Donald Heald Rare Books A Selection of Fine Books and Manuscripts

Donald Heald Rare Books A Selection of Fine Books and Manuscripts

Donald Heald Rare Books 124 East 74 Street New York, New York 10021 T: 212 · 744 · 3505 F: 212 · 628 · 7847 [email protected] 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 [BARBA, Alvaro Alonso (1569-1662)].

Grundlicher Unterricht Von Den Metallen.

Ephrata, PA: J. Georg Zeisiger, 1763. 2 parts in one, 8vo (7 1/4 x 4 5/8 inches). [4], 5-198, [4], 14pp. Full-page woodcut on p. 187 (Browning as usual). Modern calf, incorporating portions of the original covers, spine in six compartments with raised bands, red morocco lettering piece in the second compartment.

The first book on mining and geology published in North America and a rare Ephrata imprint.

Barba originally published this work in Madrid in 1640 based on his personal observations while serving as a Catholic priest in the mining district of Potosi, Bolivia. Numerous editions followed, including the present first American edition published on the famed Ephrata press. The book, the earliest on mining, ores and minerals to be published on a colonial American press, gives a description of the revolutionary practices being implemented in the South American mines. Barba describes the generation of metals, methods of extracting silver by mercury, the process discovered in 1607 for extracting gold, silver, and copper by boiling with a salt solution and mercury in a copper vessel, and the refining and separation of these metals. There is also a chapter on petroleum products in Peru and elsewhere. The plate shows mining tools and a brick oven. The present American edition would seem to be translated from a 1740 London edition. “Very rare imprint” (Sabin).

Evans 9333; NAIP W018481; Hildeburn 1873; Seidensticker, p.60; Doll & Funke 399; Arndt 267; Rink 769; Sabin 67375. (#27694) $ 7,500 2 BERLEPSCH-VALENDAS, Hans Eduard von (1849-1921).

Decorative Anregungen.

Leipzig: Verlag von Meissner & Buch, [1899]. Folio (18 3/4 x 12 3/4 inches). Contents loose in portfolio, as issued. IX pp. text. 33 colour plates, each mounted on card. (Some chips and voids to card mounts, the images unaffected). Publisher’s purple cloth portfolio, upper cover pictorially stamped in blue, yellow and green, rebacked with blue cloth, flaps repaired.

Scarce work on designs based on plant forms for art nouveau bookbindings.

Swiss-born Art Nouveau artist Berlepsch-Valenda trained as a painter under Gottfried Semper in Frankfurt and at the Munich Art Academy. He worked as an architect, interior architect and designer of commercial art in Munich’s Jugendstil and was strongly influenced by the English garden city movement. His Art Nouveau and Garden City movement influences are quite apparent in this very scarce work illustrating his designs for book bindings based on plant forms. (#26184) $ 1,600 3 BROWN, Henry Collins.

Book of Old New York ... The rare Old Prints are from the Private Collections of Mr. Robert Goelet, Mr. Percy R. Pyne 2d, Mr. J. Pierpont Morgan.

New York: Privately printed for the subscribers, 1913. 4to (12 3/8 x 9 1/2 inches). 103 plates (5 in colour). Uncut. Publisher’s full dark blue morocco, upper cover stamped with the seal of New York in gilt and colors and titled in gilt, spine with raised bands in six compartments, lettered in the second and fourth, the others with a repeat decoration in gilt. Provenance: William F. Gable (presentation inscription by Brown on the half-title and with a letter by Brown to Gable laid in).

The deluxe limited edition in full morocco: in pristine condition.

(#26412) $ 800 4 BURTON, William E. (1804-1860).

Bibliotheca Dramatica. Catalogue of the Theatrical and Miscellaneous Library of the late William E. Burton ... to be sold at auction by J. Sabin and Co.

New York: 1860. Large 8vo (11 1/2 x 6 5/8 inches). Engraved portrait frontispiece by Jackmann after a daguerreotype by Brady. Priced throughout in a period neat hand. Publisher’s wrappers bound in. Extra-illustrated, with newspaper clippings concerning Burton and the sale, as well as an Autograph Letter Signed by Burton, dated 25 May 1851, to binders Pawson and Nicholson, sending them paper to interleave a bound volume of old plays. Period half black morocco over marbled paper covered boards, spine with raised bands in six compartments, lettered in the second, marbled endpapers.

