Our members list new acquisitions and recently cataloged items almost every day of the year. Below, you'll find a few highlights from these recent additions...
Notes on Nursing: What it is, and what it is not (Association copy)
by NIGHTINGALE, FLORENCE
London: Harrison, Bookseller to the Queen, 1860. First edition. Early state. Original charcoal medium-fine bead-cloth, stamped in gilt and blind. Yellow advertisement endpapers. Spine and ends discreetly restored (often found thus, as noted by Skretkowicz) and hinges strengthened. Light wear at corners and a few negligible marks to cloth Very faint dampstain to front pastedown, some leaves from gathering B holding at bottom cord only (pages 5-12), occasional notations but overall clean internally. A pleasing copy of this landmark work on nursing, with an intimate association, from the estate of author and politician Richard Monkton Milnes, 1st Baron Houghton (1809-1885), Nightingale's favourite, persistent, but ultimately rejected suitor. Nightingale's landmark treatise on nursing, which introduced new and rigorous standards for sanitary and hygienic treatment of patients in hospitals. It is a work that altered how hospitals approached patient care, saving countless lives from infection. It also helped transform nursing from a volunteer role to a more respected and formalized career path for women. The owner of this copy, Richard Monkton Milnes, "was a family friend from Nightingale's childhood, and her most serious suitor. She turned him down finally after a long courtship, not without some regrets ... Milnes and Nightingale remained friends for life and she made a friend also of his wife" (McDonald). One of Nightingale's most vocal supporters, Milnes was prominent in the fund-raising to honour her work in the Crimean War and supported the establishment of the Nightingale Fund; he served on its Council until ill health forced him to quit, when he was succeeded by his son. Nightingale and Milnes would continue a lively correspondence, predominately on social and political themes. "Nightingale was godmother to one of his daughters [Florence Ellen], who indeed was named after her. The daughters were invited to visit and Nightingale sent them books" (McDonald.). A typed letter from Christie's is tipped-in at the rear of this copy, signed by Inken Handane of the Book Department, confirming it as from the library of a direct descendant of Milnes and sold in their 28 November 1997 sale (part of lot 140). The letter is further annotated in pencil to explicate the connection between Nightingale and Milnes, and also bears the small library label of the historian Hugh Small, author of Florence Nightingale: Avenging Angel (1998). Originally published six months before the opening of the Nightingale School at St Thomas's Hospital in London in June 1860, Notes on Nursing was not intended to be a textbook per se but as a book of hints for those nursing in the hospital ward and in the domestic sick room. Nightingale provides practical descriptions of the nurse's duties in supplying her patient's needs, and "indicated a new and more responsible role for nurses, one that required proper training and medical knowledge" (Hook & Norman, p. 260). Given the considerable number of different states of each inner and outer forme in every sheet, the idea of attempting to establish with certainty any specific 'issue' of Notes on Nursing beyond the first is utterly impractical" (pp. 29-30). This copy corresponds with Skretkowicz's group 11 of the 32 that he distinguishes (in either the a or b subcategory, with the combination of Binding 3, Endpapers 3, and the translation notice). While the earliest endpapers are blank, those subsequent bear printed advertisements, with at least eight distinct settings. The pale yellow endpapers of the present copy are in an early state: in the second setting of type, in the first state. Textually, it has the three main characteristics of group 11 as listed by Skretkowicz, and all of the typographical errors mentioned by Bishop & Goldie. Grolier, One Hundred Books Famous in Medicine, 71. Hook & Norman 1600. Osler 7737. Skretkowicz 24-46. PMM 343.
Offered by Whitmore Rare Books.
Paris: Martinet, 1821. Galerie des Grotesques [GONDELIER, Jean-Baptiste]. [Galerie des Grotesques]. [Paris]: [Chez] Martinet, [1821]. Oblong folio (16 x 10 1/2 inches; 406 x 267 mm.). Seven leaves, titled and numbered in manuscript, each with three hand colored etched plates making a total of twenty-one images. Contemporary quarter green calf over floral patterned black boards.
The plates - each one lettered and numbered in manuscript "Galerie des Grotesques" No. 1. Les Rivaux; Partie d'écarté; Les effets du lavement, et la tentation (The Rivals; Discarded party; The effects of enema, and temptation) No. 2. Le maitre de danse, et le Coëffeur; Les joeurs de tonneau; Le remède inévitable (The dance master, and the hairdresser; The barrel joists; The inevitable cure) No. 3. Le bon gout; Cérémonie nuptiale; Le Dentiste (The right taste; Bridal ceremony; The Dentist) No. 4. Les conscrits; La sauteuse; Le bon ménage (The Conscripts; The jumpers; The good housekeeping) No. 5. Lecture des Tourneaux; Le cocher di Fiacre en dèfaut; Le Charlatan (Reading the turns; The coachman of Fiacre in defect; The Charlatan) No. 7. La Rosière; Le Pédicure; Les suites d'une Ribotte (La Rosière; The Pedicure; The aftermath of a Ribotte) No. 6. Partie d'Anes; Le Plaidoyer; Le Boston (Part of Anes; The Plea; Le Boston) Excessively Rare. OCLC locates just one suite (with only six plates) in libraries and institutions worldwide at Kunstbiblio Staatliche Museen Zu Berlin (Germany). GONDELIER, Jean-Baptiste (fl. 1821-1827). Gondelier was an engraver and a papermaker. As early as 1820, he was editor of a singer dedicated to Béranger, Le Constitution. He wanted to do city work but he also printed satirical prints, constituting the Gallery of the Grotesques. In 1826-1827 he collaborated in the writing of several plays performed at the Vaudeville theatre. Perhaps it was for this reason that he abandoned his lithograph patent and then applied for a letter printer's patent obtained in 1828. These 'Grotesque' caricatures appear to be based on the Woodward three-row strip genre typified by Grotesque Borders and Pigmy Revels, published by Ackermann and Fores, respectively, in 1799 and 1800. Fores continued to issue the Pigmy Revels strips in a folding panorama format, as well as in a spooled boxwood drum, well into the 1820s. "The relationship between Martinet-published works and Woodward's caricatures is commented on in an essay by Alberto Milano entitled "Change of Use, Change of Public, Change of Meaning: Printed Images Traveling Through Europe," appearing in a book edited by Evanghelia Stead, Reading Books and Prints as Cultural Objects (Cham, Switzerland: Palgrave MacMillan, 2018) at pp. 150-51. I am attaching scanned images of the relevant pages as Scans 1, 2, and 3. As you will note, the author of the essay suggests that Martinet "transferred Woodward's caricatures in a series of larger prints entitled Les Passions," but I am skeptical. The only two examples of those prints I have found -- at the British Museum -- do not relate to any Woodward satire of which I am aware. (For ease of reference, I am attaching the British Museum write-ups as BM-1 and BM-2.)" (William Gordon - author of the William A. Gordon Library of British Caricature)
Offered by David Brass Rare Books.
Moon Rocket: An All-Action Pop-Up Picture Storybook
by Kubasta
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England: Brown Watson, 1986. Paper Covered Boards. As New. 4to. Very hard-to-find reprint of Kubasta's Tip + Top and the Moon Rocket, originally published in 1964. In terrific shape; doesn't appear to have ever been read. All six popups and associated animations work great. Almost no cover wear. Number 10 on Tillman's list of the 100 best popups.
Offered by Read'Em Again Books & Paper.
The Great Gatsby (Limited Editions Club)
by FITZGERALD, F. SCOTT
Lunenberg: Limited Editions Club, 1980. Hardcover. Orig. decorated gray pebble grained cloth stamped in black and silver. Fine in fine black slipcase spine lettered in silver. Fred Me. 224 pages. 22.5 x 17.5 cm. Illustrated with fourteen color gauches by Fred Meyer, designed by Frederick Stinehour, printed at the Stinehour Press. Limited edition, copy 1267 of 2000 signed by Fred Meyer. Printed in Bodoni, cast by the Bauer foundry in Germany. Laid-in the LEC Monthly letter. NEWMAN & WICHE 516. Bright, very fresh copy.
