Robert PEEL (1788-1850).
Group of 6 works relating to the repeal of the Corn Laws and free trade.
Principally London: 1839-1847.
1) PEEL, Sir Robert. The Speech of the Right Honourable Sir Robert Peel ... on Mr. Villiers’ Motion on
the Corn Laws. Second Edition. London: John Murray, 1839. 64pp., plus 12pp. publisher’s ads. Stitched.
Provenance: Sir John Gladstone (inscribed JG and dated on the title). Kress C.4967.
2) GLADSTONE, Sir John. The Repeal of the Corn Laws, with its probable consequences, briefly examined
and considered ... Second Edition. London: J. Hatchard and Son, 1839. 20pp., plus 24pp. publisher’s catalogue.
Stitched. Kress C.4876.
3) GLADSTONE, Sir John. A Review of Mr. Cobden’s Corn Politics, submitted for the consideration of the
Landlords, Farmers and Manufacturers of the United Kingdom. London: William Blackwood and sons,
1843. 8pp.
4) GLADSTONE, Sir John. Plain Facts intimately connected with the intended Repeal of the Corn Laws, and
its probable effects on the public revenue, and the prosperity of this country. London: John Murray, 1846.
31pp. Stitched. Uncut and unopened. Kress C.6846.
5) GLADSTONE, Sir John. Plain Facts intimately connected with the intended Repeal of the Corn Laws,
and its probable effects on the public revenue, and the prosperity of this country ... Second edition. London:
John Murray, 1846. 16pp. Stitched.
6) GLADSTONE, Sir John. Corn Law Repeal and Our Monetary System ... 23d August, 1847. Fasque
[Aberdeenshire, Scotland]: 1847. 2pp.
(#27398) $ 500
22 [CRAWFURD, John (1783-1868)].
The Chinese Monopoly Examined.
London: James Ridgway [printed by T. Brettell], 1830. 8vo (9 x 5 1/2 inches). Half-title. 96pp. (Ink
stains on half title). Stitched self-wrappers. Provenance: Sir John Gladstone (1764-1851, inscribed
“From the Author / Mr. Crawford to / JG / London 28 Apr / 1830”) .
An important anti-East India Company argument for the importance of promoting free trade in China by the
noted colonial administrator and diplomat and founder of Singapore.
Not in Kress.
(#27365) $ 700
23
CRUIKSHANK, George (1792-1878) - Blanchard JERROLD (1826-1884).
The Life of George Cruikshank in Two Epochs.
London: Chatto and Windus, 1882. 2 volumes, 8vo (7 1/8 x 4 3/4 inches). Half-titles. 21 plates,
numerous illustrations. Extra-illustrated with an autograph letter signed by Cruikshank [see below]
and an additional 101 illustrations by Cruikshank on 82 plates (40 hand-coloured, most inlaid or
trimmed and mounted, many captioned in pencil identifying the source). Contemporary green
morocco, bound by J. Larkin, covers bordered in gilt, spines with raised bands in six compartments,
lettered in the second and third, the others with an overall repeat decoration in gilt, inner dentelles
gilt, gilt edges. Provenance: Calvin Bullock (bookplate).
A profusely extra-illustrated set of Jerrold’s Life of Cruikshank, in a lovely contemporary binding.
The letter, tipped into the front of volume one, is written to Dr. Pettigrew and is dated 3 August 1855: “The
bearer, Mary Ann Gray, is the domestic of a friend of ours and requires medical advice. Her mistress has
offered to get this for her, from medical gentlemen of her own acquaintance, but Mary Ann wish none of ‘em.
She will not take any advice but yours ... when shall we two meet again?!!!!!!!...”
“Jerrold’s two volumes reigned for over a century as the standard authority” (Patten).
Freitag 1974.
(#29027) $ 1,600
24 DELACROIX,
Eugene (1798-1863), Edouard MANET (1832-1883), Henri FANTIN-LATOUR (18361904), Jean-Baptiste-Camille COROT (1796-1875). Gustave COURBET (1819-1877), Charles-François
DAUBIGNY (1817-1878), Charles MERYON (1821-1868) and others.
Sociétés des Aqua-Fortistes Eaux-fortes modernes Oeuvres inédites et originales.
Paris: Published by A. Cadart et Luquet, 79, rue de Richelieu, [1862-1866]. 5 volumes, folio (21
1/2 x 14 inches). Letterpress titles to vols. 2-5 in red and black. 5 engraved additional titles, 299 (of
300) etched plates by Delacroix (3), Manet (2), Fantin-Latour (1), Corot (3), Courbet (1) and many
others, plates 1-180 (i.e. vols 1-3) printed on wove paper, plates 181-300 (vols. 4-5) proofs before
letters printed on Aqua Fortistes laid paper. Lacks plate 248 by Adolph-Rene Lefebvre (Le Titien
et la Duchesse de Ferrare - Nymphe). (Dampstaining to upper margin of vol. 5 engraved title, lacks
preliminary text to vol. 1). Expertly bound to style in half red morocco over period pebbled cloth
covered boards, spine with raised bands, lettered in the second compartment, the others with a
repeat decoration in gilt, marbled endpapers.
A near complete set of this gallery of ground-breaking work, a five-volume celebration of the etching revival in
France led by Delacroix, Manet, Fantin-Latour, Corot, Courbet and Meryon.
This outstanding collection is one of the seminal publications to spring out of the etching revival in France.
The Société des Aqua-Fortistes was the French equivalent of the Etching Club in England and similarly it
aimed to produce a collection of high quality etchings by the leading artists of the period. Like the Etching
Club, the Société des Aqua-Fortistes sought to raise the reputation of the medium from a reproductive
technique to a fine art. Although the etching revival began somewhat earlier in England, the French
movement exerted a far greater influence on the medium, and included a wider range of prominent artists.
The Barbizon painters were among the earliest French artists to participate in the etching revival, and their
superb prints helped raise the medium to new heights. This unique publication is an outstanding example
of fine art printing at its best.
Some of the highlights of the collection include:
Plate 2. DAUBIGNY. Parc à moutons, le matin.
Plate 4. MANET. Les Gitanos.
Plate 38. COROT. Souvenir d’Italie.
Plate 67. MANET. Lola de Valence.
Plate 142. FANTIN-LATOUR. Un Morceau de Schumann.
Plate 161. DAUBIGNY. Les Vendanges.
Plate 171. DELACROIX. Juive d’Alger.
Plate 176. MERYON. Ministère de la Marine (Fictions et Voeux).
Plate 197. DELACROIX. Arabes d’Oran.
Plate 201. DAUBIGNY. Le Gué.
Plate 211. COROT. Environs de Rome.
Plate 242. COURBET. Les Demoiselles de Village.
Plate 290. DELACROIX. Le Forgeron.
(#26153) $ 19,500
25 DELUC, Jean Andre (1727-1817).
Account of a New Hygrometer.
London: W. Bowyer and J. Nichols, 1774. Small 4to (8 3/4
x 7 inches). Engraved folding plate, engraved by Basire.
Period marbled paper wrappers. Housed in a blue morocco
backed box. Provenance: Thomas Hornsby (1733-1810,
presentation inscription by the author).
Author’s presentation copy of a rare offprint from the Philosophical
Transactions of the Royal Society, detailing Deluc’s invention to
measure humidity.
Jean Andre Deluc (1727-1817) was a Swiss-born English
geologist and meteorologist. He was made a fellow of the Royal
Society in 1773, the year prior to the present paper. Deluc’s
hygrometer, detailed here, used an ivory bulb that when damp
allowed mercury to move down a tube. Among his more
noted discoveries was that the measurement of the quantity of aqueous vapor contained in any space was
independent of the presence or density of the air. He was also the first to accurately measure height using a
barometer.
The account of his hygrometer was published in Vol. LXIII of the Philosophical Transactions of the Royal
Society. The present offprint was separately printed, with this example being an author’s presentation copy
to Thomas Hornsby, a noted astronomer and an influential member of the Board of Longitude. Scarce.
(#27846) $ 2,750
26 DESTAILLEUR, Hippolyte (1822-1893).
Catalogues de livres rares et précieux.
Paris: Damascene Morgand, 1891. Large 8vo (11 x 7 1/2 inches).
Half-title. [4], xv, [1], 448pp. Uncut. Contemporary three quarters
brown morocco over marbled paper covered boards, flat spine
paneled and lettered in gilt, marbled endpapers, top edge gilt.
An important sale of the library of the noted French architect and interior
designer, in a fine leather binding
His collection focussed on French artists of the 18th and 19th centuries
and was here sold in 2004 lots over twelve days, realizing over 500,000
fr. A second auction was held in 1895, two years after his death.
(#28866) $ 250
27 [DEZALLIER D’ARGENVILLE, Antoine Joseph (1680-1765).
La Théorie et la Pratique du Jardinage.
Paris: Jean Mariette, 1709. Quarto (10 x 7 5/8 inches). [8], 208pp. 32 engraved folding plates. Period
speckled calf, spine with raised bands in six compartments, morocco lettering piece in the second
compartment, the others with a repeat decoration in gilt. Provenance: Hugh Earle of Loudoun, 3rd
Earl of Loudoun (d. 1731, armorial bookplate).
Scarce first edition of the most influential French work on garden design of the first half of the eighteenth century.
“The author was at various times maitre de comptes for Paris and counsellor to the King of France. A writer,
naturalist and collector, he studied architecture under Alexandre Le Blond, to whom the work has sometimes
been incorrectly ascribed, drawing under Bernard Picant and painting under Roger de Piles ... [The work]
describes the manner of gardening practiced by Andre Le Notre (1613-1700), who designed or redesigned
the gardens of Versailles, the Tuileries and Fountainebleau. The work deals with garden design and such
details as the creation of parterres, mazes, garden buildings, ornaments, and fountains ... According to
Henrey, Le Blond, the noted architect and designer of the Peterhof garden, did the original sketches for about
three quarters of the plates, with the remainder done by the author” (Johnston).
“It is especially valuable as a record of the manner of gardening as practised by Le Notre. The original French
work appeared anonymously in Paris in 1709, and in the opinion of Gothein: ‘Never before did a book lay
down the principles of any style so surely and so intelligibly in instructive precepts.’ The popularity of the
work is attested by the fact that it was published five times in Paris, three times at the Hague and three times
in London” (Henrey).
Hunt 421; Johnston 324; cf. Henrey II: pp491-493.
(#28388) $ 1,850
28 DOSSIE, Robert (1717-1777).
Handmaid to the Arts ... The Second Edition, with considerable Additions and Improvements.
London: printed for J. Nourse, 1764. 2 volumes, 8vo (8 x 5 inches). Contemporary tree calf, skilfully
rebacked to style, the flat spines divided into six compartments by gilt roll tools, red morocco
lettering piece in the second compartment, red circular morocco label bearing the volume number
in the fourth compartment.
The second enlarged edition of this valuable work.
This work was first published in 1758, and it contains information on all aspects painting, engraving,
colouring of prints, transfer of prints onto glass, colouring of glass, etching of glass, Japanning, lacquering,
papier mache, marbling paper, etc. A fascinating compendium.
Robert Dossie (1717-1777) was an apothecary, but his interests were very wide ranging and spanned the gulf
between the Sciences and the Arts. His training and his knowledge of chemistry allowed him to understand
the science behind many of the processes used by artists, artisans and manufacturers of the day, and his wish
was to explain and improve on the results that were achieved. He strove for this in his publications, including
the present work, and the same motivation led him to help fund the Society for the Encouragement of Arts,
Manufactures and Commerce in 1754. His works were appreciated during his lifetime, were translated into
various languages and contain information that remains valuable today.
(#21350) $ 1,250
29 EASTMAN,
Seth (1808-1875, illustrator). - Mary Henderson EASTMAN (1818-1880), and others
(contributors).
The Iris: An Illuminated Souvenir for MDCCCLII. Edited by John S. Hart.
Philadelphia: published by Lippincott, Grambo & Co, 1852. Octavo (9 1/8 x 6 1/4 inches). Half-title.
12 chromolithographs by P.S. Duval (comprised of 8 plates after Seth Eastman, 1 presentation leaf,
1 frontispiece, 1 additional title, and 1 list of plates). (The additional title with small section chipped
out of outer blank margin). Original purple morocco, the covers with an outer border elaborately
tooled with fillets and various arabesque tools, arranged around a large central sunken oval panel,
edged with a blind fillet around a central gilt-blocked female allegorical figure and various symbols
of the arts and literature, and a shield decorated with the Stars and Stripes, the flat spine decorated in
gilt and blind in six compartments, lettered in gilt in the second, the others with repeat decoration
in gilt and blind, cream-glazed endpapers, gilt edges. Provenance: Bella W. Sinclair (early signature);
Edward Chenery Gale (1862-1943, bookplate).
An elaborately-bound gift annual with articles and poems by Mary Eastman, and very early examples of
chromolithographs of scenes in the American west by Seth Eastman.
This is the second of the three Iris souvenir annuals (published between 1851 and 1853); the 1852 volume
is notable for being illustrated by Capt. Seth Eastman, with plates based on scenes observed by him while
stationed at the present site of St. Paul on the upper Mississippi River. It also includes Mrs. Mary Eastman’s
collection of tales and poetry on Indian legends. Wagner-Camp-Becker 238a note: “Several of the ‘annals’
that were fashionable at that time used the essays and poems of Mary Eastman as well as the captain’s
paintings. An example is The Iris This work contains eighteen articles and poems by Mary Eastman, and
Duval chromolithographs, eight of which are credited to the captain.”
Bennett, p.62; Reese Stamped with a National Character 30
(#24000) $ 950
30 [EGYPT] - William ROBERTSON.
[An album of 45 annotated drawings and relief impressions on paper of archaeological remains in Egypt
and Nubia].
[Egypt: 1838-1839]. Folio (18 1/2 x 14 inches). 29 leaves bearing drawings and sketches in pen and
ink, wash and pencil, some with hand colouring; plus 12 loosely-inserted sheets of various sizes
bearing drawings and sketches in pen and ink, wash and pencil, some with colouring; 3 looselyinserted sheets of various sizes bearing impressions of carvings; and a plan. Signed by Robertson and
dated on the front free endpaper. (Some leaves with slight fraying and browning at edges). Expertly
bound to style in half black morocco over period marbled paper covered boards. Provenance:
Christie’s London, 19 November 2002, lot 44, £14,340.
A fine early-nineteenth-century album of original drawings and relief impressions of Egyptian archaeological
remains, made during a journey along the Nile from Wadi Halfa to Luxor.
Robertson’s drawings show a grounding in the principles of perspective and draughtsmanship, possibly
gained in the course of military service. The references in the margins of the album leaves (and notes to
the drawings that appear to have been added later) suggest that he was an enthusiastic student of ancient
Egyptian history, and the album cites contemporary works on Egypt and Nubia by David Roberts, Achille
Prisse d’Avennes, G.B. Belzoni, and others.
The album was compiled during the course of a journey along the Nile. The endpaper bears the inscription
Cairo, December 1838, suggesting that Robertson travelled down the Nile from Cairo, and then returned at
a slower pace from Wadi Halfa to Luxor, recording the archaeological sites en route between the two points.
The bulk of the drawings and rubbings contained in the album can be divided into six groups depicting
archaeological remains and antiquities:
(1) 10 depicting the temples at Abu Simbel, Nubia, one dated 9 January 1839, the others simply dated January
1839. The subjects include ‘Rhamses II (Sesostris) besieging a strong Fortress in Assyria. From a painted
bas-relief on the South Wall of the principal chamber in the Great Temple of Abousimbal, Nubia’, ‘Sesostris
presenting prisoners of different nations to the Deities of Thebes and Abousimbal. From a painted basrelief, on the West Wall of the Principal Chamber of the Great Temple of Abousimbal, Nubia’, and ‘Sesostris
receiving the news of his army having been attacked by the enemy. From a painted bas-relief, on the North
Wall of the Principal Chamber of the Great Temple of Abousimbal, Nubia’.
(2) 2 views of the island of Philae, Nubia, dated 5-6 February 1839.
(3) 3 of Karnak dated 14 February 1839, and 1 March 1839. The subjects include ‘Shishak King of Egypt [...]
dragging to the feet of the Theban deities [...] the chiefs of conquered nations [...] from a bas relief on the
South Wall of the Palace’ and ‘The Propylon and First Court of the Great Palace’.
(4) 11 of Bibal-el-Malouk, Thebes, dated 16-20 February 1839, or simply February 1839. The subjects
include ‘Tomb of Menephtha III’, ‘From a Painting [...] on the Wall of a Chamber in the Tomb of the Pharoah
Rhamses Meiamoun’, and ‘A Painted bas relief in the Tomb of Menephtha I’.
(5) 3 of Madinat Habou, Thebes, dated 23 February. Subjects include ‘The Private Palace of Rhamses
Meiamoun’.
(6) 3 of Thebes dated 28 February. Subjects include ‘The Two Memnons at Thebes’.
In addition to these groups there are a further two archaeological studies (one of “The Prophlyon & Pronaos
of the Temple Slathor (Venus) Denderrah from the Naos”, dated 25 December 1838 and one of “Assouan
(Syene)” dated 6 February 1839), and a plan of the Temple of Luxor after Achille Prisse d’Avennes drawn
in pencil and dated 2 March 1839. There are also three botanical drawings dated 14, 19 and 30 January
1839 depicting “The Cotton Plant”, the “Fermis” and “Kharawah The Castor Oil Plant.” The six remaining
drawings are uncaptioned and unfinished preliminary sketches of various subjects.
The three sheets of relief impressions seem to have been made by wetting the sheets of paper and pressing
them over the carvings; the outlines so formed have been subsequently traced over in pencil. Two of them
are dated 28 February 1838 and are from Thebes, both captioned “From the tomb of one of the Priests of the
18th Dynasty” and the third is captioned “Palace of Luxor Ammophis III (Memnon).”
(#26935) $ 24,000
31 FIELD, George (1777-1854).
Chromatography; or, a Treatise on Colours and Pigments, and
of their Powers in Painting, &c.