Extra-illustrated, large paper edition of the catalogue of the Burton collection: the most noted collection of rare theatre books collected in America in the mid-19th century.

The collection was auctioned off by Joseph Sabin & Co. in New York beginning on Oct. 8, 1860. The introductory notice indicates: “It contains a most surprising mass of rare old English Plays; Works on the Drama, History of the Stage, Theatres, Theatrical Characters and Biography, Pageants, Royal Progresses, and Processions, Mimes, Pantomimes, Masquerades, Mummeries, Mysteries...Old English Poetry, will be found not only voluminous, but abounding in rare and choice copies, including many English translations of the classics of very early dates; while the Dramatic collection is replete with the first editions of most of the Plays of importance. Shakespeariana is especially rich, not only in rare books, but in some presque unique copies of books printed for presentation only.” (#26769) $ 450

5 CHIPPENDALE, Thomas (1718-1779).

The Gentleman and Cabinet-Maker’s Director. Being a large collection of the most elegant and useful designs of household furniture in the Gothic, Chinese and Modern-taste ... The Second Edition.

London: Printed by J. Haberkorn for the Author, 1755. Folio 17 3/4 x 10 7/8 inches). Letterpress title in red and black, 4pp. list of subscribers. Engraved dedication to Earl of Northumberland, 161 engraved plates by Darly and Miller after Chippendale. Expertly bound to style in full period calf, covers bordered with a gilt roll tool, spine with raised bands in seven compartments, tolled in gilt on either side of each band, black morocco lettering piece in the second compartment, period marbled endpapers. Provenance: I. James, Halton (signature on title).

Chippendale’s groundbreaking furniture pattern book, the first and most important published book of furniture designs in 18th century England.

Chippendale intended for his Director to function as a trade catalogue, principally depicting four of Chippendale’s most famous styles: English and French rococo, Chinoiserie, and Gothic. “His special claim for artistic fame is as a brilliantly original, innovative, and influential designer who also made masterpieces of furniture. His designs were plagiarized from at least the early Victorian period by the publisher John Weale, and more or less free adaptations from The Director have been a staple product of commercial furniture makers since the mid-nineteenth century” (ODNB).

The first edition of Chippendale’s Director was published in 1754, with the present second edition issued a year following. Chippendale’s Director was extensively used by furniture makers in the 18th and 19th centuries, making copies with the plates in good condition exceptional. (#27158) $ 8,750 6 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 cloth- backed 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 7 CONDER, Josiah (1852-1920).

Landscape Gardening in Japan ... [With:] Supplement to Landscape Gardening in Japan ... with Collotypes by K. Ogawa.

Tokyo: Printed by the Hakubunsha ... Published and sold by Kelly and Walsh, 1893. 2 volumes, small folio. Half titles. xi, [1], 161 pp. With 37 full-page plates, and 55 figures illustrating the text. [Supplement:] [8] pp. 40 collotype plates executed by Ogawa Kazuma, each accompanied by a leaf of descriptive text. Publisher’s uniform green cloth, upper covers elaborately blocked in gilt, lower covers in blind, patterned endpapers (repairs to joints).

First edition of Conder’s definitive work on landscape gardening in Japan, with the important photographically- illustrated Supplement.

“The present work is an exposition of the rules and theories of the Art of Landscape Gardening in Japan, from ancient to modern times. To those desirous of reproducing elsewhere a model garden after the correct Japanese fashion, these copiously illustrated volumes should afford some aid ... Robbed of its local garb and mannerism the Japanese method reveals aesthetic principles applicable to gardens of any country, teaching how to convert into a poem a composition which, with all its variety of detail, otherwise lacks unity and intent” (Preface).

Conder, known as the father of Japanese modern architecture, traces the development of the Japanese garden from its earliest history, and discusses the many defining elements of Japanese gardens: pagodas, lanterns, individual stones, bamboo fences and gates, bridges, rock groupings, ornamental water, tea gardens, etc. The Supplement volume is comprised of exquisite collotype photographs by Ogawa Kazuma of views of notable Japanese gardens, including the famous Kinkakuji, Ginkakuji, and Imperial gardens, as well as several privately owned and teahouse gardens. (#26198) $ 1,800 8 COROT, Jean Baptiste (1796-1875) , Edouard MANET (1832-1883), Jean-François MILLET (1814-1875) and others.

Sonnets et Eaux-Fortes.