Offered by Roy Young, Bookseller.
by CHERNOFSKY, JACOB L., EDITED BY
(Clifton, New Jersey): AB Bookman Publications, 1994. Softcover. Near Fine. First edition. Quarto. 2,163-2,274pp. Stapled wrappers, near fine. This issue contains Thomas Frognall Dibdin and Bibliomania, Kepler As Author, Printer and Publisher.
Offered by Between the Covers Rare Books.
London: Darton, 1811. 32mo. 16pp., + 16 inserted plates. Each engraved image depicts the titular good boy engaged in less desirable activities, such as throwing stones, feeding scraps to the family pet, and drawing on the walls. Each is accompanied by a pithy couplet drawn from the soliloquy. The author includes an introductory note, in which he defends himself from the accusation that the verses give children naughty ideas that they would never have thought of themselves, and provides the suggestion that the reader insert his or her own name at the final line and face the potential ruin of the rhyme with bravery. Bound in tan wrappers with illustration to both covers. Expected but minor edgewear, faintest foxing, else near fine. A rare survival, with only two institutional copies listed in OCLC.
Offered by Bromer Booksellers.
LOSER TAKES ALL (inscribed copy)
by GREENE, GRAHAM
1955. London: William Heinemann Ltd, (1955). Original dark blue cloth lettered in gilt, with dust jacket. First Edition of this novella about a man who devises a scheme to win big at Monte Carlo -- but his obsession causes him to lose his girl (whom he planned to marry there) in the process; with an acquaintance's help he gains the girl back, but only by losing all the money he had won -- hence "Loser Takes All." The following year appeared the British film with the same title (screenplay also by Greene) -- starring Glynis Johns, Rossano Brazzi, and Robert Morley. This is a very good copy (wear on some edges of the boards, minor fading, foxing on the top edge). The dust jacket is just about fine (a couple of short closed tears); because the jacket is in better condition than the volume, one may assume that it was "married" to this book. This is a presentation copy signed by Greene, with the inked title page inscription "For Clive | Graham Greene"; at a corner of the front paste-down is the penciled signature "Clive Hirschhorn | Johannesburg, March 1985". For over 30 years, the South African Clive Hirschhorn was a major London theatre and film critic for the Sunday Express; he also wrote biographies of Hollywood stars like Gene Kelly and of the Hollywood studios Warner Brothers, Universal, and Columbia. He was also a major collector of modern first editions (his collection, including 28 Graham Greene titles, sold at Bloomsbury in October 2012). Additionally, the front free endpaper bears the undated ink signature of Anthony Woodward, a professor of English at the University of Wiltwatersrand in Johannesburg (Hirschhorn's alma mater); among Woodward's writings is "Graham Greene: The War Against Boredom" (Cape Town 1971, Cassis B7112). Quite a nice circle of associations.
Offered by Sumner & Stillman.
by HOPKINS, JOHN HENRY
Burlington (VT): Printed by Smith & Harrington, 1836. 4to. 275 x 225 mm., [10 ¾ x 9 inches]. vi. 46 pp. Lithographic title-page and 13 full-page lithographic plates. Original cloth, paper label on spine; cloth discolored and shows some remnants of water staining, spine and tips expertly repaired with tissue, spine label chipped; tide marks to preliminary leaves, frontispiece and title-page, plates 12 and 13 and rear end leaves. With fault a good copy. First edition. Illustrated with fourteen finely drawn and printed lithographs designed by the author and printed by the Pendleton's Lithographic Company, Boston. "John Pendleton, Lithographer. Born in New York State. While traveling in France, he became interested in lithography and studied the art under the best masters in Paris. On returning to America, he settled in Boston with his brother, a copperplate printer, and they established a lithographic establishment in 1825." John Henry Hopkins was an Irish immigrant, home schooled by his mother, who became a lawyer, musician, ordained minister, bishop and author of over thirty publications. He studied gothic architecture during his time in Pittsburg where he was charged with supervising the construction of Trinity Church. Dismayed with the unsightly designs of most churches in America he decided to compile his information as a guide to the elements of style and design characteristics of the gothic. He became of the most notable experts in the field and he published this work, one of the first of its kind in America, for the benefit of local ministers charged with the building of churches in the gothic style. Hitchcock American Architectural Books, 606. Fielding, Dictionary of American Painters, Sculptors and Engravers, p. 278. Peters, American on Stone, pp. 312-323. Allibone, Critical Dictionary of English Literature and British and American Authors I, p. 885.
Offered by De Simone Company.
by BURROUGHS, EDGAR RICE
Chicago: A. C. McClurg & Co., 1919. Octavo, pp. [1-8] 1-319 [320: blank], five inserted plates with illustrations by J. Allen St. John and twelve full-page St. John illustrations in the text, original orange cloth, front and spine panels stamped in black. First edition, first printing, first binding with publisher's imprint on spine panel set on three lines. A series of twelve stories, "The New Stories of Tarzan," all first published monthly in BLUE BOOK, September 1916-August 1917. The stories, containing some of Burroughs's best writing, were collected in JUNGLE TALES OF TARZAN. A total of 63,000 copies of the book were printed. There were multiple printings, probably four, all dated 1919. Bleiler, Science-Fiction: The Early Years 319. Bleiler (1978), p. 35. Reginald 02286. Heins JT-1. Private owner's bookplates affixed to front paste-down and free endpaper. Top and fore-edge of text block a bit tanned, a bright, nearly fine copy in bright, very good four-color pictorial dust jacket (reproducing painting by J. Allen St. John on front panel) with restoration at corners and spine ends. The jacket presents well overall.
Offered by L.W. Currey.
Institutionum [bound with] Infortianum [and] Digestum Novum, 1553-56
1551. A Collection of Texts from the Corpus Juris Civilis in Handsome Uniform Contemporary Paneled Pigskin Bindings Justinian I [483-565 CE], Emperor of the East. Accorso, Francisco (Accursius) [c.1182-c.1260], Glossator. Gaius [Active 130-180 CE]. Institutionum D. Iustiniani Sacratissimi Imperatoris Libri Quatuor: Ad Vetustissimorum Simul et Emendatissimorum Exemplarium Fidem Summa Diligentia Recogniti, Emendati. Cum Scholiis Accursii. Adiecimus Pluribus Locis Annotationes ex Doctissimorum Hominum Commentariis, Ex Quibus non Parum Lucis ac Dignitatis his Iuris Civilis Elementis Accedit. Accessit Corpus Legum, Antea non Impressum, Ac Caii Institutionum Libri Duo. Lyon: Apud Hugonem a Porta, 1553. Pp. [24], 290, [2] pp. Large woodcut image of Justinian surrounded by his court. Main text in parallel columns with linear gloss. [Bound with] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Volumen hoc Complectitur (Sic Enim Peculiari Vocabulo Vocant) Novellas Constitutiones Iustiniani Principis Post Repetitam Codicis Praelectionem Aeditas: Authentica Vulgo Appellant. Tres Item Posteriores Libros Codicis; Feudorum seu Beneficiorum Duos; Constitutiones Friderichi Secundi Imperatoris; Extravagantes duas Henrici Septimi Imperatoris; & Tractatum De Pace Constantiae. Omnia ad Vetustissimorum Simul & Emendatissimorum Exemplarium Fidem Recognita, Emendata. Accesserunt nunc Primum, & Nunquam Antehac Aediti, Iustiniani Novellarum Constitutionum Libri Duo, Cum Multis Annotationibus ex Doctissimorum Hominum Commentariis, Quae non Parum Lucis ac Dignitatis Huic Volumini Afferunt. Lyon: Apud Hugonem a Porta, 1553. [xvi], 276, 148, 99, [1] pp. Woodcut table of descents (in the form of a tree). Main text in parallel columns with linear gloss. [With] Justinian I, Emperor of the East. Accorso, Francisco (Accursius), Glossator. Infortiatum, Pandectarum Iuris Civilis Tomus Secundus: Quartae Partis Reliquum, Itemque Quintam Digestorum Partem, Ac Sextae Partis: Libros Continens, Ex Pandectis Florentinis Ita in Universum Recognitus ac Emendatus, Ut Nihil Praeterea, Quod ad Puram Eorum Librorum Lectionem Attinet, Desiderari Possit. Lyon: Apud Hugonem a Porta, 1556. [xxxvi], 923, [1] pp. Main text in parallel columns with linear gloss. [And] Justinian I, Emperor o.