London: Charles Tilt, 1835. Quarto (12 1/2 x 9 3/4 inches).
List of subscribers. Hand-coloured engraved frontispiece,
one engraved plate. Expertly bound to style in half black
morocco over period marbled paper covered boards, spine
with raised bands in six compartments, lettered in the second
compartment, the others with a repeat decoration in gilt.
First edition of the most influential work on colour pigment
chemistry written in England in the early 19th century by a leading
chemist in the field.
“The principal object of the present treatise is, therefore, by
pointing out the true character and powers of colours and
pigments, to enable the student to choose and employ judiciously
those which are best adapted to his purpose, and thereby to prevent the too frequent disappointment of this
hopes and endeavours by a failure at the very foundation of his work. As colours or pigments refer to the
various modes in which painting is practised, and as these modes differ most essentially in the mechanical
application of colours, in their chemical combinations, and in the purposes to which they are applied, - the
chemical and mechanical properties of pigments have been indicated herein, and the appropriate application
of each pointed out, so far as to enable the student in each mode to make his own selection” (Preface).
“In many ways, the most useful literary source concerning pigments rather than painting of the period is
Fields Chromatography, published in 1835 ... The first part of Chromatography is concerned with colour
theory, followed by a section in which the nature and composition of individual pigments are discussed.
The last part contains some comments on oils, varnishes and picture cleaning ... From an historical point of
view an important feature of the first edition is the inclusion of a large number of pigments, no matter how
obscure, so that the book fills the gaps left by most of the early 19th century books on painting” (Harley).
In addition to its importance on colour pigments, the final chapter discusses and illustrates some new optical
instruments - i.e. the chromascope and the metrochrome. There were a number of later editions (including
1841, 1869 and 1885, and a German translation in1836); this first edition is rare.
Abbey, Life, 123; R. D. Harley, Artists pigments, pp. 27--28; Weinreb Cat 39:103
(#26281) $ 2,900
32 GLADSTONE, William E. (1809-1898).
War in China: Speech of the Rt. Hon. W. E. Gladstone, M.P. March 3rd, 1857. Corrected Report.
London: Rivingtons, 1857. 8vo (8 1/4 x 5 1/2 inches). 41, [1]pp. Stitched.
On the Second Opium War.
(#27382) $ 385
33 GORER, Edgar; and J. F. BLACKER.
Chinese Porcelains and Hard Stones.
London: Bernard Quaritch, 1911. 2 volumes, thick quarto (12 x 9 1/2 inches). 254 colour plates (six
folding). Text in English and French. Publisher’s cream cloth, upper cover lettered and pictorially
stamped in gilt, top edge gilt.
One of 1000 numbered copies of the best illustrated book on Chinese porcelain from the Kangxi period.
The authors state that their efforts “have been directed to securing the reproduction of the finest specimens
to be found in private collections and museums and to classifying and faithfully describing them.” Gorer
was one of the best dealers in Chinese porcelains during the late 19th and early 20th century with a very
sophisticated clientele including John Pierpont Morgan, William Bennett, Sir Richard Bennett, Nellie Ionides,
Henry Clay Frick, Charles Phelps Taft and others. A highly important work, with beautiful illustrations.
(#28932) $ 7,500
34 GORKY, Maxime (1868-1936) - Jean LÉBÉDEFF (1884-1972), illustrator.
Les Vagabonds par Maxime Gorki. Traduction de Ivan Strannik. Bois Gravés par Lébédeff.
Paris : Chez Mornay, 1921. 4to (9 3/4 x 7 7/8 inches). Contents unbound, as issued. Illustrated with
colour woodcuts by Lébédeff (frontispiece plate, 4 headpieces, 5 tailpieces [including tailpiece on
colophon leaf], 4 initials and 12 illustrations within the text). With 30 preliminary pencil or penand-ink sketches by the artist, 8 preliminary woodcut proofs, 25 color woodcut proofs (21 signed),
all tipped into 28 window cut paper mounts [as issued]. Extra-illustrated with a colour woodcut by
Lébédeff, numbered 212/225, signed and inscribed by the artist to Ivan Lamberty, laid in. Publisher’s
vellum wrappers, covers hand illuminated in pen-and-ink by Lébédeff, gold ribbon ties, within
publisher’s dark brown morocco-backed patterned boards chemise and slipcase.
Unique large paper copy number one (of one), on Japon Impérial with the original preliminary sketches for the
illustrations by Lébédeff, as well as signed artist’s proofs of the illustrations, and bound in a hand-illuminated
binding by the artist.
A unique, deluxe issue of this work, usually found as one of 960 copies on papier de Rives (from a total
edition of 1000, the remaining 39 copies being hors commerce or other limited but less deluxe versions).
Jean Lébédeff (born Ivan Lebedev in Bogorodskoye), began his studies under Fernand Cormon at the Ecole
Beaux-Arts in Paris in 1909 and became a noted graphic designer and book illustrator in Paris between the
wars, acclaimed for his wood-cuts. A well-known anarchist, his work was exhibited at the 1926 International
Exhibition of Revolutionary Art of the West in Moscow; his work would later be featured in the 1979
retrospective “Paris Moscou 1900-1930” at the Centre Georges Pompidou.
Vagabonds was a tremendously influential work by Gorky, here in French from the translation by Ivan
Stannik. The work, with strong autobiographical elements, is comprised of four short stories featuring
Russian vagabonds, titled: Malva; Konovalov; Tchelkache; and Mon Compagnon.
The provenance of this copy, given the extra-illustration laid in, would seem to be Ivan Lamberty, a noted art
patron and collector in Brussels.
(#28268) $ 22,500
35 [GRAFTON, Augustus FitzRoy; 3rd Duke of (1735-1811)].
Memoirs of the Amours, Intrigues and Adventures of Charles
Augustus Fitz-Roy, Duke of Grafton, with Miss Parsons.
Interspersed with A faithful Account of Miss Parsons’s Amours with
other Persons of Distinction.
London: Printed for J. Meares [and others], 1769. 12mo (6
1/4 x 4 inches). [2], 202pp. Nineteenth century half polished
calf over marbled paper covered boards, bound by Roger de
Coverly, flat spine divided into compartments, lettered in the
second compartment, the others with a repeat decoration in gilt,
marbled endpapers, gilt edges. Provenance: Archibald Primrose,
5th Earl of Rosebery (morocco booklabel, inked stamp); Calvin
Bullock (bookplate).
The Earl of Rosebery’s copy of a rare account of the 18th-century
scandalous divorce and affair of the Duke of Grafton and his mistress
Miss Anne Parsons.
In January 1856, the Duke of Grafton married the daughter of Baron
Ravensworth, Anne Liddell, and would serve as Prime Minister
from October 1768 through January 1770. Although the two would have three children together, it was a
scandalous marriage, with both carrying on affairs before finally ending in divorce in 1769. The Duke’s most
noted mistress was Annabella Parsons (a.k.a. Nancy Horton, a.k.a. Mrs. Houghton), the widowed daughter
of a Bond Street tailor. Horace Walpole, referring to Parsons by the pseudonym Mrs. Houghton, famously
wrote that she was “the Duke of Grafton’s Mrs. Houghton, the Duke of Dorset’s Mrs. Houghton, everybody’s
Mrs. Houghton.” The Duke would end his relationship with Parsons in the Spring of 1769 to marry Elizabeth
Wrottesley; in turn, Parsons would marry the Duke of Cumberland.
At the time, the scandalous news of divorces and rumours of the affairs involving the sitting Prime Minister
would occupy the social press, with several magazines, including The Town and Country, devoting columns
to the subject. The present work prints supposed letters between the two, giving a chronological account of
the goings on.
(#29024) $ 1,250
36 GREIG, Thomas Watson (d. 1912).
Ladies’ Old-Fashioned Shoes ... [Bound with:] Supplement to Old-Fashioned Shoes.
Edinburgh: David Douglas, 1885-1889. 2 volumes in one, oblong folio (11 x 17 1/4 inches). 11
chromolithographed plates, some printed with gold and silver inks, each plate with a corresponding
text leaf describing the shoes. [Supplement, bound in rear:] 6 plates (4 chromolithographed).
Publisher’s paper-covered red and gold pictorial boards, expertly rebacked to style with red morocco.
Provenance: The author (signature on front free endpaper and annotations throughout).
The author’s annotated copy of the scarce first edition of this desirable illustrated monograph on women’s shoes
of the 17th century, complete with the supplement.
“The following Illustrations of Old Shoes are intended to preserve in an intelligible form what is fast
crumbling into dust; and it has been my endeavour to collect the very best and most authentic specimens,
as well as to show the variety of shapes and the excellence of the workmanship and design used by our
ancestors” (Preface).
The author’s annotations are fascinating. On the rear endpaper, Grieg reveals that only 250 copies of the
work were printed and lists 62 copies which he presented, the first being to the Princess of Wales. The front
pastedown includes a list of shoes loaned to Joseph Box for an 1889 exhibition, a broadside advertisement
for which is laid in. Within the work, Grieg provides additional details relating to specific shoes, including
in many cases the provenance of the shoe prior to the author. On the title page the author has added
“second edition” in manuscript below the imprint, suggesting that he intended to republish the work with
the supplement, annotations and corrections, though no such edition was ever published.
Hiler, p. 395; Lipperheide 1744 and 1744a; Colas 1312-13.
(#28348) $ 12,000
37 GROLIER CLUB - Theo. L. DE VINNE.
Historic Printing Types. A lecture read before The Grolier Club of New-York, January 25, 1885, with
additions and new illustrations.
New York: The De Vinne Press for The Grolier Club, 1886. Small quarto (10 x 8 inches). Half-title.
54 illustrations within the text. Publisher’s half cream cloth over cream boards (toned and soiled).
Provenance: Dean Sage (booklabel).
One of 200 copies on Holland paper
An important early Grolier publication by one of its founders, as well as the first printer to the Club. This
copy from the library of Grolier Club member Dean Sage (1841-1902), noted for his collection of books on
angling and Waltoniana.
(#28678) $ 150
38 GROLIER CLUB - Robert HOE.
A Lecture on Bookbinding as Fine Art delivered before the Grolier Club, February 26, 1885.
New York: The De Vinne Press for The Grolier Club, 1886. Small quarto (10 x 8 inches). 63 artotype
plates by E. Bierstadt. Publisher’s half cream cloth over cream boards (toned and soiled).
One of 200 copies on Holland paper.
An important Grolier publication by one of the club’s founders, describing and illustrating sumptuous
bindings from his own famed collection.
(#28677) $ 175
39 GROLIER CLUB - Arthur WARREN.
The Charles Whittinghams Printers.
New York: The DeVinne Press for The Grolier Club, 1896. Large 8vo (9 5/8 x 6 7/8 inches). Engraved
frontispiece and numerous plates and illustrations. Uncut and unopened. Publisher’s half morocco
over paper boards (minor wear).
One of 385 copies on hand-made paper.
A beautifully produced work on the famed 19th century English printer.
(#28676) $ 195
40 GROLIER CLUB - (DURAND, Asher B.).
Catalogue of the Engraved Work of Asher B. Durand.
New York: Printed at The Gilliss Press for The Grolier Club, April [i.e. May] 1895. 8vo (9 x 6 1/4
inches). Frontispiece and one plate. Text uncut and unopened. Publisher’s lettered wrappers (toned).
One of 350 large paper copies.
In April of 1895, the first (and only) comprehensive exhibition of the engravings of American landscape
artist Asher Brown Durand (1796-1886) was held at the Grolier Club in New York City. The catalogue for the
exhibition, with a biographical introduction written by Grolier Club member Charles Henry Hart, identifies
237 engravings by Durand and was printed in a limited edition for Club members.
(#28671) $ 100
41 HAID,
Johann Jacob (1704-1767) after C. N.
EBERLEIN.
Albertus Haller.
Augsburg: Published by Johann Jakob Haid,
circa 1730. Mezzotint. Printed on laid paper. In
good condition with the exception of some foxing
across the margins. Small paper loss in upper left
corner of sheet. Image size: 12 1/2 x 7 5/8 inches.
Plate mark: 12 1/2 x 7 5/8 inches. Sheet size: 15 1/4
x 9 3/4 inches.
A striking scientific portrait of Albrecht von Haller,
from Johann Jakob Haid’s celebrated series of mezzotint
portraits.
Johan Jakob Haid came from a German family of
artists and printmakers. Haid worked initially with
the animal painter Johann Elias Ridinger, but he
soon went on to found a well-known publishing
house in Augsburg. He became known primarily
for his celebrated series of large mezzotint portraits
of illustrious individuals. This attractive portrait of
Albertus Haller is a wonderful example of Haid’s noted
series. As in this fine image, all of Haid’s portraits are
highly decorative; the sitter is always surrounded by
a decorative frame and the image rests on an ornate descriptive plaque. This is a lovely impression and a
fine example of Haid’s accomplished series. As in many scientific portraits, Haller is shown holding a book,
symbolizing his important work as a writer.
Albrecht von Haller (1708-1777) was a celebrated Swiss anatomist and physiologist. After pursuing an
education in medicine and mathematics, Haller devoted himself to the study of botany. He began a collection
of plants, which formed the basis of his great work on the flora of Switzerland. In 1729 he returned to Bern
and began to practice as a physician, and was soon appointed the chair of medicine, at the University of
Gottingen.
Commonly called “the Great”, Haller was an illustrious scholar and prolific writer. His academic interests
included poetry, botany, biography and medicine, and he produced a huge quantity of texts devoted to these
diverse subjects. He is best remembered for his twenty volumes of biographies on anatomy, botany, surgery,
and medicine, and for his revolutionary contributions to the field of physiology. He proved the concept of
tissue “irritability”, and distinguished between nerve impulse and muscular contraction.
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs.
(#16449) $ 350
42 (HANWAY, Jonas (1712-1786)) - Edward EDWARDS, painter (1738-1806); and Robert DUNKARTON,
engraver (1744-1817).
Jonas Hanway, Esquire. Painted and Engraved at the Desire of the Governors fo the Marine Society.
London: John Boydell, January 1, 1781. Mezzotint by Dunkarton after Edwards. Engraved area
(including lettering: inches. Sheet size: inches. Provenance: Queen Victoria (Royal Library, Windsor
collection stamp below the engraver’s name [Lugt 2535]). (Two pinholes in image, only visible when
held to light).
A brilliant, rich impression from the collection of Queen Victoria.
Hanway (1712-1786) was a noted British merchant and philanthropist. In 1756 he founded the Marine
Society, and was intimately involved with the establishment of the Magdalen Hospital, among other charitable
organizations. Over his lifetime he would be a prolific writer on social and political subjects, including
public safety and the American Revolution. He is said to have been the first Londoner to carry an umbrella.
The second state of two (the first state being a scratch proof).
Chaloner Smith 23:II; Bosanquet, p.14.
(#27866) $ 650
43 HANWAY, Jonas (1712-1786).
Common Sense: in Nine Conferences, between a British Merchant
and a Candid Merchant of America in their private capacities as
friends; tracing the several causes of the present contest between
the mother country and her American subjects ...
London: J. Dodley, 1775.
[Bound preceding:] Jonas HANWAY. The Defects of Police the Cause
of Immorality, and the continual Robberies committed, particularly
in and about the Metropolis: with various proposals for preventing
hanging and transportation: likewise for the establishment of several
plans of police on a permanent basis ... London: J. Dodsley, 1775.
2 volumes in 1, 4to (11 x 8 1/2 inches). Contemporary calf,
covers bordered with a gilt rule, spine with raised bands in
six compartments, red morocco lettering piece in the second
compartment, the others with a repeat overall decoration in gilt.
(Repairs to joints). Provenance: Lord Walsingham (armorial
bookplate).
Two important works by the noted English philanthropist and reformer, including his scarce work on the
impending American Revolution.
Hanway as a merchant and British patriot looked askance at what was happening in the American colonies.
The text is in the form of a dialogue between a British and American merchant, in which the nature of
sovereign authority, taxation, trade, and the pros and cons of seeking independence are discussed in a friendly
and amicable way. “Arguments supposed to have converted the ‘candid’ Yankee seem quite unconvincing”
(Howes). It is unclear if Thomas Paine knew of Hanway’s work, but would of course issue his own Common
Sense shortly after, though with arguments convincingly in favor of the patriot cause.
[Common Sense:] Sabin 14998; Howes C646, “aa.”; Adams, American Controversy 75-29; Higgs 6321; Taylor, Jonas Hanway
Founder of the Marine Society, p.230. [Defects of Police:] Higgs 6458; Goldsmiths 11353; Kress 7115.
(#26356) $ 6,000
44 HARPER, Lathrop C.
A Selection of Incunabula describing one thousand books printed in the XVth Century.
New York: 1930. 5 parts in one, 8vo (8 3/8 x 5 1/2 inches). Contemporary half green morocco over
period green cloth covered boards, spine with raised bands in six compartments, lettered in the
second and fourth, marbled endpapers, top edge gilt.
A monumental catalogue of incunabula.
In this five part catalogue, famed bookseller Lathrop Harper offered an astonishing 1,000 incunables for sale.
Includes a general alphabetical index for all five parts in the rear.
(#28925) $ 100
45 HOOGVLIET, Arnold (1687-1763).
Abraham, de Aartsvader. In XII Boeken.
Rotterdam: Jan Daniel Beman en Zoon, 1766. Small 4to (9 5/8
x 7 1/4 inches). Title printed in red and black. Engraved title by
J. Wandelaar and 12 engraved plates by J. Punt, all with very fine
period hand-colouring and gilt highlights. Eighteenth century
Dutch red morocco, elaborately bordered and panelled in gilt with
imperial coronets at each corner, spine in six compartments with
raised bands, morocco lettering piece in the second compartment,
the others with a repeat decoration in gilt, marbled endpapers,
g.e. Provenance: J. G. R. Acquoy (1829-1896, signature).
A beautifully hand coloured copy in a period red morocco binding.