Paris: Alphonse Lemerre, éditeur, 1869. Quarto (14 x 10 inches). Decorative title in red and black, half-title. 42 etched plates by 42 artists including Corot, Manet, Millet, Seymour Haden, Johann Jongkind, Charles- François Daubigny, Maxime Lalanne, Félix Bracquemond, Gustave Doré and others. (Occasional light spotting). Contemporary mid brown half morocco over marbled paper-covered boards, the spine in seven compartments with raised bands, lettered in the second and the fourth, the upper and lower cover from the original Japanese vellum wrappers bound in. Provenance: Francis Magnard (1837-1894, presentation inscription from the publisher “A Monsieur Francis Magnard / A.L.”); Gustave Francotte (1852- 1925, Belgian politician, bookplate).

Limited edition of 386 examples, this one of 350 copies on laid paper: a fine presentation copy of a “very significant book ... perhaps the first clear example of book illustration treated as an important artistic medium by a group of major 19th century French artists” (‘The Artist and the Book’).

The publisher “Lemerre’s most considerable achievement is this folio in which artists combined with poets to make an outstanding book” (Ray). Philippe Burty, a collector and writer on art persuaded 42 leading painters to make 42 etchings to accompany a series of 42 sonnets by 42 authors, including Anatole France, Théophile Gautier, Paul Verlaine and others: the whole combined in an “ample and harmonious format” (Ray.) “For the most part what one sees is a cross-section of the art [of etching] in 1869, much as if the Société des Aquafortistes (1862-1867) had extended its activities for another two years ... Intact examples ... have become rare, so frequently have they been ransacked for individual plates” (Ray pp. 360-362).

This copy, which has particularly beautiful impressions of the plates, was presented by the publisher to Francis Magnard. In the history of French journalism, Magnard is now remembered as the editor in chief of Le Figaro, but, at the time of the publication of the present work, he was also writing for the art journal L’Illustration and Lemerre was probably attempting to solicit a revue from Magnard. The Artist and the Book 1860-1960 64; Cartaret Le trésor du bibliophile, livres illustres modernes 1875 à 1945 IV, p.364; Cartaret Le trésor du bibliophile romantique et moderne, 1875-1875 III, 564; Rauch 5; Ray The Art of the French Illlustrated Book 1700- 1914 268; Strachan The Artist and the Book in France p.35; Vicaire VII, 579-581 (#20862) $ 7,500 9 D’ALLEMAGNE, Henry-Réné (1863-1950).

Les Cartes a Jouer du XIVe au XXe siècle.

Paris: Librairie Hachette & Cie, 1906. 2 volumes, large quarto (12 5/8 x 10 inches). Titles in red and black, half titles. 180 plates (122 coloured, five mounted), numerous uncoloured illustrations (many full-page). . Expertly bound to style in red half morocco over the original boards, titled in gilt on spine, original hand-coloured illustrated cream thick-paper wrappers folded and bound in at the front of each volume, top edge gilt (neat repair to foot of spine of vol. I). Provenance: Monsieur Bois (“exemplaire imprimé pour Monsieur Bois” on verso of half title in vol.I).

A spectacular demonstration of the art of book production, and a valuable source of information on the history of the playing card.

This exhaustive treatise covers the origins and evolution of the playing card from the earliest known examples in the Middle Ages, describing their evolution and the changing techniques employed in their manufacture, and offering notes on those involved in their trade. Also covered are the social aspects which surrounded playing cards and games of chance and skill that developed, and towards the end of volume II is a valuable “Bibliographie des ouvrages sur les cartes à jouer”. The period covered in this beautiful and erudite work is from the fourteenth to the beginning of the twentieth centuries. The title to the first volume notes that this work contains images of 3200 cards, with 956 in colour, and in addition there are hundreds of uncoloured illustrations, most reproducing earlier images. The printed note on the verso of the half-title of vol.I “exemplaire imprimé pour Monsieur Bois” indicates that this issue is from a limited edition of some description - unfortunately there is no other indication of how many copies were printed. (#22748) $ 2,500 10 D’OYLY, Sir Charles (1781-1845).

No: 2 Indian Sports.

[Patna]: Behar Lithographic Press, [1829]. Oblong 4to (11 x 16 3/8 inches). Lithographed throughout. Title and 12 lithographed plates, each a mounted India proof. Publisher’s blue paper wrappers, original paper label on the upper wrapper. Housed in a modern blue morocco backed box.