Offered by Lawbook Exchange.
by Bram Stoker
Westminster: Archibald Constable, 1899. Seventh edition. hardcover. Very good.. A very good early (7th) edition, signed and dated by the author Bram Stoker on the front free endpaper. Housed in a custom-made collector's slipcase
Offered by Bookbid.
SOURCE Music of the Avant Garde
Davis, California: Composer/Performer Edition, 1974. 11 volumes bound in ten (issues 7 and 8 bound in one). Complete; all issued. Oblong folio. 10-3/4" x 14". Original stiff decorative wrappers in colour. Spiral bound. Unpaginated, but with approximately 100 pages to each volume. Lavishly illustrated with musical scores and striking photographs and graphics in both colour and black and white. With supplementary material bound in, some quite unusual, including such things as magnetic audiotape and synthetic fur, screenprintings on transparencies, etc. Each issue with approximately 10 articles written by the major figures in avant garde music of the time, including Dietrich Albrecht, Charles Amirkhanian, Eric Andersen, Robert Ashley, Larry Austin, David Behrman, Mario Bertoncini, Joseph Beuys, Anthony Branxton, Eugen Brikcius, Jacques Brodier, Earle Brown, Allan Bryant, Boudewijn Buckinx, Harold Budd, Jim Burns, John Cage, Cornelius Cardew, Giuseppe Chiari, Paul Chihara, Barney Childs, Christo, Jani Christou, Philip Corner, Lowell Cross, Alvin Curran, John Dinwiddie, Peter Donath, Manfred Eaton, Robert Erickson, Morton Feldman, Robert Filliou, Fluxus, Lukas Foss, David Freund, Ken Friedman, Kira Gale, Peter Garland, Gentle Fire, Tony Gnazzo, Victor Grauer, Joel Gutsche, Gyula Gulyas, Olaf Hanel, Sven Hansell, John Hassell, Dick Higgins, Lejaren Hiller, Stu Horn, Nelson Howe, Jerry Hunt, Toshi Ichiyanagi, Image Bank, Zdzislaw Jurkiewicz, Udo Kasemets, Per Kirkeby, Paul Klerr, Milan Knizak, Jaroslaw Kozlowski, Carson Jeffries, Bengt Emil Johnson, Will Johnson, Ben Johnston, Alan Kaprow, Ed Kobrin, Alcides Lanza, Douglas Leedy, Daniel Lentz, Anna Lockwood, Arrigo Lora-Totino, Alvin Lucier, Mary Lucier, Stanley Lunetta, Eva Lurati, Stuart Marshall, Richard Martin, Harvey Matusow, Tom Marioni, Ken Maue, Dora Maurer, Maria Michalowska, John Mizelle, Robet Moran, Gordon Mumma, Keith Muscutt, Naked Software, Max Neuhaus, Nam June Paik, the New Percussion Quartet, Jocy de Oliveira, Pauline Oliveros, Harry Partch, Jon Phetteplace, the Portsmouth Sinfonia, David Reck, Steve Reich, Jock Reynolds, John Paul Rhinehart, Mark Riener, Roger Reynolds, David Rosenboom, Frederic Rzewski, Zorka Saglova, J. Murray Schafer, the Scratch Orchestra, Gerald Shapiro, Nicholas Slonimsky, Barry Spinello, Stanley Marsh 3, Andrew Stiller, Karlheinz Stockhausen, Allen Strange, Alvin Sumsion, Endre Tot, David tudor, Bertram Turetzky, Jiri Valoch, Wolf Vostell, Don Walker, Arthur Woodbury, and Christian Wolff. With 6 accompanying 10-inch LPS: - Robert Ashley The Wolfman; Dave Behrman Wave Train - Larry Austin Accidents; Allan Bryant Pitch Out - Alvin Lucier I Am Sitting in a Room; Arthur Woodbury Velox and Mark Riener Phlegethon - Larry Austin Caritas; Stanley Lunetta moosack machine - Lowell Cross Video II; Arrigo Lora-Totino english phonemes - Alvin Curran Magic Carpet; Anna Lockwood Tiger Balm Slightly worn. In very good condition overall. A complete run of this exciting independent periodical devoted entirely to the music of the 20th century avant garde, an outgrowth of the musical experimentalism in the late 1950s and early 60s at the University of California, Davis and Mills College in Oakland, California. In an effort to expand the traditional definition of music and formal concert performance, Source documents many of the most important "new music" trends of the period including improvised and indeterminate music, minimalism, Fluxus, performance art, graphic scores, electronic music, performance art, concrete and sound poetry, intermedia, British Systems music, video/laser light shows, new electronic, video, and communications technologies, etc. A landmark publication of great importance to the study of avant garde music of the mid-20th century, rarely found complete.
Offered by J. & J. Lubrano Music Antiquarians.
by C.S. Lewis
Cambridge: np, 1963. First edition. Fine. C.S. LEWIS GIVES PRACTICAL (AND SOMEWHAT HUMOROUS) ADVICE TO A STUDENT SELECTING A THESIS TOPIC, BEFORE REVEALINGLY SUGGESTING ONE OF HIS FAVORITE WORKS - DOROTHY SAYERS'S THE MAN BORN TO BE KING - AS A SUBJECT WORTHY OF STUDY. Written to a student, John T. Tukey of Rhode Island and dated July 6, 1963, the letter reads in full: As from Magdalene College, Cambridge 6 July 63 I always dissuade students from making a living author the subject of their thesis. When they do, however hard they work, the chosen author and his intimates will know a lot more about the subject that they can find out. Dead authors know a lot about their own work which we don't but fortunately they can't tell it. It has happened before now that those who were examining a thesis on my work have written to ask me whether some interpretation offered by the candidate is correct. This puts me in a v. awkward dilemma. If I refuse to answer they know that my answer would have been no. The candidate's work is thus unfairly subjected to a check which would not have been applied if he had written on a dead author. I suggest you choose Dorothy Sayers' cycle of plays on the life and death of Christ (title, The Man Born to be King). Whether it wd. come under the faculty of Theology or that of Literature depends, I suppose, on how you treat it. Yours sincerely [signed] C.S. Lewis Background - C.S. Lewis, Dorothy Sayers, and The Man Born to Be King: C.S. Lewis and the writer Dorothy Sayers quickly became good friends after the latter wrote him a "fan" letter praising his recently-published Screwtape Letters. It was not a particular surprise they developed a friendship for both had similar views on literature, scholarship, and theology (especially sharing the desire to explain and explore Christianity for their literary audiences). Sayers's The Man Born to Be King, a somewhat controversial re-telling of the life of Jesus, originally appeared as a radio drama airing from 1941-1942 before being published in book form in 1943. Lewis was immediately impressed with the work, writing to Sayers on May 30, 1943 (in one of his earliest letters to her), "I've finished The Man Born to be King and think it a complete success... I shed real tears (hot ones) in places: since Mauriac's Vie de Jesus nothing has moved me so much... I expect to read it times without number again...." Over the years, Lewis's admiration for the work only grew. He professed to reading it "in every Holy Week since it first appeared" and noted in 1949 that he thought "Man Born to be King has edified us in this country more than anything for a long time" (Lewis, Collected Letters, II, 989). Sayers died in 1957 - six years before this letter - and it is fitting that of all the books he could have recommended to the student Tukey, he selected The Man Born to Be King, a book he greatly admired and a book that had remained dear to his heart. Cambridge: 6 July 1963. One sheet, 5 1/4 x 7 inches, written in ink on both sides, signed "C.S. Lewis". With original mailing envelope with postmark. Generally fine condition with expected center mailing fold and a few light spots. Housed in custom presentation folder.
Offered by Manhattan Rare Book Company.
Union with Freemen--No Union with Slaveholders. Anti-Slavery Meetings!