Hoogvliet’s epic biblical poem celebrating the life of Abraham was first
published in 1728 and went through numerous printings in the 18th
century. However, we have been unable to locate another copy of any
edition of the poem with full period hand colouring to the plates. The
colouring and binding of this copy is superb and would suggest an owner
of high status.
Not in Landwehr.
(#26333) $ 7,500
46 HUNTER, Dard (1883-1966).
Papermaking by Hand in America.
Chillicothe, OH: Mountain House Press, 1950. Folio (16 1/2 x 11 1/2 inches). Half-title, title printed
in red and black, headpieces and tailpieces, initial letters printed in red throughout. Hand-coloured
frontispiece, 96 tipped-in or mounted facsimiles, 27 tipped-in facsimiles of watermarks on paper
made in the manner of the originals, 43 tipped-in facsimile paper labels. paper label on spine, extraillustrated with the prospectus for the book affixed to front pastedown, and the invitation to the
book’s publication party at Princeton affixed to front free endpaper. Publisher’s half linen over papercovered boards, half red morocco and cloth box (minor bump to corner of box, the book unaffected).
Provenance: Thomas A. Stone (typed address slip on Dard Hunter letterhead, laid in).
The “author’s magnum opus.” - One of 200 numbered copies signed by Hunter, this copy numbered one hundred
twenty-eight.
The book is printed on Dard Hunter’s paper, and with type cut by Dard Hunter, Junior. “The last work
of the Mountain House Press and the author’s magnum opus, this book provides a history of American
papermaking by listing and describing the first paper mill in each state from 1690 until 1811, six years prior
to the introduction of the first paper machine into the United States. There are in the book 123 facsimiles of
documents and watermarks and forty-two reproductions of labels used by these early paper manufacturers.
The thick folio volume was to have been issued in an edition of 210 copies, but the author’s own bibliography
says that only 180 were completed” (Schlosser).
Schlosser 41.
(#26762) $ 9,000
47 HUNTER, Dard (1883-1966).
Papermaking in Southern Siam.
Chillicothe, OH: Mountain House Press, 1936. Quarto (11 3/4 x 8 1/4 inches). Title in red and
black, half title. Coloured woodblock frontispiece, 17 photogravure plates, 1 mounted Khoi tree bark
sample, 1 mounted specimen of Siamese mould cloth, 3 double-page paper samples (two naturaltoned, one “sacred black temple paper”), 4pp. publisher’s prospectus loosely inserted. Original black
morocco-backed decorated paper-covered boards by Peter Franck of Gaylordsville, CT, the black
hand-made paper covering the boards printed in gold and red from old Siamese woodblocks.
One of 115 copies numbered and signed by Hunter, this being copy 41. The rarest of the Dard Hunter monographs
on primitive papermaking.
“This book is an account of a sojourn with Tym, Piung, Pyn, and Luolin Niltongkum at their paper mill in
Bangsom. The old Niltongkum family has been making paper by hand along the small canals of Southern
Siam for more than two hundred years, and their unique establishment is probably the most interesting
primitive paper manufactory in Asia. The compiler of this book was the first Occidental traveller to visit
this little-known remote mill ... The book not only describes in detail the making of the various kinds of
Siamese paper from the bark of the khoi tree (Steblus asper), but also an account is given of the journey from
Singapore to Bangkok through the rubber plantations and jungles of the Malay Peninsula, a distance of over
a thousand miles ... Only 115 copies of this volume have been made and of this number only 99 offered for
sale. This is the smallest edition ever made of a Dard Hunter book” (Prospectus).
Schlosser 37.
(#23076) $ 5,750
48 [ILLUMINATED MANUSCRIPT] - Annette von ECKARDT (1871-1934).
Cy Comencent Les Chroniques de Jherusalem Abregies [manuscript facsimile of the original Chronicles
of the Crusades in the Austrian National Library].
[Vienna: 1922-24]. Folio (21 x 11 inches). 34 pages, on fine vellum, written in a batarde hand in red
and black ink. 2 full-page and 83 half-page, quarter-page, and column width miniatures illuminated
in full color and burnished gold, numerous illuminated initials, all within alternating red and blue
borders with gold decoration. Original vellum over bevelled oak boards. Housed in a black morocco
backed box. Provenance: Ralph C. Runyon (letters by the artist laid in).
Astounding manuscript facsimile of a celebrated illuminated manuscript account of the Second Crusade.
The Croniques de Jherusalem is among the prized possessions of the Austrian National Library. The richly
illuminated codex, of which this manuscript is a painstaking exact copy, was prepared on behalf of Phillip
the Good, (also known as Phillip III, Duke of Burgundy) circa 1450. Recent scholarship has attributed
the original to the Master of Girart de Rouissillon, naming the codex as among his finest works. Phillip
the Good is best remembered for his extravagant court, his taste for luxury and his patronage of the arts.
During his reign, some six hundred illuminated manuscripts were commissioned, including the Croniques
de Jherusalem. The original manuscript came into possession of Emperor Mathias and was passed down by
inheritance to Emperor Max I, being notable enough to be mentioned in the inventory of the Treasury at that
time. In the mid-18th century, the codex passed to the Imperial Library, later to be renamed the National
Library.
In 1922, artist, antiquary and publisher Annete von Eckardt was given permission to copy the famed
manuscript, which to that time had not been reproduced. Von Eckardt, perhaps best known for her
relationship with Franz Marc, was an extraordinary artist and colourist, as evidenced by this manuscript.
In a note laid in, Eckardt describes the two year process by which she accomplished the work: “The original
miniatures are shown very rarely and only by exceptional permission. Thanks to the kindness of the Director
Herr Smital for two long years of tedious work it was possible to copy leaf by leaf with the aid of a magnifying
glass. Again and again every detail of the work was compared with the original, while the precious leaves
were kept under a protecting sheet of glass. Great difficulties were produced by the poor light in the library,
which being situated in the old in period castle is entirely equipped in the style of the middle ages. Of course
to execute the minute work of the miniatures no ordinary water-colours could be used: the lapis lazuli blue,
scarlet red, turquois green had to be prepared with the aid of the yellow of eggs, honey, etc. etc. All the gold
consists of pure gold and is finished by polishing with an agate style and will never tarnish. Such difficult
and tedious copying of precious and antique masterpieces can hardly be expected, if at all, more than once.
Therefore, this exquisite work of art, the Chronology of the Crusades, will ever be increasing in value as time
goes on.”
An extraordinary work of art.
Cf. Osterreichische Nationalbibliothek, Cod. 2533.
(#26335) $ 47,500
49 JOLY, Henri and Tomita, Kumasaku.
Japanese Art and Handicraft.
London: Yamanaka and Company, 1916. Two parts bound in one,
folio (12 1/2 x 9 3/4 inches). 214pp. text, 162 black & white plates, 8
in colour, with lettered tissue guards. Contemporary half morocco
gilt, some dampstaining and wrinkling along top edge of contents,
affecting mostly margins in center portion of block, scattered
discreet owner’s pencil notations.
One of 175 numbered copies of this catalogue created for the seminal
1915 British Red Cross Exhibit.
2415 artifacts or sets of objects were displayed at this exhibition held
during the height of World War I, most here illustrated including examples of netsuke, lacquer, swords,
prints, drawings, ceramics, tsuba, bronze, and other metalwork. An important and scarce early text on
Japanese arts and crafts.
(#6979) $ 700
50 JUDAICA, American.
Tefilah mi-kol ha-shanah: Minhah Ketanah leholkhe derekh ule-’ovre yamim leha-nos’im limedinat Amerika ... [Prayer for the whole year: a
small offering especially for travellers crossing the
sea to America...].
Fürth: Zurndoffer and Sommer, 1842. 16mo (2
5/8 x 1 5/8 inches). Text in Hebrew throughout.
394 (of 400)pp. (lacks A8 [pp.15-16) B8 [pp.3132] c8 [49-50]). Black morocco-backed marbled
paper covered boards (lacks upper cover).
First edition of a very rare miniature book of prayers for
German Jews emigrating to America.
“This miniature daily prayer book was printed in
Germany in 1842, ‘especially for travelers by sea to
the nation of America.’ It is the first of three editions
of this tiny prayer book published between 1840
and 1860 a period when Jews from German lands
immigrated to this country in the tens-of-thousands.
Between 1840 and 1860 the Jewish population of this
country ballooned from 15,000 to 150,000” (From Haven to Home). The title -- Minhah Ketanah (a Small
Offering) -- apparently refers to the publisher’s intent that the book be given a gift to emigrants, as well as
its diminutive size.
Very rare, with only two copies of the first edition listed in OCLC (Library of Congress and University of
Chicago [the latter lacking seven leaves]). We find no examples of the first edition appearing in the auction
records. An incredible relic of early Jewish emigration to America.
Library of Congress, From Haven to Home: 350 Years of Jewish Life in America 40; Welsh 4040 (1860 edition).
(#28754) $ 1,800
51 KAUFFMAN,
Angelica (1741-1807). Drawn by Joan
BAPT. DELL’ERA engraved by Raphael MORGHEN
(1758-1833).
[Portrait of Angelica Kauffman and Family].
c. 1795. Engraving. Printed on laid paper. Collector
mark bearing the initials E.O printed in blue ink on
verso of sheet. In excellent condition. Image size: 22
x 15 1/16 inches. Plate mark: 25 ¾ x 16 5/8 inches.
Sheet size: 31 x 21 ½ inches.
An exceedingly rare self/family portrait by Raphael
Morghen after a painting by Angelica Kauffman.
Though the whereabouts of the original painting is not
known, this is clearly a self-portrait of Angelica Kauffman
(seated) with what appear to be two grown children and
a son-in-law. She holds what is perhaps a portrait of her
second husband, Francesco Zucchi, who died in 1795.
Her children would have to have been from her unhappy
first marriage. There is no title but rather a text in French
about how virtue is instilled in children.
This impressive portrait was painted by the celebrated artist Angelica Kauffman and engraved by the
renowned Italian printmaker Raphael Morghen. Kauffman was a child prodigy, who executed her first
commissioned work before the age of thirteen. As a child she traveled through Austria and Italy with her
father, the painter Joseph Kauffman. She assisted him by painting the backgrounds of his works, but she
quickly received her own commissions and established a reputation for herself as an accomplished painter.
In 1766 she traveled to London, where she painted portraits and decorative paintings. She was a close friend
of Reynolds and was one of the first female members of the British Royal Academy. Goethe called her “the
most accomplished woman in Europe”.
Raphael Morghen received his first artistic training from his father, the accomplished engraver Filippo
Morghen. Like Kauffman, Morghen was also a child prodigy, publishing his first engraving at the age of
twelve. By the age of twenty he had established himself as one of the premiere engravers in Europe allowing
him to garner countless commissions. He worked in Naples, Rome and Florence and produced over two
hundred and fifty prints during his prolific career.
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs
(#14739) $ 850
52 KENNETT,
White
Peterborough).
(1660-1728,
Bishop
of
Bibliothecae Americanae Primordia. An Attempt
Towards laying the Foundation of an American
Library, in several books, papers, and writings,
humbly given to the Society for Propagation of the
Gospel in Foreign Parts ... By a Member of the said
Society.
Index by the Rev. Robert Watts. London: printed
for J. Churchill, 1713. Quarto signed in 2s (8
1/4 x 6 1/4 inches). (Lacking the front blank and
blank A1 [i.e. blank leaf between the Dedication
and the start of the bibliography], Kk1 and Kk2
cut down without affecting the text area but likely
supplied from another copy at an early date, light
dampstaining). 19th-century red half morocco
over marbled paper-covered boards, the border
between the leather and marbled paper ruled
in gilt on the covers, spine in six compartments
with raised bands, lettered in the second, the
others with repeat decoration in gilt centering on
a flower-spray tool, marbled endpapers.
Rare copy of “the earliest exclusively American
catalogue” (Church): one of only 250 copies printed.
“White Kennett, Bishop of Peterborough, gave his extensive collection of Americana to the Society for the
Propagation of the Gospel in Foreign Parts in 1712, with the intention that the gift should be accompanied
by a printed catalogue of the collection. This wish was thwarted for a while by the decision to have Robert
Watts compile what became an extensive and essential index of 223pp. Kennett had in the meantime
continued his collecting at a pace which necessitated the inclusion of 55-page appendix and the catalogue
was finally published in 1713. The result is the best catalogue of books relating to America extant, [arranged
in chronological order],the titles being copied at full length with the greatest exactness, together with the
name of the printer, and the number of pages in each volume...It is rich in English tracts relating to New
England” (Rich).
Pinelo’s Epitome de la biblioteca oriental i occidental (1629) includes a listing of books of Indian and Asian
as well as American interest, but Kennett’s is the first printed catalogue devoted exclusively to books relating
to America. An account of the library is given in the Massachusetts Historical Society, Proceedings, vol. 20
(1883). Despite Kennett’s stated wish that the books were intended for the “perpetual use” of the members
of the Society a number were later given to the British Museum, and some “had been lost or mislaid” by the
time Sotheby’s prepared the auction catalogue for the sale of the Society’s library in 1917.
Church 856; European Americana 713/104; Grolier/Breslauer & Folter 93; JCB II, 178; Sabin 37447; Streeter Sale 4363
(#23759) $ 5,500
53 KRAFFT, Jean Charles (1764-1833).
Plans des plus béaux jardins pittoresques de
France, d’Angleterre et d’Allemagne, et des
edifices, monumens, fabriques, etc. ... Plans of
the most beautiful picturesque gardens in France,
England and Germany and of the edifices,
monuments, fabrics, etc. which contribute to
their embellishment, of every kind of architecture,
such as Chinese, Egyptian, English, Arabian,
Moorish, etc. ... Plaene der schoensten und
malerischen Gaerten Franckreichs, Englands,
und Deutschlands ... [With:] ... Deuxieme Partie.
Paris: Levrault [vol. 1] and Pougens [vol. 2],
1809-1810. 2 parts in 2 volumes, oblong small
folio (10 3/4 x 13 3/4 inches). Text in three
columns in French, English and German. [First part:] Engraved frontispiece and 96 engraved plates,
engraved by Boulay, Gossard, Joannee and others. [Second part:] Engraved frontispiece, 96 engraved
plates on 70 sheets (20 folding), engraved by Boulay, Gossard, Adam and others. Period pink papercovered boards, black morocco lettering pieces on the spines. Housed in a dark red morocco backed
box.
A rare work depicting the best examples of European garden design and architecture from the early nineteenth
century.
An accomplished draftsman and architect, Jean Charles Krafft was born in Brunnerfield, Germany in 1764
but later emigrated to France and authored several works on architecture and design. The conclusion to the
first part gives an outline of the present work: “I flatter myself I have performed the task I had undertaken
of forming a collection of divers picturesque gardens and of the building which contribute to their
embellishment by the diversity of their construction, their use and decorations. My object in composing this
work was to assist the imagination of those lovers of the arts who take pleasure in forming such agreeable
establishments, in which, as in every object of art, taste requires to be directed by rules. If the art of building
and of beautifying edifices has been improved of late years, the taste for gardens has much encreased, and
that taste has given birth to more novel methods, more pleasing in their design ... But to afford gentlemen
possessed of estates the means of laying down plans for them selves or others to work by, it was necessary
to chalk out the new paths they must follow ... What I offer has been communicated to me by distinguished
artists; it is the fruit of their compositions on picturesque gardens since the revival of the art in the 19th
century...”
The first series was published in 12 parts, each containing two sheets of letterpress explanation and eight
engraved plates; upon completion of the final part, a second series was promised as “a sequel containing
the general plans, and points of view of the principal picturesque gardens in France and foreign countries”
(preface, second part). The text describes the location, owner and architect of each garden depicted. As the
title suggests, the designs include wonderful examples of chinoiserie, Egyptian revival and neo-classicism,
among other styles.
The work is scarce, and rarely found complete with both parts.
Berlin Kat. 3312a; Brunet III:694; Graesse IV:46.
(#28396) $ 7,500
54 LE PRINCE, Jean Baptiste (1734-1781).
[Works of Jean-Baptiste Le Prince].
[Paris]: 1764-1774 [but circa 1820, paper watermarked 1818]. 4to (11 x 8 3/4 inches). Engraved
throughout. 87 engraved or aquatint plates, including engraved titles. Modern morocco backed
boards. Provenance: G. M. O. Barclay (morocco booklabel).
A fine collection of engraved and aquatint plates of Russian costume by a noted 18th century French engraver.
Includes plates from the following suites: Divers Ajustements et Usages de Russie; Divers habillements des
Femmes de Moscovie; IIe. Suitte d’habillement des Femmes de Moscovie; Divers habillements des pretres
de Russie; Les Strelits; Premier suite de cris et divers marchands de Petersbourg et de Moscou; 2me suitte
de divers cris de Marchands de Russie; IIIe. suitte de divers cris de Marchands de Russie; Habillements de
diverses nations; Suite de divers Habillements des peuples du nord; Vue des Environs de St. Peterbourg;
Diverses vues de Livonie; IIe Suitte d’habillements de diverses nations; and others.
In 1758 Le Prince journeyed to Russia to work for Catherine the Great at the Imperial Palace, St. Petersburg.
He remained in Russia for five years and also travelled extensively throughout Finland, Lithuania and even
Siberia. When Le Prince returned to Paris in December, 1763, he brought with him an extensive collection
of drawings which he employed as the basis for a number of fine paintings and etchings. Le Prince’s graphic
art of Russia and its peoples is significant in that he based his compositions entirely upon his own designs,
lending a much more realistic portrayal to his views than other eighteenth century contemporaries.
Cf. Colas 1838-1850; cf. Hiler p. 539; cf. Cohen/de Ricci 625-626
(#28846) $ 2,750
Item 55
Item 56
55 LENNOX-BOYD, Christopher.
George Stubbs - The Complete Engraved Works.
Sotheby’s: 1989. Limited edition of 50 copies (this number 30) bound by A.W. Lumsden of Edinburgh.