Very rare separately issued second part of D’Oyly’s work on hunting in India, lithographed on his Patna Press.

Born in India, Sir Charles D’Oyly was educated in England, before returning to India in the service of the East India Company in 1798. By 1808 he was Collector of Dacca, and in 1818 succeeded to baronet. After serving in a series of posts throughout India, culminating in his appointment as Senior Member of the Board of Customs, Salt and Opium, and of the Marine Board in 1833, he returned to England in 1838, and retired in 1839. He is now best known for his work as an amateur artist and publisher of lithographs in India. D’Oyly became a noted student of George Chinnery, who worked in India between 1802 and 1825. “Chinnery’s love of drawing rural India and its people and animals comes through strongly in D’Oyly’s work ... [D’Oyly’s] work at its best is fresh and charming, and his topographical work has an engaging vividness” (Losty).

Lithography came to India in the 1820s and D’Oyly was an early adopter. “In 1824 D’Oyly was the moving spirit in setting up a society of dilettanti called the Behar School of Athens ... for the promotion of the Arts & Sciences, and ‘for the circulation of fun and merriment of all descriptions’” (Losty). D’Oyly had ordered a lithographic press from England in 1823, though transporting it to Patna proved difficult, with the first such attempt resulting in the destruction of the press in a squall on the Ganges. A second press was ordered, and was established at Patna in 1828 (though there is evidence that D’Oyly had access to lithographic stones at an earlier date) and named The Behar Amateur Lithographic Press.

Among the earliest “published” works on the Patna Press was a series of prints titled Indian Sports. The first number includes plates bearing dates between June and August 1828; the present second series are all dated September 1829. The present second part of D’Oyly’s views of big game hunting in India is considerably more scarce than the first, with no copy in Abbey or the British Art Center, Yale. Losty suggests that a third number was started, but not completed, based on the presence of similar plates dated 1830 in an album of assorted lithographs in the India Office Library.

The plates in this rare second part comprise: 1) Rhinoceros Hunting 2) Tiger Hunting 3) Tiger Shooting 4) Leopard Hunting 5) Hog Hunting 6) Hog Hunting [#2] 7) Bear Hunting 8) Deer Hunting 9) Deer Shooting 10) Jungle Fowl Shooting 11) Quail Shooting 12) Duck Shooting

“Although [D’Oyly’s published works] appear to be regular books in the sense that various copies of them were printed, it is obvious that none of the products of the Behar Lithographic Press was ever published in any commercial sense” (Losty). As a result, all are rare and of those extant, most bear direct association with D’Oyly and his circle. Abbey, Travel 447 (for Number 1, mentioning the existence of the present second part from a description by Schwerdt); Schwedt, I:149; Archer, India Observed, pp. 70-72; Godrej and Rohatgi, Scenic Splendours, pp. 58-60; Jeremiah P. Losty, “Sir Charles D’Oyly’s Lithographic Press and his Indian Assistants” in Rohatgi and Godrej, India: A Pageant of Prints, pp. 135-160. (#27594) $ 4,800 11 ENGLISH, 19th century.

A mahogany book safe .

Modelled as a book (8 5/8 x 5 1/8 x 1 5/8 inches), the covers of mahogany, with pine corners and central lozenge-shaped onlays to both covers, the mahogany spine divided into five compartments with bands of pine and a dark wood, the edges of pine, with two concealed drawers, the first sliding out from the top with a metal spring-bar mechanism and a peg to secure the second smaller drawer which slides out from the spine, the body of both drawers of oak. (#22531) $ 750

12 ETHIOPIC MANUSCRIPT.

Manuscript in Ge-ez script on vellum.

Late 19th century or early 20th century. Quarto in 10s and 12s. 192 vellum leaves: comprised of 2 blank leaves, 3 leaves with later drawings on one side only, 1 leaf with later drawing on recto and 9 lines of red and black text on verso, 180 leaves of text in red and black (20 lines per page, 18 pages with polychrome headpieces), 2 leaves with later text in black only, 4 blank leaves. Red goatskin over wooden boards, elaborately panelled in blind, the panels composed from fillets and decorative rolls with occasional roundels, all surrounding a central panel tooled in blind with a Christian cross made up from fillets, decorative rolls and various small tools, the flat spine divided into three compartments with fillets in blind, the compartments similarly decorated with crossed fillets and roundels, red morocco doublures, elaborately tooled in blind, with small central approximately rectangular panel of dark blue velvet, within a red morocco inner slipcase with integral flaps, the exterior elaborately tooled in blind with tools that were also employed on the binding, and attached by straps to an outer carrying case of red morocco, this case with some stitched decoration but also tooled in blind with tools that were employed on the binding. Provenance: Unidentified ink-stamp on final page of regular text.