Salem, OH: Homestead Print, n.d., ca. 1850. First Edition. Unused handbill announcing anti-slavery meetings held by the Western Anti-Slavery Society, a splinter group from the Ohio State Anti-Slavery Society. This branch was led by the abolitionist Adam Brooke, a member of the utopian community the Marlboro Association; and, to a lesser extent, Parker Pillsbury, who attended and occasionally spoke at the annual anniversary meetings. The Society, Garrisonian in its rejection of the Church, stated that "We are not merely warring against the extension of new slave territory, nor against any fugitive slave law constitutional or unconstitutional; nor for the writ of habeas corpus, or the right of trial by jury for recaptured slaves, but we are waging eternal war against the doctrine that man can ever under any possibility of circumstances, hold property in man" (cf. William M. Wiecek, "The Sources of Anti-Slavery Constitutionalism in America, 1760-1848" (1977), p. 252). The group reached its peak in 1847 when William Lloyd Garrison and Frederick Douglass both spoke at the annual anniversary meeting, which drew several thousand attendees. However, the group always struggled with funding and was defunct by 1861. The present broadside reminds the reader that "Three million of your fellow beings are in chains--the Church and Government sustains the horrible system of oppression. Turn Out! And learn your duty to yourselves, the slave and God. Emancipation or Dissolution, and a Free Northern Republic!" 4 located in OCLC, none in Ohio. Original unused letterpress broadside flyer (40x27.5cm.); a few closed tears expertly mended, stock uniformly toned, else a Very Good, quite fresh copy.
Offered by Lorne Bair Rare Books.
by Toni Morrison
New York: Holt Rinehart, 1970. First. hardcover. near fine/near fine. 8vo, cloth backed boards, d.w. (slightly browned). New York: Holt, Rinehart, (1970). First Edition. A near fine copy of her uncommon first book, inscribed, "To.... from Toni 11.13.1971 Thank you for all the poetry, sensibility and common sense. First issue dust wrapper, with $5.95 & 10/70 on front flap.
Offered by Argosy Book Store.
by BALDWIN, JAMES
New York: Dial Press, 1964. First edition. Cloth. Very Good/very good. Clothbound 8vo in dustwrapper. 121 pp play by the author of The Fire Next Time and Go Tell It On The Mountain. A handsome very good copy in clipped, but otherwise very good dustwrapper.
Offered by Derringer Books.
Le Fait Accompli, nos. 1 (April 1968) through 135 (March 1975) (all published)
by Marcel Marien (Editor)
Brussels: Les Lèvres Nues, 1968-1975. Quartos (30 × 23 cm). Issued in uncut loose sheets; approximately 8 to 32 pp. per issue (unnumbered). Illustrations throughout, mostly black-and-white, with some color reproductions tipped in. Most issues printed on laid paper, some on coated stock. Very good or better. A fine complete run of this important post-war Belgian surrealist journal, composed of 135 issues in 98 fascicules, with several double and triple numbers. Issued monthly and edited by Marcel Mariën, the journal features contributions by major Belgian surrealists, including Goemans, Nougé, Scutenaire, Colinet, Dumont, Magritte, Joostens, Lecomte, Tom Gutt, Wergifosse, Bossut, Souris and Bourgoignie, among others. Most issues focus on a unique work by a single author or artist, and are illustrated throughout with reproductions of works by Man Ray, Magritte, Picabia, Mariën, Bossut, Ernst, Graverol, Jamagne, Ubac and Van de Wouver, and others. Especially noteworthy are Magritte's contributions, which are often illustrated by him. Issues 81-95 constitute one volume containing "Lettres surrealistes (1924-1940)" edited and annotated by Mariën. Issue no. 95 contains "Filchings for Annoyed Birds" by Paul Colinet (in English). Most issues feature a distinctive title. Nos. 15, 30, 40, 55, 65, 80, 100, 107, 110, 120, 130, 134 issued as a "nouvelle serie" interspersed throughout the run, under the title "Les Lèvres Nues" and numbered 1-12. The last issue (no. 135) contains a cumulative index to the entire series. All issues uniformly hand-numbered "vingt-deux" (22) of unspecified print runs, which ranged from 50 to 250 copies. Given the low print run of the earliest issues, presumably only fifty complete sets exist.
Offered by Bernett Penka.
by Virginia Woolf
New York: Harcourt, Brace and Company, 1927. First American Edition. Hardcover. Near Fine/Near Fine. First American edition, first printing. Bound in publisher's original green cloth stamped in blue. Near Fine with bumping to head of spine, faint darkening to spine cloth and very light spine lean. In a Near Fine dust jacket illustrated by Vanessa Bell, with spine toning and minor edge wear. A fantastic copy of Woolf's modernist tour de force, which was ranked by Modern Library as one of the 100 best English-language novels of the 20th century.
Offered by Burnside Rare Books.
by Walt Disney Studios
An Original Animation Cel from Disneyís First Fully Animated Feature Film "Snow White and the Seven Dwarfs"
N.p., Hollywood: Walt Disney Studios, 1937. Original animation production cel from Disney's first fully animated feature film, depicting the dwarf Dopey with a chipmunk pulling at his robe. Gouache on celluloid applied to a Courvoisier wood veneer background. Likely original mounts with "©WDE" blindstamped on front lower right corner of matte. Three authenticating labels on rear of the cels. One reading "Original Work from Snow White and the Seven Dwarves" and the other reading "This Material Inflammable Handle With Care Frame Under Glass Copyright 1937 Walt Disney Enterprises" and the final one reading "This is an original painting on celluloid from the Walt Disney Studios, actually used in the filming of 'Snow White and the Seven Dwarves.' Only a very limited number have been selected to be placed on the market. Walt Disney." Image size: 9 1/2 x 8 inches; 240 x 205 mm. Matted, framed and glazed. Matte size: 17 x 14 inches; 430 x 355 mm. With some bowing to the celluloid and some minor chipping to the figure. A very good specimen of Disney original animation.
Offered by Heritage Book Shop.
by PARUTA, FILIPPO (1552-1629)
4to (200x145 mm). Collation: [π]4 †4 A-T4 V2 X4 Y2 Z4 [χ]2. Half-title, engraved frontispiece, [12], 176, [4: errata corrige] pp. and [4] folding plates engraved by Francesco Nigro and Francesco La Barbera after Gerardo Astorino and Vincenzo La Barbera. Richly gilt modern morocco binding, original sprinkled edges. Minor restorations to the outer margin of the first leaves without loss, small worm track in the gutter of a few leaves not affecting the text, tears repaired along the folding of one plate, all in all a very good copy.
EXTREMELY RARE ORIGINAL EDITION of this festival account attributed to Filippo Paruta, but edited by his son Simplicio, who also signs the dedication to the Senate of Palermo, and published posthumously under the name of his other son Onofrio.
In the note to the reader Onofrio provides a detailed list of the works (orations, occasional writings, inscriptions for ephemeral architectures, etc.) of his father Filippo, who was the secretary to the Palermo Senate and the major responsible for the iconographic program realized on the occasion of the 1625 festivity.
At the beginning of the 1620s the viceroy Emanuele Filiberto of Savoy rebuild the Accademia dei Riaccesi, which gathered in the Royal Palace, and entrusted the scholar and mathematician Carlo Maria Ventimiglia with the direction of the academy. Around his figure gravitated many of the artists and scholars who designed the program and the solemn procession of the relics of St. Rosalia, held in June of 1625 as a sign of gratitude for deliverance from plague. Among them were the painters and architects Gerardo Astorino and Vincenzo La Barbera, the engraver Francesco Negro, the scholar Martino La Farina, who conceived the allegorical arch of the Genoese nation, and, above all, Filippo Paruta, who was linked to Ventimiglia also by a common passion for numismatics and antiquities. Paruta was involved in all literary activities related to celebratory events since the end of the sixteenth century. In 1625 he inspired the triumphal arch that the Senate erected in Piazza Villena and was responsible for the account of the festivities, which however was actually published only after his death in 1651.