Full tan calf, gilt edges, with black lettering pieces, hand-made marbled endpapers by Compton
Marbling, within a black slipcase.
“In a period when access to fine paintings was restricted, Stubbs’s reputation was spread chiefly through his
engravings. This catalogue raisonne is the only single volume to contain all Stubbs’s known engravings and
provides a complete record of prints made by others after his works. Introductory essays consider Stubbs’s
relationships with other artists, particularly his engravers, and examine how the prints were originally
marketed.”
(#26015) $ 400.
56 LIND, Jenny.
Programme of Mademoiselle Jenny Lind’s Grand Concert, for Wednesday Evening, May 24, 1851, with
the Words of the Songs in English, German, Italian & Swedish.
New York: Baker, Godwin & Co., 1851. 8vo (8 7/8 x 5 3/4 inches). Pages set within borders of
ornamental type. Ads. Publisher’s wrappers.
A near mint copy of a program of Jenny Lind’s tour through America
(#26395) $ 150
57 LOW, Susanne M.
A Guide to Audubon’s Birds of America: A Concordance
Containing Current Names of the Birds, Plate Names
With Descriptions of Plate Variants, a Description of the
Bien Edition, and Corresponding Indexes.
New York and New Haven: Donald Heald and William
Reese Company, 2002. (11 1/2 x 8 3/4 inches). 384pp.,
436 black & white illustrations in the text (illustrating
each of the plates in the double elephant folio), 10
colour illustrations. Gilt stamped blue cloth, illustrated
dust jacket.
A comprehensive reference work for collectors, dealers, art
historians, students of natural history, and bird enthusiasts.
With new up-to-date information, revisions, and extensive
additions (including a section on the Bien edition),
superseding and surpassing her earlier work.
This beautifully produced book provides easily accessible
information about each one of the 435 plates in the double elephant folio, including variant plate names,
names of the birds in the octavo and Bien editions, and the current names of the birds according to the
American Ornithologists Union’s most recent Checklist, as well as pertinent historical details about the
creation of each plate and discussion of taxonomic changes. A special feature of the book is the section
devoted to the description of each of the plates in the comparatively little-known Bien edition.
The informative introduction details the history of the creation of the double elephant folio. This includes a
description of the collaboration between Audubon and the men who transformed his originals into prints,
W. H. Lizars, Robert Havell Sr., and, most importantly, Robert Havell Jr., with discussion of the artistic
techniques involved in the process. Ornithological taxonomy is also succinctly explained, and will help the
reader to understand some of Audubon’s difficulties as well as the evolution of bird names.
The descriptions of the double elephant folio plates are followed by three indexes: one of current names of
the birds depicted, one of double elephant folio plate names, and one of the names on the original paintings,
thus offering the reader several ways to locate a particular bird or plate. Similarly, the Bien section is
also followed by indexes of current names and plate names. In addition, there are three appendices. The
first identifies the persons whose names appear in the nomenclature of The Birds of America. The second
appendix describes the unusual composite plates that appear in some editions, and the third contains charts
of the most complicated situations that arose from the transfer of Audubon’s originals to the finished plates.
Finally, a beautiful colour insert illustrates a few of the more interesting situations that are described in the
book, such as colour differences between prints of the same bird, comparison of an Audubon original and
corresponding print, and comparison of variant plate legends, among others.
(#8762) $ 45
58 LYNCH, J. H. after Sir Thomas LAWRENCE.
Edward Jenner, M.D.
Gloucester: Published by Charles Heald Thomas, circa 1827. Lithograph. In good condition apart
from a skillfully mended tear in the bottom margin. . Image size (including text): 10 1/2 x 9 inches.
Sheet size: 23 1/4 x 17 3/8 inches.
A distinguished portrait of the famous doctor, Edward Jenner, who discovered vaccination.
Lynch’s lithograph is a wonderful interpretation of Lawrence’s famous portrait of Edward Jenner, the
revolutionary doctor whose experimentation with cowpox virus inoculations was a major advance in
preventative medicine. Edward Jenner (1749- 1823) is remembered today as the pioneer of the smallpox
vaccination and the father of immunology. After training in London, Jenner spent his career as a country
doctor in his native county of Gloucestershire. His research was based on careful case-studies and clinical
observation more than a hundred years before scientists could explain the viruses themselves. So successful
did his vaccination prove that by 1840 the British government had banned alternative preventive treatments
against smallpox. “Vaccination,” the word Jenner invented for his treatment (from the Latin vacca, a cow),
was adopted by Pasteur for immunization against any disease.
O’Donoghue, Catalogue of Engraved British Portraits... in the British Museum 2.
(#7789) $ 750
59 [MACKENZIE, George; Captain, 2d. (Queen’s Royal) Regiment of Foot].
A Series of Pen Sketches of Scenery in the Island, and Presidency of Bombay by George Mackenzie, late
Captain Queen’s Royal Regiment ...
[Bombay?]: 1842. 3 parts, oblong small folio (11 x 17 1/2 inches). 12 wood engraved plates (four
plates per part), the titles of each plate printed on the inside of each front wrapper, the plates otherwise
unlettered and unsigned. Publisher’s blue paper wrappers, lettered on the upper wrapper. Housed in
a dark blue morocco backed box.
An unrecorded series of views in the vicinity of Bombay.
Titles of the plates:
1) The Harbour with Mazagon, Bombay, & Colabah from the heights above Lewree
2) Karanjah, from the heights on Elephanta
3) Chowhe
4) Scene, on the Ghant
5) Light House Colabah
6) Scene from the Hills above Tannah, looking towards Bhewndee
7) Temple & Tomb near Poorundhur
8) Scene, Bombay Harbour
9) Callian
10) Scene Bombay Harbour with the Island of Elephants
11) Worlee & Makim Forts with Bandora & Senhor di Monte
12) Raj Muchee
We find only a passing reference to these views in Samuel T. Sheppard’s History of the Byculla Club (Bombay:
1916): “The lithographed sketches, once well known, are now rare. As works of art they were scarcely worth
preserving, but their topographical value is by no means small.”
It is unclear how many parts and how many prints were published; one part present here is numbered “4” on
the upper wrapper, suggesting there to be at least four parts. The series is so rare, however, that we can find
no reference to a collation or another set with which to compare it.
(#27571) $ 18,500
Item 59
60 (MARIE LOUISE, Duchess of Parma) - Thomas CAMPBELL
(1777-1844).
The Pleasures of Hope, with other Poems ... A New
Edition.
London: Longman, Hurst, Rees, Orme and Brown [and
others], 1816. 12mo (6 1/4 x 4 inches). [8], 136pp. 4
plates, engraved by Stewart after Burney. Contemporary
tan morocco, covers elaborately panelled in gilt, spine
with raised bands in six compartments, lettered in
the second and fifth, the others with a repeat overall
decoration in gilt, pale pink endpapers, gilt edges.
Provenance: Marie Louise, Duchess of Parma (17911847, gilt crown and initials on covers); Calvin Bullock
(bookplate).
From the library of Marie Louis, Duchess of Parma, Napoleon’s
second wife and Empress of France 1810-14.
An unsigned but lovely contemporary binding in very fine
tan morocco, elaborately gilt. The didactic poem is the noted
Scottish poet’s best known work, originally written in 1799.
(#29023) $ 950
61 MARTYN, Thomas.
An album containing images of shells selected from
“Figures of nondescript shells collected in the different
voyages to the South Sea since the year 1764”.
London: Thomas Martyn, [after 1784]. Quarto
(10 3/4 x 8 7/8 inches). 144 engraved images of 72
different species of shells, finely hand-coloured in
imitation of watercolours, mounted onto 30 leaves of
19th-century wove paper, each image carefully cut to
the edge of the image and mounted with between two
and eight images displayed per page. Expertly bound
to style in half dark red straight grained morocco over
contemporary red glazed paper-covered boards, spine
with raised bands in six compartments, lettered in the
second, the others with a repeat decoration in gilt.
A fascinating and unique album of images from Martyn’s
seminal work on the shells collected on Captain Cook’s
voyages.
A highly lucrative market in shells from exotic lands had developed by the middle of the 18th century. The
shells from Cook’s First and Second Voyages, for example, were eagerly sort after, and when the specimens
collected on the Third Voyage were offered for sale, one of their most enthusiastic buyers was Thomas Martyn.
In a letter dated 9 December 1780, he wrote: “I may venture to affirm that I have purchased, amounting to
400 guineas, more than 2 thirds of the whole brought home. Nevertheless I do not abound either in variety
of the new or many duplicates of the known ones that are valuable” (quoted in: P. Dance Shell Collecting
(London: 1966), p.100).
The present album features images of shells from Martyn’s Figures of non descript shells (or the larger work
the Universal conchologist) which was published in various forms from 1784 onwards, mostly depicting
shells collected on Cook’s voyages (the third in particular). The reasons for the present selection, and the
way the shells have been presented are unclear, but the great care taken in assembling each page and the
deliberate arrangement of related species suggests it was the work of a knowledgeable conchologist.
Martyn writes in his preface to the Universal Conchologist that in an effort to counteract the “complicated
systems, bad arrangements, and the practice of crowding many sheets of different families into one plate,
[which] have not only confused the subject, and created a distaste to the science itself, but made it necessary
that even the most experienced collector should have some clew to conduct him through those labyrinths
of difficulties” (Universal Conchologist, p.4). The shells are beautifully detailed and very clearly displayed.
They are also exquisitely coloured, with a particularly lavish application of colour which all but obliterates
the faint printed bases. All are the work of an academy of young artists trained by Martyn himself; he
recruited young men who showed artistic talent, and trained them so that there “would generally be found
that uniformity and equality of style, conception, and execution which it would be in vain to expect from a
variety of independent artists” (Martyn, quoted by P. Dance op. cit., p.101).
Cf. BM(NH) III, p.1258; cf. Brunet III, 1507; cf. Ferguson I, 40; Forbes I, 176; cf. Nissen ZBI 2728; cf. Spence p.39
(#25119) $ 4,500
62 MELLINI, Gian Lorenzo, and others.
The Grimani Breviary Reproduced from the illuminated manuscript belonging to the Biblioteca
Marciana, Venice.
London: Thames and Hudson, 1972. Quarto (11 x 8 3/8 inches). 110 coloured plates, 29 uncoloured
illustrations. Original cloth, spine titled in gilt, upper cover blocked in gilt and red, top edge gilt.
Provenance: Jayne Wrightman (bookplate).
First edition in English.
First edition in English. A translation by Simon Pleasance and others of the Italian original. The beautiful
Breviary was acquired by Cardinal Domenico Grimani (1461-1523) in Rome or Venice in 1520 from Antonio
Siciliano, chamberlain to the Duke of Milan and his ambassador in Flanders in 1514. Ever since it has been
linked with the Grimani family and also with Venice. The present work reproduces all the miniatures and
provides a valuable commentary which gives context to what is one of the great small jewels of Western Art.
(#24514) $ 80
63 MERLY LIBRARY.
A Catalogue of the well known and celebrated library
of the late Ralph Willett ... And a very Choice Selection
of Botanical Drawings by Van Huysun, Taylor, Brown,
Lee &c. ... sold by auction, by Leigh and Sotheby ...
London: 1813. 2 parts in one, 8vo (8 7/8 x 5 3/4
inches). [4], 103, [1]; [2], 103-119pp. Priced
throughout with buyer’s names in a neat period
hand. Expertly bound to style in speckled calf over
period marbled paper covered boards, spine with
raised bands in six compartments, lettered in gilt in
the second compartment, the rest decoratively tooled
in blind, period green endpapers. Provenance: Corset
Collection (bookplate); Barnet Kottler (booklabel); J.
O. Edwards (booklabel).
Thick paper copy of the famed library of Ralph Willett,
complete with the separately-issued supplement of
botanical watercolours.
According to Windle & Pippin this is the large paper
copy of the sale catalogue, printed on thick paper. It is
possible that Dibdin was involved in the cataloguing of
the sale, he certainly offered to look over the proofs for
the early printed books (letter to Leigh & Sotheby dated
Nov.1, 1813, now at Harvard) and some of the notes look
like his work.
“Willett’s library was remarkably rich in early-printed books and in specimens of block-printing. Many
works were on vellum, and all were in the finest condition. He possessed also an admirable collection of
prints and drawings, while his pictures included several from the Orleans gallery and from Roman palaces.
A description of the library was printed in octavo, in French and English, in 1776; it was reprinted by John
Nichols, with twenty-five illustrations of the designs, in folio in 1785. A catalogue of the books in the library
was distributed by Willett among his friends in 1790 ... His library was sold by Leigh & Sotheby on 6 Dec.
1813, and the sale occupied seventeen days. He had been a patron of Georg Dionysius Ehret [q. v.], who
spent the summers of many years at Merly, its library containing a copious collection of exotics by him. The
botanical drawings were sold by Leigh & Sotheby on 20 and 21 Dec. A list of the prices realised at this sale,
nineteen days in all, was published in 1814, the total being 13,508l. 4s. His books of prints passed under the
hammer on 20 Feb. 1814” (DNB).
(#26889) $ 2,750
64 (MICROGRAPHIC ILLUSTRATION).
[The Story of Samson].
[Netherlands: mid-18th century]. Pen and ink on Dutch laid paper, watermarked “J Honig & Zoonen”.
Several repairs and reinforcements on verso, surface wear upper right, creased in the middle where it
was once folded. Sheet size: 17 1/4 x 23 1/4 inches.
A large micrographic Bible illustration depicting Manoah and the angel, Samson and the lion, and Samson and
Delilah.
The story of Samson from Judges is told in three scenes. In the first Manoah and his wife are visited by an
Angel of the Lord, who tells them that the wife, previously barren, will conceive. Manoah makes a sacrifice
on an altar which the angel miraculously causes to burst into flame by touching it with his staff. Manoah
and his wife are amazed. In the middle of the image is Samson, their now grown son, killing a lion with the
strength the Lord has given him. In the final scene, Samson falls asleep on Delilah’s lap, soon to have his hair
cut off and to be blinded. In the distance are the cities of the Philistines and the temple Samson will one day
pull down.
The five chapters from Judges (13-17) that tell Samson’s story are given at the bottom half of the sheet in a
blackletter font, most like Textur, most of it in minuscule letters. But even more amazing is the fact that the
illustrations are composed of lines that are in fact miniature words, including the entwined ribbon motif
of the decorative border. This was an art exemplified by the extraordinary artist and magician, Matthias
Buchinger (1674-1740), some time before this work is thought to have been drawn.
(#28354) $ 2,250
65 MITFORD, Mary Russell (editor).
Findens’ Tableaux or the Affections; A Series of Picturesque Illustrations or the Womanly Virtues. From
paintings by W. Perring ... [With:] Findens’ Tableaux: The Iris of Prose, Poetry, and Art, for MDCCCXL.
Illustrated with Engravings by W. and E. Finden, from Paintings by J. Browne.
London: Charles Tilt, [1839; 1840]. 2 volumes, small folio (14 1/2 x 10 7/8 inches). 24 hand-coloured
engraved plates after Perring or Browne, engraved by Holl, Finden, Egleton, Freeman, Scriven, Hollis,
Gibbs and others. Publisher’s red (1839) and green (1840) morocco, covers elaborately tooled in gilt.
Two issues of the rare hand-coloured deluxe edition of a noted English literary gift annual.
Findens’ Tableaux was issued between 1837 and 1844. A publisher’s ad reveals that this work was issued in
three forms: uncoloured on regular paper, uncoloured India proofs, or “a few copies with the plates beautifully
coloured after the original Drawings.” The hand-coloured deluxe issues, as here, are considerably more
scarce than the others, making these among the most desirable of the illustrated English literary annuals of
the 19th century.
(#26380) $ 1,750
66 MORRIS, William (1834-1896).
The Collected Works of William Morris. With Introductions by his daughter May Morris.
London: Longmans, Green, and Company, 1910-1915. 24 volumes, 8vo (9 x 6 inches). Illustrated
with portraits, photogravures, folding map, facsimiles, and more. Contemporary full crushed navy
blue morocco, covers bordered in blind and gilt with flora cornerpieces, spines with raised bands in
six compartments, lettered in the second and fourth, the others with a repeat overall decoration in
gilt, top edges gilt.
Deluxe edition limited to 1050 sets: the definitive collected works of William Morris.
The collection is exhaustive and includes the poetical works, prose romances and essays on art and politics
as well as Morris’s translations from the classics, Early English, French and Icelandic Sagas. Also included
are ephemeral works and letters previously unpublished. Of the 1050 sets, only 1000 for designated for sale,
this present set being number 845.
Walsdorf 113.
(#28574) $ 8,500
67 MOTT, Abigail; and M. S. WOOD.
Narratives of Colored Americans.
New York: Browne & Co., 1882. 8vo (7 1/4 x 4 5/8
inches). Publisher’s cloth. Provenance: Zelma Watson
George (signature and inscription dated 1942 on
title).
First edition of a noted early compilation of slave narratives
and biographies.
Included are biographies of Benjamin Banneker, Anthony
Benezet, Paul Cuffee, Gustavus Vassa, and Phyllis Wheatley,
as well as a number of slave narratives. With numerous
underlinings and annotations by Zelma Watson George.
Blockson 3442
(#27767) $ 250
68 MURRAY, Dr. John (1809-1898), photographer.
[Group of 8 waxed paper collodion negatives
depicting scenes and landscape in India].
[India: circa 1856].