A beautiful and venerated object, and a reminder of an age before printing. Unlike most books, the signs of wear on this bound manuscript are signs of care rather than neglect. It is usually spurious to talk of the patina of a book, but the tears, scuffs and careful amateur repairs to the exterior carrying case, the darkened area at one end of the inner slipcase and small worm smooth patch of board that is visible on the upper cover of the binding, these are all signs of a work that is esteemed, like the shining brass toe of a statue of a revered saint. The main body of the text appears to be in a single hand, in red and black ink, with occasional abstract headpieces in three or four colours. (#24065) $ 2,750

13 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 14 FRANKLIN, Benjamin (1706-1790).

Observations on Smoky Chimneys, their causes and cure; with considerations on fuel and stoves. Illustrated with proper figures.

London: I. and J. Taylor, 1793. 8vo (8 x 5 1/4 inches). 2 engraved folding plates. Disbound. Housed in a red chemise and red morocco-backed slipcase.

Third London edition of Franklin’s celebrated work on smoky chimneys.

American building suffered from the defect of its virtues. New homes were made so tightly, the joints and doors so true, that an insufficient amount of air was available to move the smoke up the chimney. The work is a wonderful illustration of Franklin’s ability to blend scientific principles with practical observations and remedies. The epistolary work was originally published in the Transactions of the American Philosophical Society (vol 2, 1786, pp. 1--36) and first appeared in book form in Philadelphia the same year. Three editions were published in England between 1787 and 1793. The present edition contains an additional letter to Benjamin Franklin from Thomas Ruston, Philadelphia, dated January 12, 1786.

Ford 377. (#26539) $ 3,000 15 GONCOURT, Edmond-Louis-Antoine Huot de (1822-1896).

Les Frères Zemganno.

Paris: G. Charpentier, 1879. 12mo signed in sixes (7 x 4 1/2 inches). Half-title. Contemporary dark green morocco by David, covers with triple fillet border, spine in six compartments with raised bands, lettered in the second and third compartments, the others with repeat decoration in gilt centering on a stylised pomegranate tool, elaborately tooled turn-ins, marbled endpapers, gilt edges. Provenance: Léon Rattier (author’s presentation inscription, armorial bookplate); Louis Stanton Auchincloss (1917-2010, bookplate).

A fine inscribed copy of the limited issue of the first edition of Goncourt’s novel, in an elegant contemporary Parisian binding.

This is number 5 of 100 copies of the first edition printed on papier de Hollande. The inscription, on the half-title, reads “à M. Leon Rattier / Comme un gage des sympathies / amicales de l’auteur. / Edmond de Goncourt”: the recipient Léon Rattier, as well as being a bibliophile and collector of note, was also married to de Goncourt’s cousin Fédora. The subsequent owner, author Louis Auchincloss, is best known for his chronicles of life amongst the patrician class of America’s east coast. In contrast: the present work superficially concerns the lives of the Zemganno brothers, acrobats in France during the latter part of the 19th century. De Goncourt is said to have based his fictional brothers in part on the real-life Hanlon-Lees troupe of acrobats, but actually used the story of his fictional brothers, Nello and Gianni, to explore his own relationship with his brother Jules who had died in 1870. Edmond saw that the level of intellectual support they offered each other in their professional and personal lives was analagous to physical interdependence of the fictional acrobat brothers.

Vicaire, III, 1060 (#25389) $ 950 16 HEPPLEWHITE, George (1727-1786); and Alice HEPPLEWHITE.

The Cabinet-Maker and Upholsterer’s Guide; or, Repository of Designs for Every Article of Household Furniture, in the newest and most approved taste.

London: I. and J. Taylor, 1789. Folio (13 7/8 x 9 1/8 inches). 127 engraved plates after designs by George Hepplewhite (one double-page, numbered 1-125, 9 and 78 bis). 4pp. catalogue of books on architecture for sale at I. and J. Taylor’s Architectural Library. Contemporary tree calf, covers bordered with a gilt double fillet, expertly rebacked to style, spine with raised bands in six compartments, black morocco lettering piece in the second.