The constitution of such a large and complex team to be entrusted with the creation of the apparatuses testifies of the importance of that event that officially marked the beginning of the cult of St. Rosalia. The solemnity of 1625 had no immediate follow-up and only in 1649 the feast of St. Rosalia was formalized with all those peculiarities that would characterize the following decades. In 1625, in addition to the impressive processions and solemn ceremonies to which all local communities, religious and civil, took part, two magnificent horse rides were organized; one, in particular, took place at the conclusion of the festivities, after the solemn mass in the cathedral. Then followed fireworks, organized by the German nation, tournaments and jousts. At the very end the nobility walked in gala dresses along Via Colonna (cf. M. Sofia di Fede, La festa barocca a Palermo: città, architetture, istituzioni, in: "Espacio, Tiempo y Forma", series VII, t. 18-19, 2005-2006, pp. 49-75; see also M. Vitella, Il primo Festino, in: M.C. Di Natale, "S. Rosaliae patriae servatrici", Palermo, 1994; and V. Petrarca, Genesi di una tradizione urbana. Il culto di S. Rosalia a Palermo in età spagnola, Palermo, 1986, p. 82).
Catalogo unico, IT\ICCU\PALE\004559; S.P. Michel, Répertoire des ouvrages imprimés en langue italienne au XVIIe siècle conservés dans les bibliothèques de France, Paris, 1976, VI, p. 80; Biblioteca centrale della Regione siciliana "Alberto Bombace", Sanctae Rosaliae Dicata, Bibliografia cronologica su Santa Rosalia, Settembre 2004, pp. 12-13; G.M. Mira, Bibliografia siciliana, Palermo, 1881, II, p. 186; A. Mongitore, Bibliotheca sicula sive de scriptoribus siculis, Palermo, 1707-1714, I, p. 293 and II, p. 174; M. Cornelles, V. Manuel et al., eds., La fiesta barroca. Los reinos de Nápoles y Sicilia (1535-1713), Palermo, 2014, ad indicem.
Offered by Govi Rare Books.
The Last of the Windjammers. 2 volumes.
by LUBBOCK. BASIL
Glasgow:: Brown, Son & Ferguson, (1948)., 1948. Third impression. Two volumes. 25 cm. xiv, 518; xv, 448 pp. Frontispieces, illustrations, plans (some folding); spine gilt rubbed, corner bumped. Blind and gilt-stamped blue cloth, map endpapers. Very good copies.
Offered by Jeff Weber Rare Books.
Illustrations of the Book of Job.
by BLAKE, WILLIAM.
London: [plates dated] 1825 [but published 1826]. Folio, 320 x 254 mm, engraved title and 21 plates. Proofs on India paper mounted on handmade paper, some leaves (2, 5, 6, 11, 14, 17, 18) watermarked J. Whatman Turkey Mill 1825. Gilt-ruled green morocco over thick boards, fleurons at the outer corners, double-rule inner frame enclosing a bloom roll, gilt-ruled spine, sewing bands with gilt red morocco onlays, thick dark blue endleaves, all edges gilt, by Riviere: a brilliant set with no foxing at all, interleaved with blanks at the time of binding with no offsetting. Lower cover of the binding at some time tied up with string with ensuing indentation. § First edition, limited to 150 proof sets (65 sets were also printed on French paper, and 100 sets on drawing paper with the word ‘proof’ removed). This is one of finest sets of the proofs I have ever seen, and far outshines the other two original printings and the later re-issue. The India paper set is the best printing of these famous plates which comprise Blake’s major single achievement as a printmaker after the illuminated books. Illustrations of the Book of Job was Blake’s last completed prophetic book: the text, a series of biblical quotations, is above and below each image. “It was produced while Blake was still working on Jerusalem, his most obscure book; yet the illustrations are Blake’s most lucid; and they are the supreme example of his reading the Bible in its spiritual sense” (S. Foster Damon, A Blake Dictionary, p. 217). “The modest size of the central panels does not prevent them from ranking with the supreme masterpieces of graphic art” (Ray, Illustrator and the Book in England #8). Note: as always, the first plate after the title-page is misdated 1828.
Offered by John Windle, Bookseller.
"Congress shall make no law establishing religion, or prohibiting the free exercise thereof, nor shall the rights of conscience be infringed."
"The freedom of speech, and of the press, and the right of the people peaceably to assemble, and consult for their common good, and to apply to the government for a redress of grievances, shall not be infringed."
"A well regulated militia, composed of the body of the people, being the best security of a free state, the right of the people to keep and bear arms shall not be infringed...."
After months of work, on August 24, 1789, the House of Representatives approved seventeen Constitutional amendments, including the first to use the exact phrase, "freedom of speech." This newspaper includes the full text of the resolution sent by the House to the Senate for approval. The Senate began deliberating the next day, approving some articles and rejecting or altering others. [BILL OF RIGHTS].
Newspaper. Gazette of the United States, August 29, 1789. New York: John Fenno. Includes a complete printing of the first House of Representatives proposal for amending the Constitution on page 2. 4 pp., 10 x 15¾ in.
Historical Background
The lack of a Bill of Rights, a central feature of most state Constitutions, was a principal criticism of the recently-drafted federal Constitution. During the Constitutional Convention some delegates opposed its inclusion, thinking it unnecessary or afraid that the act of enumerating specific rights would imply that those not listed did not exist. On the other side, Anti-Federalists wary of new federal powers were among the most ardent proponents of a Bill of Rights. Ultimately, to ensure ratification of the Constitution, the Convention delegates promised that Congress would address guarantees of specific liberties in their first session.
During the ratification process, five states that approved the Constitution passed along lists of proposed amendments, while two states, Rhode Island and North Carolina, that had refused to ratify also suggested amendments. In all, nearly one hundred discrete amendments were offered.
James Madison, the "father of the Constitution," was at first lukewarm to the idea of a Bill of Rights. However, during his first Congressional campaign against James Monroe, he promised to fight for such a measure. Among Madison's fears were threats by Anti-Federalists, even after the Constitution had been ratified, of calling another convention, which would have likely been much less harmonious. On May 4, 1789, Madison told the House of Representatives that he planned to present a slate of amendments in three weeks. When May 25 arrived, the Congressmen were locked in a debate over import duties. Madison demurred until June 8, when the House again rebuked his efforts, citing more pressing business. Rising once more, Madison justified his timing, apologized to his colleagues, and proceeded to introduce his proposed amendments.
On July 21, 1789, the House formed the Committee of Eleven (a member from each state) to consider the proposed Amendments. The Committee reported on July 28, taking the nine broad areas Madison had suggested for amendment and drafting 17 individual amendments for House approval. These passed the House on August 24, and the Senate began their debate the next day. The Senate initially reduced the House's proposed 17 amendments to 12, and then passed its own version on September 9. The bill then went back to the House for reconciliation. The House reconciled the two bills on September 24, and the Senate issued its final approval the next day.
The twelve articles of amendment were sent to the states for ratification on October 2, 1789. Two of the twelve proposed amendments, the first regarding apportionment of representation in the House and the second, congressional salaries, were not ratified by the states. However, article #2, which stated that Congressional pay increases (or decreases) would not take effect until an election had ensued, eventually became the 27th Amendment on May 8, 1992, 203 years after it was first proposed. Articles 3 through 12 became the 1st through 10th Amendments of the federal Constitution upon Virginia's ratification on December 15, 1791.
Complete Transcript
CONGRESS of the UNITED STATES.
IN THE HOUSE OF REPRESENTATIVES, MONDAY, AUGUST 24, 1789
RESOLVED, by the Senate and House of Representatives of the United States of America in Congress assembled, two thirds of both houses deeming it necessary, that the following articles be proposed to the legislatures of the several states, as amendments to the constitution of the United States, all, or any of which articles, when ratified by three fourths of the said legislatures, to be valid, to all intents and purposes, as part of the said constitution.
ARTICLES in addition to, and amendment of the Constitution of the United States of America, proposed by Congress, and ratified by the legislatures of the several States, pursuant to the 5th article of the original constitution.
ARTICLE 1. After the first enumeration required by the first article of the constitution, there shall be one representative for every thirty thousand, until the number shall amount to one hundred, after which the proportion shall be so regulated by Congress, that there shall be not less than one hundred representatives, nor less than one representative for every forty thousand persons, until the number of representatives shall amount to two hundred, after which the proportion shall be so regulated by Congress that there shall not be less than two hundred representatives, nor more than one representative for every fifty thousand persons.