Comprised of:
1) The Gateway to Akbars’s Tomb, Sikandra. 7
1/4 x 8 3/4 inches
2) The Gateway to Akbars’s Tomb [same
perspective as previous but with an additional
figure in foreground], Sikandra, 7 x 1/4 x 8 3/4
inches
3) Akbars’s Tomb, Sikandra [south entrance
from the east side of the courtyard]. 7 x 1/4 x
8 3/4 inches
4) [Cenotaph and tank, Alwar, Rajastan]. 7 3/4 x 9 1/4 inches
5) [Cenotaph and tank, Alwar, Rajastan]. 7 3/4 x 9 1/2 inches
6) [Cenotaph or Temple, two figures in the foreground, Alwar, Rajastan]. 7 3/4 x 9 3/4 inches
7) [Cenotaph or Temple, figures and cow in foreground, Alwar, Rajastan]. 7 1/2 x 9 3/4 inches
8) [Cenotaph or Temple, seated figure in foreground, Alwar, Rajastan]. 7 1/2 x 9 3/4 inches
Housed together in a red chemise and morocco-backed box. Provenance: Dr. John Murray; by descent;
Sotheby’s, London, Early Photographs of India The Archive of Dr John Murray, 18 June 1999.
Important collection of original wax paper negatives by one of the most important photographers in India in
the mid-19th century.
Murray, an officer in the Bengal Medical Service, came to India in 1833, living and working there as a
physician and administrator until 1871. In 1848, he was appointed Civil Surgeon of Agra. He seems to
have begun practicing the art of photography shortly thereafter, focussing on Agra, Mathura, Sikandra and
Fatehpur Sikri. He first exhibited his photographs with the Bengal Photographic Society in 1857. That year,
he returned for a brief sojourn in London and brought with him a quantity of his negatives. There he met
with publisher J. Hogarth, who was eager to sell the images to a public clamoring for news about and images
of the subcontinent. Over the ensuing years, Hogarth published and sold both individual images as well
as portfolios of images, and in 1859 published Picturesque Views in the North-Western Provinces of India
containing 25 of Murray’s photographs. Murray is considered among the most skilful practitioners of the
calotype process in the period. In June 1999, the entire extant archive of Murray’s original negatives were
sold at Sotheby’s London, including the present examples. Very few fragile waxed paper negatives from the
early period in photography have survived, making Murray’s negatives of particular significance.
Impressed by Light, pp. 124-127 and pp. 351-352
(#28239) $ 9,000
69 NEW YORK, Society for the Propagation of the Gospel in Foreign Parts.
[Collection of autograph letters signed written to the Bishop of London, from SPG missionaries, clergy
or laymen in New York].
[New York: 1720-1774]. In all, 10 letters (plus one related), approx. 18pp. total.
Important archive of letters relating to the Society for the Propagation of the Gospel in America.
The Society for the Propagation of the Gospel in Foreign Parts, the missionary organization of the Church of
England, was established by royal charter in 1701, and the Society’s first missionaries began work in America
the following year, reporting to the Lord Bishop of London as the ordinary of the church. Established in
New York as early as 1693, the Church of England, as these letters attest, faced opposition from Protestant
religious groups. Conflicts with such “dissenters” would increase as the American Revolution approached,
with the Anglican Church becoming a symbol of colonial oppression for many who advocated independence.
This impressive archive features correspondence written to the Bishop of London from various missionaries,
clergy or layman in the New York region. Many of the letters are revelatory concerning the conflicts with the
dissenters, as well as on education, local politics and on the difficulty of a missionary’s life in early America.
Comprised of (in chronological order):
1) William VESEY (1674-1746) first Rector of Trinity Church, Manhattan. Autograph letter signed, to
the Lord Bishop of London, discussing the attempts by the Presbyterian Church to establish themselves
in the city. New York: 14 December 1720. 1p., folded small 4to sheet with integral blank. “The inclos’d
will informe your Lordship what vigorous efforts the Dissenters are still making to establish themselves
by an Incorporation in this City, where our Church is Parochial & so established both by lettrs Patents of
Incorporation under the Seals of this Province & by several Acts of Assembly wch have long since obtaind
the Royal Assent. The matter seems now to be deferrd till the opinion of His Majesty’s Learned Council be
transmitted to the Govr. from the Lords of Trade & Plantations. Your Lordship can best judge what are the
most proper measures to frustrate this dangerous designs of the Dissenters, who resolve if possible to prevail
on our Govr. to Incorporate them ... If something is not done & they should gain their point, it would be a
fatal blow to our infant Church in this City, & in its consequences affect all the Churches in these Parts ...”
2) Peter [or Pierre] STOUPE (1690-1760). Autograph letter signed to the Lord Bishop of London, concerning
the “troublesome condition” caused by the influence of French dissenters in New Rochelle. New Rochelle,
NY: 24 June 1725. 1p., single tall 4to sheet, addressed on verso. Backed with Japanese tissue. “... that yr
Lordship may have a more full Distinct Notice of ye troublesome Condition New-Rochelle Church has been
in, during my predecessor’s Life, & my being here. And who are these that always hindred & still hinder
its Increase, in supporting by very unlawful means ye yet dissenting French Inhabitants among us, in their
Separation from the Church...”
3) James OGILVIE (fl. 1720s). Autograph letter signed, to the Lord Bishop of London, requesting financial
assistance to help pay for books to teach children and describing the state of the Church in New York. New
York: 29 October 1725. 1 1/4 pp., small 4to sheet with integral address leaf. “I could ahad[?] to the number
of forty or fifty children this winter to ataught if I had proper books for learners and proper copy books to
learn youth to write ... they are very poor, in this new Settlement, where I inhabit adjasint to many of the
Heathins which are Strangers to us, and we are not able to purchase nor are the able to advance any bread
towards my Subsistance for two or three yeares...”
4) James OGILVIE (fl. 1720s). Autograph letter signed, to the Lord Bishop of London, requesting assistance
and a position. New York: 21 October 1727. 2pp, tall 4to sheet with integral address leaf. “I am constrained
to this seeing my misfortune is so very bad ... the Law givers in New York Government, tho give me no right
yt I adress Myself unto, neither will ye take no wrong, but Keeps what tho have got...wch is much wors for
me in my affairs ... your Lordship has dropt me, and lost me in dark blindness which is to ye bitterness of
my soul...”
5) St. George Talbot (1662-1767). Autograph letter signed, to the Lord Bishop of London, on a dispute within
Trinity Church concerning the appointment of a female schoolteacher and advocating more resources toward
African Americans. New York: 24 June 1732. 2pp., 4to sheet with integral blank leaf. “...Your Commissary
Mr. Vesey has lately impos’d on your Lordship and the Honourable Society by not representing the true
matter of fact, that Mr. Noxon is a person qualified to teach ye Society’s school, that there are many growen
boys in that school which makes it very improper to commit the care of it to a Woman. On ye contrary, tis
true that Mr. Noxon is not qualified either to read or write English far less than teach it ... Mrs. Huddleston
tho a woman is qualified to teach this school, for she frequently taught with success in the time of her
husband and son ... there are not any grown boys, but on ye contrary that they are of the most tender age ...
she is ten times better qualified than Mr. Noxon ... I could also wish better care was taken in rightly applying
the Society’s Bounty towards catechiseing the Negros which instead of being more regarded than formerly
seems to be laid much less to heart ...”
6) William HARRISON (c.1678-1739), Missionary to Staten Island. Autograph letter signed, to the Lord
Bishop of London, seeking permission to leave his missionary position at Staten Island. Staten Island, NY: 7
October 1733. 1p, tall 4to sheet with integral address leaf. (Separations at folds with stains from old cellotape
repairs). “The pressure and long continuance of my hardships compell me once more to lay the and myself at
your Lordship’s feet. My Lord, I still continue my most humble prayer that you would forgive my acceptance
of my present cure in Staten Island ... my outward suffering and my inward compunction can be known
to God only and my own conscience ... that I may be enabled by a comfortable support in my worldly
circumstances now redc’d to a most abject state...” Harrison’s plea would be denied and he remained the
SPG missionary at Staten Island until 1739. [With:] An Autograph letter signed by John Gibson, Provost of
Queen’s College, Oxford, to the Lord Bishop of London, mentioning Harrison. Oxford: 16 February 1728.
7) John BARTOW (1715-1802). Autograph letter signed, to the Lord Bishop of London, seeking a new
missionary for Westchester. Westchester, NY: 15 October 1765. 3pp., folded tall 4to sheet. (Minor separations
at folds and from opening). “I am sorry to acquaint yoour Lordship of the Decline of the Church England
(which we esteem one of the branches of the Church of Christ) in these parts, the reason of which is I believe
much owing to careless shepherds put over the flock who are not duly qualified for the great offices they
undertake which experience daily shews & verifies ... The dissenters gain much ground in these parts & are
more exemplary in piety & Godliness than those of our Church ... The Hon.ble Society’s missionary for our
parrish of Westchester has left us (for reasons that won’t bear telling) & now our parrish is vacant...”
8) Myles COOPER (1735-1785), President of King’s College. Autograph letter signed, to the Lord Bishop of
London, on the power of the dissenters, the prosecution by the NY Assembly of Cadwallader Colden for his
role defending the Stamp Act and seeking an alternate post in Maryland should the situation in New York
deteriorate. New York: 29 January 1768. 3pp., two tall 4to sheets. (Separations at folds repaired with japanese
tissue [the second leaf entirely backed], old cellotape stains). “... My Lord, it is not only myself but the whole
American Church that is beholden to you for your opinion concerning the inexpediency of granting the
Dissenters Charter ... for if the charter had been granted, the national religion in this province (and the evil
would hardly have stop’d here) would have received a most fatal blow. Tis true the members of the Church
are much more numerous than the Presbyterians, but it must be confessed that the zeal of the latter is much
warmer and that they stick at nothing which may promote their cause. The province is unhappily ruled by
a set of lawyers of that persuasion who take every opportunity of doing the Church all the mischief in their
power and (with confidence in your Lordship I speak it) of vilifying and reducing every one who shews an
hearty attachment to the English Government. At this time our provincial Assembly ... is carrying a most
virulent prosecution against our Lt. Governor, the Hon.ble Cadwallader Colden Esq. for a vindication of
his conduct during his late Administration ... most nobly asserted the prerogative of the Crown, and the
Authority of the British Parliament in the Beginning of the late time of uproar, anarchy and confusion ... The
situation in which I am placed is precarious. It is natural to secure a retreat in case of accidents...”
9) John OGILVIE (1724-1774), Missionary to St. Peter’s Church, Albany. Autograph letter signed, to London
merchant Joseph Mico, resigning his chaplaincy as the Indian missionary at St. Peter’s Church in Albany.
New York: 14 March 1768. “It is with great Pleasure I am informed of the Appointment of the Revd Mr
Henry Munro [1730-1801] to the Mission of Albany & as his appointment from the ven.ble Society will not
be sufficient for his support, I have resolved to resign my chaplaincy in his favor. In order to effect this Mr.
Munro writes to the Bishop of London in whose disposal it is. I therefore request that you will as my lawful
Attorney, make my Resignation & with his Agent wait on his Lordship in order to procure the commission
for him ... This is a step I should have taken long ago, but was apprehensive that by my resignation it might
have fallen intp the hands of a certainly unworthy person...”
10) Myles COOPER (1735-1785), President of King’s College. Autograph letter signed, to the Lord Bishop
of London, describing the burning down of Governor Tryon’s residence and recommending a fellow of
King’s College for admission to the Church of England. New York: 6 January 1774. 3pp, folded small 4to
sheet. “...How unfortunate is it for all the subjects of his Government that a man so disposed should be
deprived of one principal mean to that end by the devouring flames which, a few days ago, totally destroyed
his Excellency’s Residence, and every thing in it. He himself - the fire happening after all the family was in
bed - his Lady, Daughter and Servants, narrowly escaping with their Lives; indeed one servant perished in
the flames...”
(#28379) $ 14,000
70 (NEW YORK CITY) - G. C. HESSELGREN.
Apartment Houses of the Metropolis.
New York: G. C. Hesselgren Publishing Co., [1908].
Small folio (13 1/2 x 10 3/4 inches). 298, [1], 2 pp.
Photographic illustrations and color printed floor plans
throughout. Publisher’s pebbled maroon cloth, upper
cover stamped in blind and lettered in gilt, patterned
endpapers.
Scarce illustrated directory of New York City apartment
houses, with photographic images of the facades and detailed
floor plans of hundreds of apartments, from luxury duplexes
to tenements.
“This work requires but few words of introduction -- a
glance through the pages will make clear to all, whether
directly or remotely concerned, the importance of the
enterprise. The elevations, and especially the floor plans,
cannot but prove invaluable to all who are immediately
or distantly identified with high grade apartment house interests, while the briefly mentioned facts and
figures will always be of importance. This branch of realty has been, and still is, growing rapidly and steadily
year by year and the necessity for an authoritative record for architects, builders and operators has become
very clear, and the demand for a work of reference which might confidently be depended upon, we have
undertaken to supply” (preface).
(#27456) $ 2,000
71 NEWCOMB, Franc J.; and Gladys A. REICHARD.
Sandpaintings of the Navaho Shooting Chant.
New York: J. J. Augustin, [1937]. Small folio (13 1/4 x 10
5/8 inches). Half-title. 35 color pochoir print on Japanese
paper, interleaved with glassine leaves printed with the
captions. Publisher’s course cloth, rebacked, original
paper label on the upper cover. Provenance: Lindley
Eberstadt (bookplate).
Scarce ethnological study revealing the meaning and intricacies
of Navaho sand paintings, with among the earliest illustrations
depicting the ritualistic designs.
“Newcombs documentation of Navajo art and culture, writing,
lecturing, or reproducing ritual sandpaintings onto a twodimensional painted surface made a significant impact on
Southwestern studies” (Lange, The Spiritual World of Franc
Johnson Newcomb).
(#28190) $ 900
72 PARKER, Thomas N.; and C. MIDDLETON.
An Essay on the Construction, Hanging, and Fastening of Gates ... Second Edition; Improved and
enlarged ... [Bound with:] Designs for Gates and Rails suitable to Parks, Pleasure Grounds, Balconys
&c. also some Designs for Trellis Work on 27 plates.
London: Printed by C. Whittingham ... for Lackington, Allen and Co., 1804; London: J. Taylor,
[circa 1805]. 2 volumes in 1, 8vo (9 x 5 1/4 inches). [Parker:] [8], 116pp. 6 engraved folding plates.
[Middleton:] Engraved title, 26 engraved plates (numbered 2-27). 8pp. publisher’s ads. Early calf
backed marbled paper covered boards, vellum tips, flat spine divided into compartments by gilt
rules, black morocco lettering piece in the second compartment.
Two scarce early 19th century English works on gates and railings for landscape design, bound together.
While the first work approaches the subject from a practical standpoint (with much information on
the engineering of effective latches), the second work is intended more for landscape design and follies.
Published without text other than the engraved title, the second work includes ornate examples of gates and
fences in iron, wood and other materials. In the rear of the second work are advertisements for J. Taylor’s
Architectural Library, including an announcement of the publication of the second edition of Humphry
Repton’s Observations (published 1805).
Not in Berlin Kat.
(#28265) $ 2,850
73 (PHOTOGRAPHY, Medicine).
Gastrophotography [cover title].
New York: Gastro-Photor Laboratories, [1930s]. Oblong small folio (10 x 13 inches). Album
containing 76 silver print photographs, comprising 4 of the Gastro-Photor gastric camera, and 72
stereo views of the interior of the stomach (mounted 8 per page), 14 typed notes or captions (all
but one tipped to the facing pages, one tipped below), all mounted recto and verso on 13 leaves of
black paper. Contemporary black pebbled cloth boards, lettered on the upper cover. Provenance: Dr.
Blackwell Sawyer (name in gilt on upper cover).
Possibly unique album of early photographs of the human stomach, intended as a marketing tool for the GastroPhotor: among the earliest endoscopic imaging devices.
While efforts to photograph the interior of the stomach began in the 1890s and the first gastric camera was
developed in 1898, the first widely used device for this purpose was the Gastro-Photor, based on a prototype
introduced in 1929 by the Viennese physicians Otto Porges and Max Josef Heilpern in collaboration with
the engineer Franz Gerhard Back. This was a miniature round pinhole camera with multiple apertures and a
tungsten lamp, appended to a stomach tube, capable of taking 8 stereo pictures at a time. Its 360° field of view
was intended to compensate for the operator’s lack of visual control in positioning the camera.
The album offered here was probably created for marketing or sales purposes. In addition to the numerous
sample photographs, it contains a description of the Gastro-Photor and its use, and positive quotes about it
from medical journals dated 1930 to 1936.
Reuter, History of Endoscopy, pages 612-13; Vilardell, Digestive Endoscopy in the Second Millennium, pages 130-32.
(#28279) $ 2,950
74 PROUT, Samuel (1783-1852).
Tivoli, Temple of Vesta.
[Italy: circa 1830]. Watercolour, pen-andink, and gouache, on thick paper. Signed “S.
Prout” lower center. Sheet size: 18 5/8 x 12
5/8 inches.
Wonderful original watercolour by Samuel Prout
of the Roman Temple of Vesta ruins at Tivoli.
This brilliantly executed watercolour depiction
of the remains of the Temple of Vesta in Tivoli
epitomises Prout’s uncanny ability to create
evocative images of architectural ruins. It was
of course a popular Romantic fad to use ancient
buildings to stir up melancholic reflections in
the viewer; Prout however seems to have been
too fond of light and detail for sad reflections.
His works are often celebrations of sunlight and
sculpted masonry that feel affirmative and rich.
His passion and talent for drawing were evident
from an early age but he was in his thirties
when he found what was for him the perfect
expression for his talent: watercolour drawings
of early architecture. From then on he travelled
throughout Europe, capturing the Roman ruins
and Gothic structures in the ancient towns and cities. He ultimately produced 14 illustrated books derived
from his drawings and enjoyed great success. John Ruskin liked his work immensely and wrote a memoir
about him. Prout was honored royally by George IV and Queen Victoria, for whom he was “Painter in
Watercolours in Ordinary”.
This view of the Temple of Vesta in Tivoli lovingly depicts the richly carved architrave and Corinthian
capitals, the fluted columns and their losses, perfectly catching the shadows aa the sun begins to set. His
vantage point emphasizes the curve of the temple, revealing the mountains in the distance.
A similar image is held by the Victoria Gallery & Museum in Liverpool.
(#26466) $ 3,500
75 (QUR’AN) - George SALE (1697-1736).