[First Amendment proposed: not ratified.]
ART. 2. No law varying the compensation to the members of Congress shall take effect, until an election of representatives shall have intervened.
[Second Amendment proposed: modified version ratified May 7, 1992 as the Twenty-Seventh Amendment.]
ART. 3. Congress shall make no law establishing religion, or prohibiting the free exercise thereof, nor shall the rights of conscience be infringed.
[Modified version ratified as part of the First Amendment]
ART. 4. The freedom of speech, and of the press, and the right of the people peaceably to assemble, and consult for their common good, and to apply to the government for a redress of grievances, shall not be infringed.
[Modified version ratified as part of the First Amendment]
ART. 5. A well regulated militia, composed of the body of the people, being the best security of a free state, the right of the people to keep and bear arms shall not be infringed, but no one religiously scrupulous of bearing arms, shall be compelled to render military service in person.
[Modified version ratified as the Second Amendment]
ART. 6. No soldier shall in time of peace be quartered in any house without the consent of the owner, nor in time of war, but in a manner to be prescribed by law.
[Modified version ratified as the Third Amendment]
ART. 7. The right of the people to be secure in their persons, houses, papers, and effects against unreasonable searches and seizures, shall not be violated; and no warrants shall issue, but upon probable cause supported by oath or affirmation, and particularly describing the place to be searched, and the persons or things to be seized.
[Modified version ratified as the Fourth Amendment]
ART. 8. No person shall be subject, except in a case of impeachment, to more than one trial or one punishment for the same offence, nor shall be compelled in any criminal case, to be a witness against himself, nor be deprived of life or liberty or property, without due process of law, nor shall private property be taken for public use without just compensation.
[Modified version ratified as part of the Fifth Amendment]
ART. 9. In all criminal prosecutions, the accused shall enjoy the right to a speedy and public trial, to be informed of the nature and the cause of the accusation, to be confronted by witnesses in his favor, and to have the assistance of counsel for his defence.
[Modified version ratified as part of the Sixth Amendment]
ART. 10. The trial of all crimes (except in cases of impeachment, and in cases arising in the land or naval forces, or in the militia when in actual service in time of war or public danger) shall be an impartial jury of the vicinage, with the requisite of unanimity for conviction; the right of challenging and other accustomed requisites; and no person shall be held to answer for a capital or otherwise infamous crime, unless on a presentment or indictment by a grand jury; but if a crime by committed in a place in the possession of an enemy, or in which an insurection may prevail, the indictment and trial may by law be authorised in some other place within the same state.
[Modified version ratified as parts of the Fifth and Sixth Amendment]
ART. 11. No appeal to the Supreme Court of the United States shall be allowed, where the value in controversy shall not amount to one thousand dollars; nor shall any fact triable by a jury according to the course of the common law, be otherwise re-examinable, than according to the rules of common law.
[Modified version ratified as part of the Seventh Amendment]
ART. 12. In suits of common law, the right of trial by jury shall be preserved.
[Modified version ratified as part of the Seventh Amendment]
ART. 13. Excessive bail shall not be required, nor excessive fines imposed, nor cruel and unusual punishments inflicted.
[Ratified as the Eighth Amendment]
ART. 14. No state shall infringe the right of trial by jury in criminal cases, nor the rights of conscience, nor the freedom of speech, or of the press.
[Modified version passed by Congress on June 13, 1866; ratified July 9, 1868, as part of the Fourteenth Amendment]
ART. 15. The enumeration in the Constitution of certain rights, shall not be construed to deny or disparage others retained by the people.
[Ratified as the Ninth Amendment]
ART. 16. The powers delegated by the constitution to the government of the United States shall be exercised as therein appropriated, so that the legislative shall never exercise the powers vested in the executive or judicial; nor the executive the powers vested in the legislative or judicial; nor the judicial the powers vested in the legislative or executive.
[Dropped in subsequent drafts]
ART. 17. The powers not delegated by the constitution nor prohibited by it to the states, are reserved to the states respectively.
[Modified version ratified as the Tenth Amendment]
Ordered, that the Clerk of this house do carry to the Senate a fair and engrossed copy of the said proposed articles of amendment, and desire their concurrence. Extract from the journals,
JOHN BECKLEY, Clerk.
Additional Content
This newspaper also prints "The Tablet" (p1/c1-2); an essay on processing sugar from maple trees, by "A Sugar Boiler" (p1/c2-3); proceedings of Congress on the location of the national capital, the safeguarding of official records and the great seal, and the establishment of the treasury department (p2/c2-p3/c3); a humorous poem on the scramble for the national capital (p3/c3); a continuation of "The Right Constitution of a Commonwealth Examined" (p4/c1-2); a continuation of "An Essay on Free Trade and Finances" (p4/c2-3); An Act to Provide for the Government of the Territory North-West of the River Ohio and An Act providing for Expences which may attend Negotiations or Treaties with the Indian Tribes, and the appointment of Commissioners for managing the same, both signed in type by George Washington and John Adams (p4/c3); and another installment of "The National Monitor" (p4/c3).
Gazette of the United States (1789-1793) was a semiweekly Federalist newspaper first published in New York City by John Fenno (1751-1798). It is often considered the most significant political newspaper of the late eighteenth century. In 1790, it followed the government to its temporary capital in Philadelphia. Early Acts of Congress and Presidential Pronouncements were often first printed in this newspaper, and it circulated to major cities where other Federalist newspapers copied freely from it. Among its pseudonymous contributors were Alexander Hamilton and John Adams. It continued under a variety of titles as a daily newspaper in Philadelphia from 1793 to 1818. After John Fenno's death in the 1798 yellow fever epidemic, his son John Ward Fenno continued the newspaper until 1800, when he sold it.
"The Tablet" appeared in the Gazette in every issue from the first, April 15, 1789, into August 1790, and then periodically to No. 155 in the April 9, 1791 issue. The first number announced its purpose "to touch upon such subjects as are calculated to afford amusement or instruction, without disturbing society with calumny and petulance." Anonymous contributors included publisher John Fenno and lexicographer Noah Webster (1758-1843), who shared a common political nationalism.
"The Right Constitution of a Commonwealth Examined" was written by Vice President John Adams (1735-1826). The first three-quarters of it appeared serially in the Gazette
between May 23 and November 4, 1789. Adams particularly criticized the republican theories of Marchamont Nedham (1620-1678), a pamphleteer during the English Civil War.
"An Essay on Free Trade and Finances" appeared serially in the Gazette
between June 3 and October 21, 1789. The author was Pelatiah Webster (1726-1795), an ordained Congregationalist minister and Philadelphia merchant. The essay was first published in Philadelphia on March 24, 1783. T. Bradford's bookstore in Philadelphia sold it in pamphlet form as early as April 1783. It was the sixth of seven essays Webster wrote on Free Trade and Finance between 1779 and 1785.
"The National Monitor" appeared in thirty-four numbers from April 25, 1789, and January 20, 1790. (Inventory #: 25430)
Offered by Seth Kaller, Inc.
by Arnold Lobel
First printing of this universal expression of male bonding and friendship as seen through all the seasons. INSCRIBED on front free endpaper "For Eddie from Arnold Lobel" with a sketch of Frog below (upper torso only, as usual). Lobel's four Frog & Toad books are highly collectible and with his premature death (at age 54) inscribed copies of his major titles seldom come onto the marketplace.
Offered by Batteldore.
Poster for a 1966 Appearance in France
Used; Like New/Used; Like New. Poster for a March 28, 1966 appearance by the Civil Rights leader together with singer Harry Belafonte at the Palais des Sports in Paris. Organized by the Comité de Soutien Franco-Américain pour l'Intégration Raciale, the event featured a speech by King and music from Harry Belafonte and French singer Hugues Aufray, sponsored by Suze Liqueur. Two-color poster, with folding creases, one tear to the right edge, minimal wear and toning; overall very good. Sight size 14.5 x 22.5 inches (37 x 57 cm), archivally matted and framed to an overall size of 20.5 x 26.5 inches.In March 1966, King and Belafonte went to Europe for fundraising appearances on behalf of the Southern Christian Leadership Conference, starting with the Palais des Sports in Paris on the 28th, and closing in Sweden on the 31st. This poster for the French appearance is emblazoned with the logo of a sponsor, Suze Liqueur, and also cites the French-American Committee for Racial Integration as the organizing body. The opening act for the evening was the popular French folksinger Hugues Aufray doing a set of Bob Dylan covers, followed by a set by Belafonte. Dr. King closed out the evening with a speech on civil rights, touching on the war in Vietnam and American support for South African apartheid. The tour raised more than $100,000, but drew the wrath of the American ambassador to France for airing American problems overseas. See Ross, Hollywood Left and Right, p. 220. We have traced no other copies of this poster at auction or elsewhere.
Offered by Schubertiade Music & Arts.
Where Do We Go From Here? Chaos or Comminity?
By Martin Luther King, Jr.
New York: Harper & Row, Publishers, 1967. First edition of King's "last grand expression of his vision" (Cornel West). Octavo, original half cloth, illustrated with eight pages of black-and-white photogravures. Presentation copy, inscribed by the author on the front free endpaper, "To Mr. Otto E. Geppert Martin Luther King Jr." Near fine in a near fine dust jacket, small date to the endpaper. Jacket design by Ronald Clyne. Jacket photograph of Martin Luther King, Jr. by Bob Fitch. Where Do We Go from Here is Dr. King's analysis of the state of American race relations and the movement after a decade of U.S. civil rights struggles. ''With Selma and the Voting Rights Act one phase of development in the civil rights revolution came to an end,'' he observed (King, 3). King believed that the next phase in the movement would bring its own challenges, as African Americans continued to make demands for better jobs, higher wages, decent housing, an education equal to that of whites, and a guarantee that the rights won in the Civil Rights Act of 1964 and the Voting Rights Act of 1965 would be enforced by the federal government.
Offered by Raptis Rare Books.
The Heart is a Muscle (First Edition, 1 of 15 copies with print signed by Hal Hartley)
by Hal Hartley
Stockholm: Libraryman, 2010. First Edition. First Edition. One of 15 unnumbered copies with a chromogenic print SIGNED by director Hal Hartley affixed to the last leaf. A collection of selected film still photographs from the noted independent filmmaker's oeuvre, beginning with his 1988 debut "The Unbelievable Truth" up to the 2011 film "Meanwhile", with stills from "Amateur" (1994), "Flirt" (1995), and "Henry Fool" (1997), and others. 81 color plates. Fine in glossy perfect bound wrappers, with no dust jacket as issued.
Offered by Royal Books.
by P.G. Wodehouse
London: Herbert Jenkins Limited, 1938. First English Edition. [Jasen 58A in a later dust jacket]. Preceded by the first American Doubleday, Doran edition, published in Oct. 8, 1937. This edition was published on Feb. 11 1938. 12mo., red cloth, stamped in black, 312 pages, plus eight-page catalog; in later "2/6 net" price on spine [whereas the earliest dust jacket is priced at "7/6 net." on the spine]. Very Good (little soil covers; contents clean & tight but for a tiny spot fore-edge; neat ink name front endpaper); some edgewear (few small chips & tears- some with internal mends with archival tape) d/j.
Offered by Antic Hay Books.
by FOWLER, H. ALFRED
Kansas City: H. Alfred Fowler, 1912. First edition. First edition. Original decorative card paper wrappers. The rare "Eragny Press" number (Volume I, Number 3) which features notes on bookplates by Esther and Lucien Pissarro, by J. M. Andreini, including three superb color printed specimens of book plates by the Pissarros, printed in colors on china paper and tipped-in. A scarce and very attractive rendering. There are also two other features in the number. Near fine.
Offered by Nudelman Rare Books.
by WILDE, OSCAR
London & New York: A.R. Keller & Co, 1907. leather_bound. Orig. brown calf, backstrips lettered in gilt. Teg. 15 Vols. Near fine. 21 x 14 cm. The Oxford Uniform Edition. Limited edition, copy 103 of 250. Title pages printed in red and black. Host of illustrations with lettered tissue guards by assorted artists, 48 in total, including Aubrey Beardsley who illustrates "The Sphinx." Bright, fresh set, wide text margins, covers embossed with floral and ribbon motif bearing a central ornament on front cover -- a Nightingale from "Nightingale and the Rose." A few backstrip extremities very slightly rubbed.
Offered by Roy Young, Bookseller.
Superb Abraham Lincoln Signed Photo Authenticated, Slabbed, and Graded Mint 9!
"A. Lincoln" as President, Washington, DC, August 9, 1863. Albumen photograph, 2.5" x 3.5" including card backing, lower corners rounded, top edge trimmed, Gardener's backstamp on verso. Hamilton and Ostendorf, Lincoln in Photographs: An Album of Every Known Pose, O-71B. Authenticated, slabbed, and graded Mint 9 by PSA. Sold for over $65,000 at Christie's in 2004.
On Thursday, August 6, in accordance with a proclamation issued by Lincoln, a day of thanksgiving and prayer was observed throughout the North in the wake of recent important Union military successes at Gettysburg and Vicksburg. In this well-known portrait by Gardner, Lincoln is seated at an ornate circular table, his legs crossed, holding a newspaper in his left hand, his reading glasses in his right. His expression - especially in the lines about his mouth - is resolute and determined. According to John Hay, who accompanied the President to Gardner's studio, Lincoln "was in very good spirits" that day. The images of Lincoln by Gardner that day are the first photographs taken in Gardner's new studio. Lincoln had promised Gardner to be the first to sit for a portrait, and decided on a Sunday visit, in order to avoid curiosity seekers and onlookers in the streets of the capital.
This item comes with a Certificate from John Reznikoff, a premier authenticator for both major 3rd party authentication services, PSA and JSA (James Spence Authentications), as well as numerous auction houses.
Offered by University Archives.
Bournemouth and London: W. Mate & Sons, 1913. Softcover. Very good. Travel brochure/booklet. 8.25 x 4.5 inches, 23 pp, illustrated with b/w photos, double-page route map at center. Light cover wear; very good. Includes sections on Belgian seaside resorts; towns to visit from the coast (Bruges, Ypres, Furnes, Ghent); Brussels and Antwerp; Liege, Namur, and the Ardennes; Tournai, Mons, Charleroi. At the end are various tours and itineraries, an invitation to seek further information from your local Thos. Cook office, and a page describing features of the upcoming Universal and International Exhibition in Ghent.
Offered by Walkabout Books.
Anne with an E (Anne of Green Gables)
by KRAUSE, DOROTHY SIMPSON. L. M. MONTGOMERY
Ft. Lauderdale, FL, 2019. Artist's book, unique, an altered book, signed by the artist on the rear pastedown, "DKrause." Page size: 5 x 8 inches; 20pp. Bound by the artist: in the original boards of a used copy of the 100th anniversary edition of this children's classic. The artist removed the covers, spine, and eight illustrations and inserted a strip of ochre leather which became the new spine. Details from the original black and white illustrations were then watercolored and placed on botanically-printed pages. The whole was then bound using original boards of anniversary edition and a slipcase made using the original spine of the book. The artist's title, ANNE with an e, is written in pencil by the artist below the cover portrait of "Anne." taken from a postcard. This altered book was occasioned by the artist's visit to Charlottetown, PEI, the setting for Montgomery's story.
Offered by Priscilla Juvelis.
Harper's Weekly: September 28, 1861 Hand Colored Cartoons (1 page only)
Harper's Weekly, 1861. Paperback. Paperback. Includes 4 hand colored ads about the Union and Sucession, Chipping to edges. Size: 16 x 11 inches. Frameable. PRINTS/041620.
Offered by Kelmscott Bookshop.