The Koran, commonly called the Alcoran of
Mohammed, translated into English immediately
from the Original Arabic; with Explanatory Notes,
taken from the most approved Commentators. To
which is prefixed a Preliminary Discourse.
London: C. Ackers for J. Wilcox, 1734. 4to (10
3/4 x 9 inches). Title in red and black. [6], iii-ix,
[3], 187, [1]; 508, [15] pages. Folding engraved
map of Arabia; 3 engraved genealogical tables,
folding plan and view of the Kaaba at Mecca.
Early manuscript corrections. (Scattered minor
foxing, light dampstain at lower corner in rear).
Contemporary mottled calf, spine with raised
bands in six compartments, morocco lettering
piece in the second, the others with a repeat
decoration in gilt, period marbled endpapers
(expert restoration of spine). Provenance: R
Taylor (early signature on title); early inked
stamp on title; engraved bookplate (with motto
Fors Non Mutat Genus).
First edition of Sale’s translation, the first scholarly version in English made directly from the original Arabic:
one of only fifty on fine paper.
This is the first accurate translation of the Qur’an into English and the first version to be done directly from
Arabic into English. Alexander Ross had created an earlier English version based on a 1649 French translation
by Du Ryer, though both the original French and English translation were widely derided. “Sale’s translation
is remarkably accurate ... his version remains the best in any language ... Sale’s preliminary discourse and notes
display a remarkable acquaintance not only with the works of European writers upon Mohammedanism
and its history, but also with native Arab literature. The preface and notes are still reckoned among the best
sources of information with regard to the faith of Islam and the Mohammedan peoples” (DNB).
George Sale (ca. 1697-1736) was taught Arabic by Daidichi, a Greek from Aleppo, and probably also by
the Syrian Christian Solomon Negri. Negri and Sale cooperated on a translation into Arabic of the New
Testament, undertaken for the Society for the Promotion of Christian Knowledge, and Sale then employed
the knowledge of Arabic he had gained to translate the Qur’an.
The surviving publisher records reveal that the work took four years to set and print, and that 1,450 copies
were printed on regular paper, with only fifty deluxe examples on larger, fine paper (as in the present copy).
We know of only the Macclesfield copy being another example on the market of the “fine paper” issue, selling
in October 2006 for £4080.
Harris, p. 87; Lowndes II, 1290; Graesse IV, 44; Brunet III, 1309; Rothschild 1811. See “A ledger of Charles Ackers” edited by D.F.
McKenzie and J.C. Ross (Oxford: OBS, 1968), p. 243.
(#28789) $ 8,500
76 RAE, Julio H. (fl. 1851-1925).
Rae’s Philadelphia Pictorial Directory Panoramic Advertiser. Chestnut Street, from Second to Tenth
Streets [wrapper title].
[Philadelphia]: Julio H. Rae, [1851]. Oblong quarto (9 3/8 x 13 3/4 inches). [23]pp. text and sixteen
lithographed plates (several folding). Original gold-printed black wrappers bound in. Contemporary
cloth, label on front cover printed gold on black glossy paper, neatly rebacked. Housed in a moroccobacked cloth box. Provenance: John McAllister (booklabel).
An incredible city directory and business promotional, illustrating eight blocks of Chestnut Street in downtown
Philadelphia on sixteen beautifully executed lithographs.
Following in the long tradition of the city directory but taking it to new heights, publisher Julio H. Rae
produced the first truly visual directory of an American city. Each plate depicts a block or a portion of a
block of Philadelphia’s main commercial thoroughfare, between 2nd and 10th streets. Both sides of the
block are pictured, and each plate is keyed to an accompanying text leaf carrying advertisements from the
merchants depicted. Taller buildings are shown in their complete elevation on folding plates, with the
grandest plate folding out vertically and horizontally and showing the State House. A note on the facade
of the building reads: “Declaration of Independence signed in this room.” While not every merchant on
Chestnut Street subscribed to the work, leaving some buildings unadorned on the plates, Rae’s work carries
advertisements for all manner of businesses, from hatters, jewelers, tailors, and grocers, to hotels, druggists,
daguerreotypists, and Welch’s National Circus and Theatre. Rae intended to update his Chestnut Street
directory each year, showing changes in the businesses, and also announced a similar work covering Market
Street from the Delaware River to Broad Street. Apparently he was too ambitious, and neither project came
to fruition. Rae was not exaggerating, though, in his preface when he wrote that he “felt confident that he
has hit upon a system not only novel and beautiful, but exceedingly useful, and one of which he believes to
be entirely unique.”
This copy bears the ownership markings of noted Philadelphia collector John A. McAllister (1822-1896),
whose spectacles and mathematical instrument shop appears in the directory on the very first plate. A
magnificent work, which heralded a new era in display advertising, and a nice association copy.
Miles & Reese, America Pictured to Life 75.
(#28374) $ 5,000
77 [RANDOLPH, Edmund (1753-1813); Secretary of State].
Department of State, July 31, 1794, The Secretary of State requests the [blank] to permit any persons
interested and inquiring for the List at the foot hereof, to see the same ... .
[Philadelphia]: 1794. Folio (13 x 7 3/4 inches). 4pp. Signed in print by J. Wagner, Clerk. Contemporay
manuscript notations on each page tallying the number of vessels. Unbound.
A contemporary official printed list of American vessels with spoliation claims, issued by the Secretary of State
in the midst of the negotiations over Jay’s Treaty.
In 1793 and 1794, the British captured numerous neutral American merchant ships during its conflict with
France, including ships in both European and North American waters. The Secretary of State here issued
an official list of 304 American merchant vessels -- including the ship’s name, as well as the names of the
masters and owners -- for distribution among port collectors, compiled “from the record of the Cases in the
office of the Department of State.” The terms of Jay’s Treaty would include compensation for the vexations
and spoliations, with the British eventually paying out over $10,000,000 by 1802.
A rare and ephemeral early American document. OCLC cites but a single copy (Library Company). Not in
Evans or Bristol.
(#28826) $ 850
78 REUSNER,
Nicolaus (1545-1602); and Tobia
STIMMER (1539-1584), illustrator.
Nicolai Reusneri Leorini Aureolorum emblematum
liber singularis. Thobiae Stimmeri iconibus affabre
effictis exornatus : ad serenissimum Principem D.
Huldricum Noruegiae haeredem, Friderici II, Reg.
Dan Filium.
Argentorati [Strasbourg]: Apud Bern. Iobinum,
1591. 2 parts in one, 8vo (6 x 3 3/4 inches). 120ff.
Title printed in red and black. Text in Latin with
subscriptios in Latin and German. Woodcut
borders to each page, woodcut vignette on
title and woodcut initials, first part with 127
woodcuts by Tobias Stimmer, woodcut coat of
arms of Prince Huldrich and King Federicus
II, second part with 45 cuts by Stimmer,
woodcut portrait of the author and his coatof-arms. Extra-illustrated with two partially
hand-coloured woodcuts from Jost Amman’s
Book of Trades mounted to the front and rear
pastedowns, and a period portrait dedication to
Henry IV, engraved by Gaultier, preceding the
title. Contemporary mottled calf, covers with
central gilt ownership stamp HD surrounded
by four S-fermé (ascribed by some to Henri IV
and his mistress Gabrielle d’Estrèes), spine with
raised bands in six compartments, lettered in the second compartment, the others with a repeat
decoration in gilt, gilt edges. (Early repairs at joints). Dark green morocco pull top slipcase, lettered
in gilt. Provenance: HD (Henri IV and Gabrielle d’Estrèes?); Richard Heber (inked stamp); Henry
B.H. Beaufoy (bookplate); Calvin Bullock (bookplate).
Rare 16th-century emblem book with distinguished provenance.
Second edition of a rare emblem book, originally published in 1581 under a variant title. Vinet regards
Stimmer as “un des meilleurs dessinateurs xylographes de son temps. De jolies bordures encadrent toutes
les pages.”
Guigard (Armorial du Bibliophie, 1873) originally posited that books with the covers with a central gilt stamp
HD surrounded by four S-fermé were from the library of Henri IV and his mistress Gabrielle d’Estrèes.
More recent scholarship by Hobson has called that into question, though a definitive argument has not been
made. See G.D. Hobson, “Le problème de l’S fermé” in: Hobson, Les reliures à la fanfare (Amsterdam 1970),
pp. 85-119.
Landwehr, German emblem books 498; Praz 469; Vinet 854; VD16 R137. Not in Adams.
(#29025) $ 3,250
79 [SAINT-MÉMIN, Charles Balthazar Julien Fevret de (1770-1852)].
The St.-Memin Collection of Portraits, Consisting of Seven Hundred and Sixty Medallion Portraits;
principally of distinguished Americans, photographed by J. Gurney and Son, of New York, from proof
impressions of the original copper-plates ... to which are added a Memoir of M. de St.-Memin, and
biographical sketches of the persons whose portraits constitute the collection.
New York: Elias Dexter, 1862. Small folio (15 x 11 1/2 inches). viii,104pp., Sixty-three photographic
plates. (Minor dampstaining and foxing, minor fading to three plates). Period green morocco,
covers elaborately panelled in gilt and blind, spine in six compartment with raised bands, lettered in
the second, the others with a repeat decoration in gilt, yellow endpapers, gilt edges. Provenance: W.
F. Bartlett (signature on title).
From an edition limited to 100 copies, this collection represents one of the greatest archives of St.-Mémin images
available.
Charles B. F. Févret de Saint-Mémin was a young, aristocratic military officer when he fled France during
the Revolution in 1790. In 1793 he arrived in New York with his father and soon began pursuing a career in
the arts. Applying early training he had received in drawing and an eye for precision, Saint-Mémin quickly
taught himself the techniques of engraving and printing, and began producing plans and landscapes of New
York. In 1796 he co-founded a business creating profile portraits with the aid of a physiognotrace, a recently
invented drafting device that allowed portraitists to capture their sitters’ profiles with extreme accuracy.
After tracing a subject’s profile with the physiognotrace, Saint-Mémin would complete a portrait in chalk,
reduce and copy it to a copper plate using a pantograph, and finally engrave the plate and produce a series of
prints. Each patron would receive the original drawing, the plate, and, typically, a dozen engravings. SaintMémin’s business was wildly successful, and for fourteen years it sustained him as he traveled through the
eastern U.S. capturing the likenesses of many leading American figures of the day.
During a career that spanned fourteen years, from 1796 to 1810, the itinerant French artist, Charles St.Mémin captured the profiles of an astounding number of influential Americans. His miniature engravings
were in great demand among the wealthy and powerful, and he travelled from New York to Washington,
Alexandria, Georgetown, Annapolis, Richmond, Norfolk, Charleston, and other cultural centers executing
commissions in his distinctive style.
While St.-Mémin was in the habit of giving the original plates to his patrons, he kept impressions for
his archive, which he took with him when he returned home to France in 1815. The collection was later
purchased by James B. Robertson of New York, and returned to America, setting in motion the production
of this volume. It comprises the second largest collection of St.-Mémin images (the largest, at the Corcoran
Gallery of Art, was purchased by William Wilson Corcoran in a sale facilitated by the noted bookseller,
Henry Stevens). The collection illustrated in the present work was later purchased by the philanthropist,
Paul Mellon, and donated to the National Portrait Gallery, where it now resides.
“This book has become the major source of information on St.-Mémin and his work. It is equally significant
as one of the earliest volumes to have all illustrations done with original photographs: each copy of the book
contains a full set of handmade photographic prints” (Miles).
Miles, St.-Memin (Washington, 1994) 212; Howes F107, “b”; Sabin 75444.
(#27828) $ 5,750
80 SHARP, William after Sir Joshua REYNOLDS.
John Hunter.
London: Published by William Sharp, No. 8 Charles Street,
Jan. 1, 1788. Copper engraving. In good condition with
the exception of being trimmed within the platemark on
all sides. Slight paper discolouration due to sunning where
a matt was in place. Two small skillfully mended tears on
right and left margins. Laid on to archival backing paper for
support. Image size: 16 5/8 x 13 3/8 inches. Sheet size: 19
13/16 x 14 7/8 inches.
This is a lovely impression of the most famous portrait of John
Hunter, one of the three greatest surgeons in medical history.
John Hunter is considered, with Ambroise Paré and Joseph
Lister, as one of the three greatest surgeons of all time. After
studying medicine, he spent the next twenty-five years as an
anatomy and surgery instructor at St. Georges Hospital. It was here that Edward Jenner, the discoverer
of vaccination, became one of his most prized students. He also served as a surgeon with the British army
during the Seven Years’ War. Hunter is credited with having raised English surgery from a mere “technical
trade”, to a skilled medical art. He rejected academic speculation and insisted on experimentation and direct
observation. Hunter’s most famous expression “Don’t think, try”, is an expression of this basic tenet. In
addition to his medical achievements, Hunter was a prolific writer. He wrote important works on teeth (he
coined the terms cuspids, bicuspids, molars, and incisors), sexually transmitted disease, and inflammation.
O’Donoghue, Catalogue of Engraved British Portraits... in the British Museum 2
(#7946) $ 750
81 SMITH, John (1647/48-1727).
The Art of Painting in Oyl. Wherein is included each particular
Circumstance relating to that Art and Mystery. Containing
the best and most approved Rules for preparing, mixing and
working of Oyl Colours ... to which is added, the whole Art
and Mystery of Colouring Maps, and other Prints with Water
Colours.
London: Printed for Samuel Crouch, 1701. Small 8vo (5
15/16 x 3 3/4 inches). [8], 110pp. Contemporary manuscript
marginalia. Contemporary calf, covers bordered with a
blind double fillet, spine with raised bands, black morocco
lettering piece in the second compartment. Provenance: Sir
James Stuart, Earl of Bute (armorial bookplate).
One of the earliest manuals detailing the formulation and mixing of
colours for painting in oil.
This third edition noted for corrections and an additional chapter on
the colouring of maps with watercolours.
ESTC 98429
(#26430) $ 2,000
82 SMYTH, John Richard Coke (1808-1882).
A pair of albums, each titled “Sketches of Costume by Coke Smyth”, containing original watercolours:
the artwork for an unpublished work which was to have been entitled “The Costume of the principal
Nations of Europe from the beginning of the 13th to the end of the 17th century”.
[London]: [1835-]1842. 2 volumes, quarto (11 3/4 x 1`0 3/4 inches). 2 ink manuscript titles “Sketches
of Costume by Coke Smyth 1842”, 125 card leaves on cloth guards, with 125 tipped-on original
pencil and watercolour drawings by Smyth (sheet sizes approx. 8 7/8 x 7 7/16 inches, mounted recto
only, one drawing per card leaf), all with integral pencilled captions beneath, three with additional
manuscript notes in pencil by Queen Victoria, with 1 additional leaf (9 3/4 x 11 inches) with original
pencil sketches by Prince Albert (including a recognisable self-portrait of Albert in medieval
costume) mounted at the back of one volume. Contemporary green morocco bound for “P. & D.
Colnaghi & Co. Pall Mall East”, covers bordered with fillets in gilt and blind, elaborate corner-tooling
in blind, spine in six compartments with semi-raised bands, the bands highlighted with gilt fillets
and small arabesque tools, the compartments bordered in gilt and blind with fillets, gilt turn-ins,
cream-glazed endpapers. Neat repair to spine of one volume.
An important discovery: two albums of watercolours of Royal costume by one of great early Canadian painters,
used by Queen Victoria and Prince Albert and the basis for a never published book on the subject.
Coke Smyth’s connections to the Governor of Canada and his family are probably what led to him showing
Queen Victoria and her Consort, Prince Albert, the present albums. The Royal couple were planning a bal
costumé, or fancy-dress ball, with an historical theme and clearly looked through the albums searching for
inspiration. The Queen appears to have particularly liked two of Coke Smyth’s drawings and marked them as
possible patterns for her and her husband’s costume. Prince Albert seems to have had his own ideas, which
he sketched out on the sheet bound at the back of one of the albums.
The ball took place at Buckingham Palace on 12th May 1842, and Coke Smyth was encouraged to record
the costumes, a selection of which were published in James Robinson Planché’s Souvenir of the Bal Costumé,
given by Her Most Gracious Majesty Queen Victoria, at Buckingham Palace, May 12, 1842 The drawings from
the original dresses by Mr. Coke Smyth ; the descriptive letterpress by J.R. Planché. (London : Printed by William
Nicol, Shakespeare Press, for P. and D. Colnaghi, 1843). This very rare folio work included a coloured title
and 52 coloured plates and evidently enjoyed enough success to encourage Coke Smyth to attempt to publish
a further work on a similar theme, using the drawings in the present albums as the artwork. In conjunction
with Colnaghi’s he went ahead and issued a prospectus, but a lack of subscribers meant that the scheme was
not taken any further, and the present albums remain the only pictorial record of what might have been.
There is a further particularly interesting facet to these albums: in addition to the 103 drawings that are
obvious candidates for inclusion in a work on historical costume, there is also a significant selection of 22
drawings that are of contemporary costume as worn in Italy, Greece and the Turkish Empire. These appear
to have been drawn from life and would therefore have been drawn by Coke Smyth during his journey to
and stay in Constantinople.
According W. Martha E. Cooke’s entry in the catalogue of the W.H. Coverdale Collection of Canadiana,
John Richard Coke Smyth was born in 1808 “the only son of Richard Smyth and Elizabeth Coke (c.l777-c.
1851) ... More commonly known as Coke Smyth, with which name he signed his works ... Smyth’s passport,
still in the family’s possession, would suggest that he was a gentleman of means who travelled widely on
the Continent ... In 1835-6, Smyth visited Constantinople .... His on-the-spot sketches were published in
Illustrations of Constantinople made in the Years 1835-6 (London, 1837), which comprised 26 lithographic
views arranged and drawn on stone by John Frederick Lewis ... Subsequently he was engaged as drawing
master to the household of John George Lambton (1792-1840), 1st Earl of Durham. It was in this capacity
in April 1838 that Smyth accompanied Durham, newly appointed Governor to the Canadas, and his party
on board HMS Hastings. During Durham’s brief tenure of office, which terminated with his resignation that
October, he travelled extensively in Lower and Upper Canada. Thus there was ample opportunity for Smyth
... to sketch firsthand the Canadian scene at the time of the Mackenzie-Papineau Rebellions. ... Several of
these drawings provided the basis for the 23 lithographic views dedicated to the Earl of Durham in Sketches
in the Canadas (London, c.1840) by Coke Smyth. Smyth exhibited at the Royal Academy between 1842
and 1855 and also at the British Institution and Society of British Artists up to 1867. In 1842, Messrs. Paul
and Dominic Colnaghi exhibited and later published Smyth’s costume figures which were commissioned
by Queen Victoria to illustrate a commemorative volume of the Queen’s masked ball en-titled Souvenir of
the Bal Costumé (London; 1843). Several of the drawings used for the lithographic plates are in an album
in the Victoria and Albert Museum. Smyth specialized in costume studies. He approached Colnaghi with a
view to publication of an album ... [for which he issued a ] Prospectus & Specimen of a proposed work on the
Costume of the principal Nations of Europe from the beginning of the 13th to the end of the 17th century. Smyth
intended to etch the plates personally and provide accompanying text; however, it appears that the number
of subscribers was insufficient to publish the work. Smyth is known to have experimented in lithography,
and produced a self-portrait among his associates at drawing class. He also painted portraits of his family
and made some fine architectural drawings. One of the latest known books to include his illustrations was
Henry Beveridge’s A Comprehensive History of India.(London, 1871). Coke Smyth died in 1882.”
Substantial collections of Coke Smyth’s work are very rare, however individual examples can be seen in
the Public Archives of Canada (Ottawa); the John Ross Robertson Collection in the Metropolitan Toronto
Central Library; the Royal Ontario Museum, Toronto; the Department of Prints and Drawings in the British
Museum, London; the Victoria and Albert Museum, London; the National Portrait Gallery, London, and the
National Gallery of Scotland, Edinburgh.
Cf. Abbey Travel II, 394 and 625; cf. Allodi Canadian Watercolours II, 1532-1583; cf. Benezit (2006) XII, p.1395; cf. Bobins I, 66;
cf. Colas II, 2403; cf. W.H. Coverdale Collection of Canadiana: Paintings, Water-colours and Drawings (Ottawa: 1983), p.189; cf.
Lande 2215; cf. Staton & Tremaine 2549; cf. Thieme-Becker 31, p.185.
(#21348) $ 22,500
83 SONTAG, Susan (1933-2004, author). - Howard HODGKIN (b.1932, artist).
The Way We Live Now.
London: Karsten Schubert, [colophon: 1991]. 6 coloured aquatints, with added tempera, by Howard
Hodgkin (2 folding, 4 double-page). Original paper-covered boards, original blue paper chemise with
orange tempera added by hand, protective tissue covering to binding, original publishers cardboard
slip-case with printed title label on upper cover.
A fine copy of a work featured in Riva Castleman’s survey of the best livre’d’artiste of the last century; John
Updike included Sontag’s story in his Best American Short Stories of the Twentieth Century.
“This is a special work of art, a unique collaboration between two great artists in response to the AIDS crisis”
(Castleman p.198). Castleman’s description of Howard Hodgkin’s etched aquatints as “lushly colored” is
satisfyingly accurate: the project was evidently close to the artist’s heart (he spent four years working on the
images) and he clearly wanted to create a worthy visual accompaniment to this short story by Susan Sontag.
The addition of tempera by hand ensures that each plate is unique, but Hodgkin’s intention with the series
was to illuminate both the emotional changes and, at a cellular level, the physical changes bought about by
the disease. The overall result “achieves an optimistic effect, which strongly repudiates the horror and fear.”
(Castleman). Sonntag’s short story, perhaps the greatest ever written on the subject, offers an honest and
deeply-felt account of an AIDS sufferer, and human strength in the face of inevitable loss.
The edition was limited to just 243 copies, numbered and signed by both the author and the artist, this copy
is number 116 of 200 copies. “All proceeds from the sale of ...[the] book ... [were] given to AIDS charities
in the United Kingdom and the United States”. “The book is designed by Gordon House ... The pictures
and end papers are original etchings by Howard Hodgkin. The etchings are printed in intaglio ... and hand
painted in Sennelier tempera by Jack Shirreff ... The cover is hand painted in tempera ... the bookbinding is
done by Dieter Schulke” (printed note at end).
Castleman, A Century of Artists Books p.198.
(#24209) $ 2,200
84 STAUFFER, David McNeely, & Mantle FIELDING.
American Engravers upon Copper and Steel.
New York [vols I and II] and Philadelphia [vol.III]:: Grolier
Club [vols. I and II], 1907-1917. 3 volumes (including the
“Supplement”), octavo (9 3/8 x 6 1/4 inches). Vols. I and II:
titles in brown and black, half-titles. 43 plates (2 folding),
half-titles; “Supplement”: half-title. 3 plates. Contemporary
blue morocco gilt, covers with elaborate overall design of
gilt fillets strapwork and cornerpieces with scrolling foliage
and pointillé work, spines in six compartments with raised
bands, lettered in the second and fourth compartments,
the others with elaborate overall repeat decoration,
blue morocco turn-ins and pastedowns with panelled
decoration in gilt, silver/grey watered-silk doublures, neat
repairs to hinges of one volume. Provenance: Frederick
W. Skiff (1867-1947, bibliophile, author and Grolier Club
member, bookplate).
The finely-bound Skiff set of Stauffer’s standard work on the
subject, including Fielding’s supplement.
The first two volumes are from an edition of 353 sets, this set one of 350 printed on “imported mold-made
paper.” The first volume is sub-titled “Biographical sketches illustrated” and includes the 43 plates; vol. II is
sub-titled “Check-list of the works of the earlier engravers.” Mantle Fielding’s work is a supplement to both
of the earlier volumes and is limited to 220 copies signed by the author, this copy numbered 131.
(#23197) $ 1,250
85 STOTHARD, Thomas ( 1755-1834) - William SHAKESPEARE.
Shakespeare’s Seven Ages of Man Illustrated.
London: [H.D. Symonds, printed by C. Whittingham], 1799 [pre-publication watermarks]. Folio (17
9/16 x 10 3/4 inches). Stipple-engraved title and 7 plates by William Bromley after Thomas Stothard,
each printed in colours by Collins and finished by hand, 1 uncoloured engraved plate of text by
Collins. Fine 20th-century brown morocco gilt by Riviere & Son, covers with triple fillet border,
spine in seven compartments with raised bands, lettered in the second and fourth compartments,
the others with repeat decoration in gilt around a central flower-spray tool, gilt turn-ins, marbled
endpapers, original blue paper wrappers bound in at the rear, top edge gilt.
A finely bound copy of this beautiful series of illustrations after Stothard: one of the greatest illustrators of his
era.
Each of the seven ages is illustrated by a finely produced and executed colour-printed stipple-engraving,
supported by a number of linked essays on the lines that Stothard has illustrated. During his lifetime,
Thomas Stothard, R.A. (1755-1834) achieved a reputation as the premier English book illustrator of his
generation. His most notable illustrations were of the works of Shakespeare, John Milton, Henry Fielding,
Item 85
Item 86
Tobias Smollett, Laurence Sterne, Sir Walter Scott and Lord Byron. A popular figure in the art world, he
counted William Blake (who engraved many of his designs) and John Flaxman (whose neo-classical style
was an influence) amongst his friends. This title is not mentioned in the list of Stothard’s works books in
Hammelmann, Book Illustrators in Eighteenth Century England.
Coxhead Thomas Stothard (1906) p. 96; not in Hammelmann Book Illustrators in Eighteenth Century England; Jaggard p.287
(#18207) $ 2,250
86 STREETER, Thomas Winthrop. - PARKE BERNET GALLERIES Inc.
The Celebrated Collection of Americana formed by the late Thomas Winthrop Streeter.
New York: Parke Bernet Galleries, 1966-1970. 8 volumes, including the Index, quarto (9 7/8 x 6 7/8
inches). Numerous illustrations, priced throughout in pen in neat contemporary hand. Original blue
paper-covered boards (vols.I-VII) or blue cloth (Index vol.), upper covers and spines lettered in gilt.
An exceptional set of the catalogues produced for this landmark sale: a basic requirement for a reference library
on the subject.
Thomas Winthrop Streeter’s collection was a high-water mark in the field of Americana, and this catalogue
stands as a worthy monument to his achievement - it is also extremely useful, and essential as a reference
work, including listings of 4,421 lots, most with detailed collations. This set is free from the condition
problems that so often plague the bindings of this work.
(#25176) $ 350
87 STÜBEL, Alphons (1835-1904); Wilhelm REISS (1838-1908); and B. KOPPEL.
Kultur und Industrie Südamerikanischer Völker ... Text und Beschreibung der Tafeln von Max Uhle ...
Berlin: Verlag Von A. Asher & Co., 1889-1890. 2 volumes, folio (19 5/8 x 14 1/2 inches). 55 plates
lithographed by Julius Klinkhardt, including chromolithographs and collotypes. Expertly bound to
style in half red morocco over red pebbled cloth covered boards, flat spine in six compartments,
lettered in the second and third, the others with a repeat decoration in gilt.
An important illustrated ethnographic survey of the art, culture and industry of South America.
Stubel and Reiss conducted their groundbreaking scientific research in the fields of mineralogy, geology,
archaeology, astronomy and ethnography in South America between 1868-1877. The present illustrated
survey is devoted to the ancient (volume 1) and then-present day (volume two) ceramics, metalwork,
basketry and weaving of Colombia, Ecuador, Bolivia and Peru. The superb illustrations are a combination
of chromolithographs as well as photomechanical process all by the lithographer Klinkhardt in Leipzig.
Palau 323043.
(#26163) $ 8,000
88 SWAN, Abraham (active 1745-1768).
[The British Architect or, the Builders Treasury
of Stair-cases. Containing. I. An easier, more
intelligible, and expeditious method of drawing
the Five Orders ... II. Likewise Stair Cases .. With
a great variety of curious ornaments, whereby
any Gentleman may fix on what will suit him best
... III. Designs of Arches, Doors, and Windows ...
IV. A great variety of new and curious Chimneypieces ... Corbels, Shields, and other beautiful
decorations. V. Several useful and necessary Rules
of Carpentry].
[Philadelphia: Printed by R. Bell, bookseller
... for John Norman, architect engraver, 1775].
Folio (16 1/2 x 10 1/4 inches). [1, prospectus
dated 20 June 1775], [1]-17, [1, headed
“Conditions”]pp, only (lacks letterpress title,
4pp. list of “encouragers”, and 2pp. prospectus
dated 26 June 1770). 52 (of 60) engraved plates
(5 of these a combination of engraving and
letterpress explanatory text). Lacks plates 51
and 54-60. Uncut (Foxing and staining, voids
particularly at lower and upper corners with
some loss to text and images). Unbound and
unstitched.
A great rarity: the first architecture book to be published in America.
This work, a reprint of the first London edition of 1745, is extremely scarce on the open market: only one
example is listed as having sold at auction in the past thirty years. It is made all the more remarkable for
having been printed at the outbreak of the American Revolution. Swan, identified as an architect on the
titlepage of this edition, had been called a “carpenter” in the British edition. The plates were engraved by
the talented John Norman, who had recently emigrated from England and issued proposals for the work in
late 1774. This American edition appeared in June, 1775, published by Robert Bell, the leading printer and
bookseller of Philadelphia.
This work went on to have a great influence on American architectural styles, with features from the book
being used in home designs all along the Atlantic seaboard. The text and plates give instructions on building
in the Tuscan, Doric, Ionic, Corinthian, and Composite orders, plans for staircases and their decorations,
designs of arches, doors, and windows, as well as elaborate chimney pieces and fireplaces, and rules of
carpentry and the construction of trussed roofs and soffits. The plates are beautifully engraved and rich in
detail, showing not only the smallest details of the designs but also their scale ratios and dimensions.
Bristol B4124; Fowler 341; Hitchcock 1248; NAIP w038432; Park list 79 (note); Rink 2471; Schimmelman 134; Shipton & Mooney
42944
(#28719) $ 9,500
Item 89
Item 90
89 SYKES, Sir Mark Masterman (collector).
A Catalogue of the Highly Valuable Collection of Prints, the property of the late Sir Mark Masterman
Sykes ... Which will be Sold by Auction, By Mr. Sotheby ... [Parts 1-5].
London: J. Davy, printer, 1824. 4to (10 1/2 x 8 1/2 inches). 5 parts in one, interleaved with blanks
throughout. Priced throughout in ink in a contemporary neat hand, the first part with the names
of the buyers added. Early half morocco over purple cloth boards, spine in six compartments with
raised bands.
A complete auction catalogue of the famed Sykes print collection, a large-paper copy priced throughout at a
contemporary date.
The five sale catalogues of the famed collection of prints comprised 4,558 lots and realized almost £18,000.
The collection included British and foreign portraits, prints by Rubens and Van Dyke, Italian Masters, and a
complete set of Bartolozzi’s engravings.
(#24114) $ 550
90
TAYLOR, Marshall W.
The Life, Travels, Labors and Helpers of Mrs. Amanda Smith, the Famous Negro Missionary Evangelist.
Cincinnati: Cranston & Stowe for the Author, 1887. 12mo (6 5/8 x 4 3/8 inches). 63, [1]pp. Portrait
frontispiece. Publisher’s ad on the final leaf. Publisher’s lettered wrappers within an ornamental
border (neat repairs to wrapper).
Item 91
Scarce biography of a female African-American Methodist missionary.
Marshall Taylor, Sr. was a free-born Methodist clergyman who compiled one of the earliest collections of
hymns and melodies by an African-American. The publication of this work was sponsored by the Methodist
Church, with proceeds going to benefit Smith, who at the time was serving as a missionary in Liberia. The
work gives a description of her childhood and her conversion and subsequent life as a missionary.
This title is not to be confused with Smith’s more common autobiography (The Story of the Lord’s Dealings
Mrs. Amanda Smith the Colored Evangelist. Chicago: 1893). OCLC locates but a single copy at the University
of Minnesota. Rare.
(#28834) $ 3,250
91 TEMBO, Hirohiko; and Juzo SUZUKI.
Meiji tetsudo nishikie ... Railways in color prints of Meiji Era.
Tokyo: Transportation Museum, 1971. Oblong small folio (14 x 10 inches). Text in English and
Japanese. 271 color illustrations, including 58 tipped-in color plates. Publisher’s blue cloth, red paper
boards slipcase (small area of wear to slipcase and at board edge).
Limited, numbered edition of a beautifully illustrated catalogue of Meiji era Japanese prints depicting the
railroad.
Published as part of the centenary celebration of the opening of the railroad in Japan, 2000 numbered copies
were issued, this being number 776.
(#28760) $ 595
Item 92
Item 93
92 TERNISIEN D’HAUDRICOURT, Chevalier.
Records of the French Nation, and of the Allied Powers; or, Picturesque Views engraved by the Principal
Artists, Accompanied by an Explanatory Text ... Fastes de la Nation Francaise et des Puissance alliee,
ou Tableux pittoresques ...
Paris: Printed by Poulet ... De la Fonderie et Imprimerie de Gille, Fils, 1816-1807. 2 volumes, small
folio (11 x 8 1/4 inches). Titles and text in English and French. Engraved French additional title in
vol. 1, 155 engraved plates on papier velin (most with engraved French text below the images, some
before letters and with the French text on facing letterpress sheets). Signed by the author on the
English additional title. Contemporary dark red morocco, covers panelled in gilt and blind, spine
with semi-raised wide bands in five compartments, lettered in the second and fourth, the others with
a repeat decoration in gilt, brown endpapers, gilt edges. Provenance: Calvin Bullock (bookplate).
An important French pictorial military history of the Napoleonic Wars: a scarce issue evidently intended for the
British market.
A very rare edition of this work, with English title and text added to the original plates (the English title
dated 1816, the French title with 1807 as per original issue). This copy in a lovely contemporary binding and
signed by the author.
Cf. Brunet V:p.726 (first edition).
(#29026) $ 1,200
93 TIBBS, Thomas.
The Experimental Farmer: being strictures on various branches of husbandry and agriculture, drawn
from a long series of practice in different parts of Great-Britain; containing Observations on planting
and Preserving Young Trees, with an approved method of thinning them, to become timber. Likewise,
Plans for Laying-out Land, on a five and four field system. Also, a new method to bring the most barren
land into cultivation, for meadows and sheep walks: and a variety of other useful information in every
branch of this art, absolutely necessary for every person, from the opulent farmer, to the proprietors of
small pieces of land.
London: printed for Sherwood, Neely, and Jones, [publisher’s advertisements dated September
1820]. 8vo (8 7/8 x 5 3/8 inches). Half-title, 1p. errata, 16pp. publisher’s catalogue at end dated
September 1820. Occasional wood-engraved decorations. Original boards, rebacked.
First edition, second issue, of this charming work, full of fascinating practical information on land management
at the turn of the 19th century.
This appears to be a second, remainder issue of the first edition: the dedication is dated 1806, the text has
occasional watermark dates of 1804, but the title is a cancel issued by Sherwood, Neely & Jones who are also
responsible for the publisher’s catalogue at the end which is dated 1820. The first issue was dated 1806 and
published by T. Ostell. No copies of the present issue are listed as having sold at auction in the past thirty
years, and only one example of the 1807 issue.
“Although this Work may not be written in fine stile and polished language ... it will be found to be clear and
comprehensive ... suited as well to the understanding of the refined Gentleman as to that of the industrious
farmer’ (introduction, p.ix). The work is largely made up from many short entries under numerous subheadings, and reads like a note-book of observations and calculations: a charmingly straight-forward work
which nevertheless imparts a great deal of practical knowledge. For example, in the section on planting trees,
Tibbs extols the financial benefits of growing trees for timber and in an innovative way combines the purely
financial calculations of the costs and profits of planting an acre of land with practical instructions on how
to plant and manage the plantation for the period needed to see a good profit (42 years).