The Antikamnia calendar 1899 [-1900]
by ANTIKAMNIA CHEMICAL COMPANY; LOUIS CRUSIUS
St. Louis: Antikamnia Chemical Co, 1898. Antikamnia Chemical Company. (1) The Antikamnia calendar 1899. 6 sheets (plus duplicate of November-December sheet). Chromolithograph illustrations after watercolors by Louis Crusius (1862-98). St. Louis: Antikamnia Chemical Company, 1898. (2) The Antikamnia calendar 1900. 6 sheets. Chromolithograph illustrations after watercolors by Louis Crusius (1862-98). St. Louis: Antikamnia Chemical Company, 1899. Together 2 items. 254 x 177 mm. Edges a bit frayed, marginal dampstains, but good to very good. First Editions of the 1899 and 1900 promotional calendars issued by the Antikamnia Chemical Company, featuring the comically macabre "skeleton sketches" of Louis Crusius, a physician and amateur artist. The St. Louis-based company produced these calendars in limited editions between 1897 and 1901, sending them to "members of the Medical Profession" in the United States and Europe to advertise the patent medicine "Antikamnia," a pain reliever based on the coal tar derivative acetanilide. Although the Antikamnia Chemical Company aggressively promoted its product as a certain remedy for everything from headaches to tuberculosis, the main ingredient, acetanilide, was known to be toxic in high doses or to sensitive individuals. After passage of the Pure Food and Drug Act of 1906, which mandated that products containing dangerous drugs be clearly labeled as such, the makers of Antikamnia attempted to skirt this requirement by replacing acetanilide with its less toxic derivative, acetphenitidin. In 1910 U.S. marshals seized a shipment of Antikamnia for violating the Pure Food and Drug Act, and in 1914 the Supreme Court ruled against the company for failing to state that its product contained an acetanilide derivative. The Antikamnia Chemical Company went out of business a few years later, although not before making the fortune of one of its founders, Frank A. Ruf, who died a millionaire in 1923. B. Lovejoy, "The Deadly Pain Medicine Sold by Skeletons." Mental Floss, 7 May 2016 (web).
Offered by Jeremy Norman & Co.
Americans All! : Victory Liberty Roll : Du Bois, Smith ... Et Al. (Poster)
by Howard Chandler Christy
Boston: Forbes, 1919. poster. Near fine condition. World War I bond poster conservation mounted on paper and linen. Columbia hangs a wreath above a list of ethnic European surnames united in generous sacrifice. Printed in full color. Poster measures 40 x 27 inches
Offered by James & Mary Laurie, Booksellers.
by Ruth Berolzheimer
The Culinary Arts Institute / Consolidated Book Publishers, Inc, 1943. Reissue. Hard Cover. Near Fine/Very Good. Includes scarce publisher's box, with original publisher's list price of $3.75 (which is equivalent to over $50 today). Near fine book in very good jacket. Box rubbed with a few light spots, jacket edges lightly rubbed with 1 inch closed tear on front corner. 1943 Hard Cover. viii, 816, A-H, 1-64 pp. 8vo. Delightful American cookbook with a wartime theme, printed during World War II. Extensive index follows text. Appended to original text are the following sections: Wartime Cookery; How to Feed a Family of Five on $15.00 Per Week (includes a menu with a full month of recipes). Many color photos and memorable recipes. Thumb-indexed. Frontispiece portrait of Douglas MacArthur.
Offered by Yesterday's Muse.
1992 Postcard from Paul Bowles to Gregory Corso (With Accompanying Envelope from Tangier)
1992. Original wraps. Near Fine. A wonderful piece of post-War literary ephemera, a dense, neatly-written postcard from Paul Bowles (at his Tangier residence) to Gregory Corso (in New York). Clean and Near Fine, dated November 3rd, 1992. "dear Gregory: It was good to hear from you after such a very long time. Forgive the card, sent in place of a letter. I'm still in bed, where I've been since the middle of June, and the pain doesn't go away. So I'm grateful to you for the pills you entrusted to Paola Iglioni. Pain is something I can do happily without. There's nothing much to write about. Tangier, like the rest of the world, has grown larger, uglier, more crowded and expensive. Everyone tells me it's preferable to New York, so I stay right on here. Very likely I'll draw my last breath here. But cremation is forbidden in this country. A problem. Anyway, again thanks. best, Paul B." The card is crisp and very sharp, as is the original light-pink, hand-addressed envelope which houses it and which shows 2 clear postmarks from Tangier. And the postcard's image is of the Japanese Tea Garden in Golden Gate Park, San Francisco.
Offered by Appledore Books.
Book 171: A Kinetic Book Collage
by Keith A. Smith
24 hand-cut pages with intricate geometric designs. 8vo (200 x 160 mm.), hand-sewn to a pleat by the artist, saw-tooth spine, marbled endpapers. [Rochester]: Keith A. Smith, October 1994. One of Smith's most splendid creations, one of only three copies produced. Here, for the first time, the artist employed a new method of spine sewing. In personal correspondence Smith writes that he was inspired by Eikoh Hosoe's famous Kamaitachi in the conception of this book. From the printed explanatory text laid-in: "The geometric forms were drawn with the program Aldus Freehand™ on a Power Macintosh 7100/66. The drawings were proofed onto typing paper using a Laserwriter II NT. These were cut and bound as a prototype as a means of a sketch of the book. The designs of several pages were then altered and proofed. The end result was printed onto various laid and etching papers. The sections are pamphlet sewn to a pleat, which is decorated by cutting and folding. The spine sewing is devised by Keith Smith, and this is the first use of this new sewing." A superb example of Smith's ingenuity with the book form. Smith gave the other copies to his partner and a friend. His books are hardly ever available on the market. ❧ K.A. Smith, 200 Books, p. 281-"Book 171 is hand cut and hand bound. The title means that no single page is the collage, but it is a layer of pages, ever-changing as pages are turned."
Offered by Jonathan A. Hill, Bookseller.
Jonas Salk typed signed letter with envelope
Pittsburgh, Pennsylvania: [ University of Pittsburgh ], 1955. First Edition. Near Fine. First Edition. Single 8 1/2 x 11 inch sheet. A TLS (typed letter signed) from Jonas Salk dated August 25, 1955 on University of Pittsburgh School of Medicine letterhead thanking a Mr. Arthur Wilson for his good wishes. 'It was very kind of you to express your good wishes; we appreciate having them.' SIGNED boldly in ink 'Jonas E. Salk'. Creasing as expected for a mailed letter. Includes the matching mailing envelope with Virus Research Laboratory return address.
Dr. Jonas E. Salk is best known for his discovery of a safe and effective polio vaccine. His development of the vaccine was completed during a very intense period of several years (even though other scientists had been pursuing different research paths since the late 1930s). The new vaccine was officially announced on April 12, 1955. A competing 'live-virus' vaccine by Dr. Sabin was eventually discontinued in favor of Salks 'dead-virus' vaccine because of the greater efficacy of Salk's vaccine.
Offered by Kuenzig Books.
Dorchester, MA: Walter Baker & Co., Ltd, 1913. Oblong 8vo, pp. 39, [1], followed by 6 high-quality chromolithograph plates of Walter Baker products; 5 other full-page illustrations; fine in original maroon cloth, gilt-lettered on upper cover. The educational exhibit consists of what presumably is a salesman's wooden lacquered case (approx. 9½" x 5½" x 3½"), with a hinged lid on top, and a brass plaque and pull; mounted inside the lid are 4 Baker products, and inside the box itself are four apothecary viles, each still containing Baker products! Uncommon salesman's sample case and companion handbook which were released to promote the Walter Baker "health-giving breakfast cocoa and chocolate." The text explains the transformation of the cocoa seeds from the raw material, describes the early uses of cocoa and chocolate, a description and analysis of the cocoa seeds, the cocoa tree and the gathering of the crop. The four vials represent the various stages of cocoa production, and the cocoa tin mounted 1nside the lid preserves the trademarked chocolate server logo, La Belle Chocolatiere, adopted by the company in 1883 after a painting by the Swiss artists Jean-Etienne Liotard. Founded in 1780 the Walter Baker Company grew throughout the 19th century and into the 20th becoming one of the largest in the United States. Purchased by the Forbes syndicate in 1896, the brand was eventually absorbed in 1979 by Kraft Foods.
Offered by Rulon-Miller Books.
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