According to the introduction, Thomas Tibbs received his initial training in agriculture from his grandfather
at Fidden Farm in Wiltshire, from there he moved to the Chiltern Hundreds where he farmed on his own
land. He subsequently worked for Charles Hill, J. Sainsbury, and King George III’s Flemish Farm before
becoming Land Steward to Lord Grenville (the dedicatee) at Burnham in Buckinghamshire: this wide
practical experience allowing him to write with authority on the numerous subjects he covers in this work.
Cf. Kress 19367 (1807 issue)
(#20177) $ 750
94 TIFFANY, Louis Comfort; [and Charles DE KAY].
The Art Work of Louis C. Tiffany.
Garden City and New York: Doubleday, Page
& Company, 1914. 4to (12 5/8 x 9 3/4 inches).
Half-title. 62 plates (20 printed in colour and
tipped onto mounts, 42 photogravures). Original
embossed and gilt over red ground papier-mache
covers, designed by Tiffany.
One of 492 copies on Japan paper of Tiffany’s beautifully
printed and lavishly illustrated autobiography: this an
exceptional presentation copy inscribed by Tiffany to
one of his most important artists.
In 1913, having reached the age of retirement,
Louis Comfort Tiffany commissioned Charles De
Kay, a well-known art historian and former New
York Times art critic, to co-author his memoirs.
Tiffany explains in the Foreward to the work that the
autobiography was written for the benefit and upon
the request of his children, to whom he dedicates the
book: “Much concerning their own father which may be known to his fellow artists or to workers in various
fields of art ... is unknown to them. No reason for surprise in this: it is the commonest thing in the world
to find that the last persons to be informed of what a professional man has achieved in his life work are his
children.”
The privately-printed and beautifully-produced book, lavishly illustrated with numerous plates, celebrates
the range of Tiffany’s artistic career: his glass work, paintings, interior and architectural design, jewelry, etc.
The highly decorative binding of the book was designed by Tiffany himself. Tiffany underwrote the costs of
the expensive production and presented the book to wealthy clients and friends. The work was issued in two
limitations: a regular edition on Japan paper limited to 492 copies, and a very rare deluxe edition printed
entirely on vellum and limited to but ten copies for himself and his family.
This copy is inscribed by Tiffany to Agnes Northrop, one of the artists in his studio, and among his longest
serving employees: “To Miss Agnes Northrop / My dear Miss Northrop / To you, who have helped / me
for over thirty years in my / work, I am glad to send you / my book on my sixty seventh birthday.” Agnes
Northrop (1857-1953) was one of the few female artists creating designs for Tiffany. Indeed, Northrop is
credited with designing the majority of Tiffany’s floral and landscape stained glass window and lamps. On
Northrup, see Martin Eidelberg, Nina Gray, and Margaret K. Hofer, A New Light on Tiffany: Clara Driscoll
and the Tiffany Girls (New-York Historical Society, 2007).
(#28201) $ 9,500
95 TOWNSEND, David (1753-1829).
Principles and observations applied to the manufacture and inspection of pot and pearl ashes.
Boston: Isaiah Thomas & Ebenezer T. Andrews, 1793. 8vo (8 5/8 x 5 1/4 inches). 48pp. Partially
unopened. (Chips to title without loss to text, small clipped portions at head of terminal two leaves
without loss to text). Stitched self-wrappers.
[With:] Small archive of manuscript material relating to Townsend’s service as an Inspector of pot ash,
including a document signed by John Hancock. Comprised of:
1) Autograph document signed by Samuel Danforth, attesting that he is personally acquainted with Dr.
David Townsend and that Townsend “is well acquainted with the principles of Chemistry in general and that
from his particular application, he is well qualified to execute the business of a Assay of Pot & Pearl Ashes.”
Boston, 16 June 1791. 1 p.
2) Manuscript document signed by Justice of the Peace Samuel Bannett, attesting that Dr. David Townsend
has “made oath that he would faithfully perform the duties of the Office of Inspector of Pot Ashes & Pearl
Ashes to which he is appointed...” 16 July 1791. 1 p., lower blank portion of sheet clipped.
3) Manuscript document signed by John Hancock, as Governor of Massachusetts, an act concerning the fees
for inspecting pot and pearl ashes. Boston, 26 March 1793. 1 1/4 pp.
4) Manuscript contemporary true copy of the above by John Avery Jr.
5) Manuscript document signed by N. Goodale, Clerk of the District of Massachusetts, acknowledging that
David Townsend has registered the title of his “Principles and observations applied to the manufacture and
inspection of pot and pearl ashes”. 10 November [1793]. 1p. Paper covered wax seal.
6) Autograph letter signed from Samuel Eliot to David Townsend, thanking him for sending a copy of
his pamphlet “which as far as I can judge must be greatly serviceable to the manufacturing & commercial
interests of the State...” 29 May 1796. 1 p.
Scarce early American work on the manufacture of potash with an interesting related archive of manuscript
material concerning the author, including a document signed by John Hancock.
In the mid-18th century, the manufacture of potash became a burgeoning cottage industry. Potash, a mineral
rich substance derived from leeching, boiling and distilling burned out ashes from wood and plants, was used
extensively in the colonies to make soap, glass and gunpowder and was also an important fertilizer. In 1790,
the very first U.S. patent was issued to Samuel Hopkins for an improved furnace in manufacturing potash,
attesting to its importance. The United States would be the world’s leading producer of potash into the mid19th century. This rare pamphlet by Townsend, the Inspector of Pot and Pearl Ashes for Massachusetts,
reviews the various manufacturing processes in the early period.
Townsend graduated from Harvard College in 1770 and studied medicine under General Joseph Warren. At
the Battle of Bunker Hill, he accompanied Warren as surgeon in Bunner’s regiment. During the war, he was
commissioned surgeon to the sixth regiment of foot, commanded by Colonel Asa Whitcomb and later was
senior surgeon to the General Hospital, Northern department. He served with the Continental army under
Washington during the harsh winter at Valley Forge. On October 9, 1781, he was made surgeon-general of
the hospital department. For many years and up to the time of death he was physician in charge of the U.
S. Marine Hospital in Chelsea, Massachusetts. Dr. Townsend was an active member of the Massachusetts
Medical Society from 1785 to 1824, when he retired. Following the Revolution, Townsend was one of the
charter members of the Society of the Cincinnati, being secretary of the Massachusetts chapter from 1817 to
1821, vice-president from 1821 to 1825 and president from 1825 to 1829.
Evans 26270; Rink, Technical Americana 3169; Sabin 96377.
(#26722) $ 4,250
96 [TRADE CATALOGUE, Brass and Iron Fittings].
Maison R. Garnier, Brun-Cottan frères successeurs. Galerie d’echantillons bureaux et fabrique ... Paris:
cuivrerie et serrurerie artistiques ...
[Paris: circa 1880]. 2 volumes in one, small folio. 247 lithographed plates, on papier rose, numbered
1-197 and 301-347 [complete]. Contemporary morocco backed pebbled cloth, covers decoratively
stamped and lettered in blind, spine with raised bands in seven compartments, lettered in gilt in
the second and third, stamped in gilt with Garnier’s initials in the fourth, the others with his initials
stamped in blind, marbled endpapers. Provenance: Louis-Remi Garnier (d. 1912).
An incredible trade catalogue for highly ornate Second Empire designs for door and window hardware: from the
library of the proprietor of the firm.
The first part mostly encompasses designs for door hardware, including locks, knobs, bolts, mail slots,
pilasters, etc.; the second part is largely designs for foliage and rosettes. The present designs are unusually
elaborate, and rich interpretations of rococo, Louis XVI and other styles, and is a testament to the expertise
of the Garnier firm which is still in business today.
This example with provenance to Louis-Remi Garnier, bound for him (see Lugt p. 414 for his collector’s
mark which is stamped onto the binding) and sold at the 1912 sale of his library (lot 505).
It is highly unusual to find such trade catalogues from this period in such pristine original condition,
particularly of the large size of the present catalogue. The only other recorded extant copy in North America
is located at the Canadian Centre for Architecture.
(#28184) $ 7,500
97 TREMULIS, Alex (1914-1991).
Bricklin II Concept Art.
1975. Mixed media on paper. Signed, dated and numbered “#04”. Image size (including text): 10 x 23
1/2 inches. Framed. 20 3/4 x 30 3/4 inches.
“..certainly one of, and arguably, the greatest automobile designer of all time.” (Coachbuilt)
Alexander Sarantos Tremulis (1914-1991) was the designer of the production version of the 1948 Tucker
Torpedo and was America’s most original design theorist of the post-war era. He was born in Chicago
and without any training in drawing or engineering joined the design team of Auburn-Cord-Duesenberg
in 1933. He was chief stylist when the company failed in 1937. He worked for GM, Chrysler and Custom
Motors in Beverly Hills, which designed unique cars for movie stars. During World War II, he worked for
the Air Force designing aircraft, and in the process drew what may have been the first visualizations of extraterrestrial transport: flying saucers.
After the war, Tremulis worked with Preston Tucker and later Ford. He formed his own consulting firm
in the 1960’s. This quite beautiful design and other similar ones were made for the ill-fated Bricklin car
company, which existed from 1974 to 1976, and whose demise had nothing to do with Tremulis’s designs.
He was inducted into the Automotive Hall of Fame in 1982.
(#18772) $ 2,500
98 TURNER, A. A.
Villas on the Hudson. A Collection of Photo-lithographs of Thirty-one Country Residences.
New York: D. Appleton, 1860. Oblong folio. Three preliminary leaves, 31 photo-lithographic plates
(most with two tints), 21 floor plans. Contemporary green pebbled cloth, stamped in gilt, expertly
rebacked preserving original cloth backstrip. A few very light fox marks, the plates unblemished. An
attractive, near fine copy. Modern green cloth box, dark green morocco lettering piece.
The first large-scale use of photo-lithography in the United States.
The views are based on photographs made by A.A. Turner of large homes along the Hudson from upper
Manhattan Island to Dobbs Ferry, mainly summer or pleasure homes of wealthy New Yorkers, and often
exhibiting extravagant or playful architecture. The villas are remarkably lavish and some show considerable
whimsy. Turner took the pictures in 1858 and 1859, and this lavish work appeared on the eve of the Civil
War. All of the views have at least one additional color, and most two (either brown or green, or both)
applied by stencil, with the picture inside a gilt printed border. The images have a slightly surreal quality
which adds to the appeal of this remarkable book.
Hitchcock 1275; Truthful Lens 173; Reese, Stamped With a National Character, 62.
(#6656) $ 9,500
99 WEAVING. - F. William CLARENBACH (compiler).
Album titled “Webereistudien,” with printed calligraphic titles, calligraphic manuscript sub-titles and
headings, manuscript text, original drawings and diagrams, and mounted samples.
[Werdau, Saxony: circa 1898]. 7 parts in one volume, folio (18 5/8 x 12 1/2 inches). 7 section titles
printed in black within decorative red borders, 234 pages all with printed red decorative borders,
including 196 pages with text and integral illustrations (most in red and black, mounted and
varnished) and samples (all mounted). Original half purple cloth over green cloth-covered boards,
by Aug. Thümmler of Werdau, the upper cover with elaborate blocked lettering at the centre “Höhere
Web-Schule / Werdau i[m]. S[axony]”, and in small gilt letters at the foot of the upper cover “F.W.
Clarenbach”. Provenance: F. William Clarenbach (binding).
A German-American master-weaver’s aide-memoire, with designs of dazzling complexity that presage the work
of Bridget Riley, Victor Vasarely and others that were to follow sixty years later.
The work is presented in seven sections, each preceded by an attractive printed title, but otherwise made up
of manuscript material and original artwork. The intention of the compiler of this work was to provide a mass
of technical information to students studying textile production, but, time, technical advances and modern
sensibilities have rendered technical aspects redundant (but historically interesting), whilst promoting the
beautifully executed drawings and diagrams into individual works of art.
The drawings of looms in the ‘Jacquard’ section have a dream-like quality that would have been appreciated
(and was emulated) by the Surrealists. The diagrammatic weaving pattern designs, at their simplest, have the
quality of fine folk art, whilst, at their most ornate they present a visual feast that is a match for the work of
the Op Artists of the second half of the 20th century.
The uniformly high level of the work in this album supports the theory that the compiler, F.William
Clarenbach, was an instructor rather than a student at the ‘Höhere Web-Schule’ [Weaving School] in
Werdau. Research shows that he subsequently emigrated to the United States and that his abilities were
rapidly recognized by his employers at various mills in Massachusetts: he was an assistant superintendent by
1907, when he was promoted to superintendent, and in 1908 he was promoted to a larger mill, where he was
put in charge of the Stevens Mill at North Andover, Mass (Henry A. Rayne American Textile Directory 1908).
The individual sections of the album cover various aspects of the manufacturing process and are each
preceded by a specially printed title. The details of the parts are as follows:
1. Webereistudien Darstellung des Lehrganges über Bindungslehre. Printed title (verso blank), 112 pages (9
blank, 103 pages with manuscript text, 3 coloured illustrations, 3 uncoloured diagrams, 1 uncoloured table,
418 original mounted coloured diagrammatic designs for weaving patterns [two dated ‘1898’], 1 mounted
cloth sample [also dated ‘1898’])
2. Webereistudien Darstellung des Lehrganges über Austerentwerken. Printed title (verso blank), 16 pages (6
pages blank, 10 pages with manuscript text and 21 mounted original coloured designs of cloth on paper, 1
mounted sample of cloth ).
3. Webereistudien Darstellung des Lehrganges über Jacquard. Printed title (verso blank), 24 pages (3 pages
blank, 21 pages with manuscript text and 5 original pen and ink drawings of a loom [4 full-page], 22 original
mounted coloured diagrammatic designs weaving patterns [1 folding]).
4. Webereistudien Darstellung des Lehrganges über Schützenwechsel. Printed title (verso blank), 28 pages (3
pages blank, 25 pages with manuscript text and 30 original pen and ink diagrams in red and black).
5. Webereistudien Darstellung des Lehrganges über Austerzerlegen. Printed title (verso blank), 26 pages (12
pages blank, 14 pages without text but mounted with 28 original mounted coloured diagrammatic designs of
weaving patterns, mounted below 28 mounted samples of the cloth produced using the patterns ).
6. Webereistudien Darstellung des Lehrganges über Austerberechnen. Printed title (verso blank), 22 pages (4
pages blank, 18 pages with manuscript text, and 1 pen and ink diagram, 1 table, and 6 mounted samples of
cloth).
7. Webereistudien Darstellung des Lehrganges über Wollmelangen. Printed title (verso blank), 6 pages (1 page
blank, 5 pages with 18 mounted samples of “raw materials” used to make 42 samples of felt).
(#25127) $ 6,500
5
BEETHOVEN, Ludwig van (1770-1827).
Wellingtons-Sieg oder die Schlacht ben Vittoria.
Vienna: S. A. Steiner und Comp., [1816]. Oblong small folio (9 1/2 x 13 1/2 inches). Engraved
throughout. Title [verso blank], 1p. introduction and engraved musical score arranged for piano
[2-39pp]. Period stiff marbled paper wrappers, paper label on the upper cover with manuscript title.
First Viennese edition of Beethoven’s Battle Symphony.
“Beethoven’s ‘Battle Symphony,’ more correctly entitled Wellington’s Victory of the Battle of Victoria, came
into being as the result of an idea by Maelzel that Beethoven should write a work for his latest invention, the
panharmonicon, a sort of mechanical orchestra. The timing coincided with Wellington’s defeat of Napoleon
in 1813 ... It is a programmatic piece for a large orchestra with a battery of military and Turkish percussion
instruments, including cannons and muskets. The first section opens with an English bugle call followed by
the patriotic tune Rule, Britannia, answered by a French bugle call and marching tune, known in Britain as
For he’s a jolly good fellow. Then comes a depiction of the battle. Part 2, called ‘Victory Symphony,’ begins
and ends with martial music but is otherwise based largely on the British national anthem, which is treated
fugally” (Cooper: The Beethoven Compendium, p. 220).
It was first published by Birchall in London in January of 1816, with the present first Viennese edition
following in February 1816.
Kinsky p. 255.
(#28191) $ 980
100
WIENER WERKSTÄTTE.
Die Wiener Werkstätte, 1903-1928: modernes Kunstgewerbe und
sein Weg.
Vienna: Krystall-Verlag, 1929. Square quarto (8 3/4 x 8 1/4
inches). Photographic illustrations throughout with pages
printed in full-color, black-and-white, silver and gold. Publisher’s
orange and black molded sculptural relief papier-maché boards,
designed by Vally Wieselthier and Gudrun Baudisch (minor
soiling and wear as usual).
A landmark in 20th century book design.
Despite the acute financial difficulties facing the Wiener Werkstätte, a
large jubilee celebration was undertaken to mark the 25th anniversary
of its founding. This souvenir publication for the event was intended to
illustrate the development of the Wiener Werkstätte and its products
since 1903. The work documents all facets of its production in the
decorative arts: silver, textiles, lighting, procelain, glass and all manner
of incidental objects d’art. Particular emphasis is given naturally to the
work of Josef Hoffmann (who is credited as the guiding genius behind
the book), Dagogert Peche, Koloman Moser, Vally Wieselthier and Kitty
Rix, among others. The hand-embossed papier-maché covers and layout
of the interior can be seen as a final example of the Gesamtkunstwerk
by the Wiener Werkstätte. “What is new about this album .. is that every
single page has been composed in accordance with specific artistic
conceptions, and that colours - black, red, gold and silver - have been
used in order to enliven these pages. As part of this, reproductions, text
and all the white and coloured surfaces have been treated as elements
of entirely equal visual value and have been harmoniously combines”
(Wiener Zeitung, 17 January, 1929).
(#28405) $ 3,750