Second edition of Hepplewhite’s famed pattern book of furniture design.

“In 1788, Hepplewhite’s widow published the Cabinet-maker and Upholsterer’s Guide. Its aim was ‘to follow the latest and most prevailing fashion’ and to adhere ‘to such articles only as are of general use.’ The intended audience included both the cabinetmaker or upholsterer and the client (the ‘mechanic’ and ‘gentleman’ as Alice Hepplewhite put it). There followed a slightly revised edition in 1789 [i.e. the present edition] ... Hepplewhite’s Guide was the first major pattern book of furniture to be published since the third edition of Chippendale’s Gentleman and Cabinetmaker’s Director ... Hepplewhite’s designs most closely compare with [Robert and James] Adam’s drawings of the late 1780s, sharing their fashionably attenuated quality of design. The furniture is slender, and most of the decoration inlaid or painted rather than carved” (Grove Encyclopedia of Decorative Arts).

A lovely copy, with the added benefit of a period bookseller’s catalogue in the rear listing architectural books for sale.

Brunet III, 105 (#27162) $ 7,000 17 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) $ 12,500 18 HUGHES, Langston.

Ask Your Mama. 12 Moods for Jazz.

New York: Alfred A. Knopf, 1961. Oblong 8vo (6 15/16 x 8 1/2 inches). Printed on pink paper. Publisher’s cloth backed pictorial boards. Publisher’s dust jacket, separated along the flaps and reattached. Provenance: Zelma Watson George (signature on the title and pastedown).

First edition. From the library of Zelma Watson Geoge.

Zelma George, a noted African American musician, scholar and civic leader, is referred to on p. 8 in the poem Cultural Exchange:

Martin Luther King is Governor of Georgia / Dr. Rufus Clement his chief advisor, / Zelma Watson George the High Grand Worthy /

“In language bursting with sound and rhythm-angry, blue, fiercely ironic, funny, and haunting-Langston Hughes has unleashed here a sequence of brilliant jazz poetry that cannot fail to stir even the tone-deaf. These are poems that demand to be read aloud, and whether or not the proper instruments are handy, the description, line by line, of the musical accompaniment which appears beside the verse is so vivid that the music can be imagined. The language derives its is so vivid that the music can be imagined. The language derives its inspiration from the jazz, taking off at moments like a solo instrument, pounding you like bongo drums, moving in free association” (front flap). (#27766) $ 750 Item 19 19 INCE, William (c.1738-1804) and John MAYHEW (1736-1811).

The Universal System of Household Furniture. Consisting of above 300 Designs in the most elegant taste both useful and ornamental, finely engraved in which the nature of ornament & perspective is accurately exemplified ...

London: Sold by Robert Sayer, [1759-1762]. Folio (17 5/8 x 11 1/8 inches). Text in English and French. Engraved titles in English (in black) and in French (in sepia), engraved dedication to George Spencer, Duke of Marlborough in the uncancelled state, and 101 plates engraved by M. Darly on 95 sheets (plates I-III and LXVI printed in sepia, plates 96-101 unnumbered). Period manuscript annotations, including instructions and diagrams for finding the centers of various arches, determining the proportions of a triangular base for a circular table, constructing octagons from a square, determining the shape of the gores on a globe, as well as original designs for a library table, a large armoire, side tables, etc. Twentieth century mottled calf, covers with a gilt decorative border, spine with raised bands in seven compartments, red morocco lettering pieces in the second, third and fourth compartments, the others with a repeat decoration in gilt.

Very rare complete copy of Mayhew and Ince’s work on furniture design published in direct competition to Chippendale.

Beginning their partnership in 1758, Mayhew and Ince published the Universal System of Household Furniture between 1759 and 1762, dedicating the work to the Duke of Marlborough. The folio of drawings and descriptions in both English and French were produced in direct competition to their biggest competitor Thomas Chippendale. Chippendale’s Director, which Ince had been a subscriber to, was first been published in 1754 and circulated around the country and colonies quickly becoming the industry standard among cabinet makers. Mayhew and Ince realised the commercial benefits of producing such a body of work and quickly followed suit, even using the same engraver as Chippendale, Matthias Darly.

Mayhew and Ince’s style was far more classical than that of Chippendale with elaborate use of inlaid woods and marquetry. “Their designs tend to be more cautious versions of those by Thomas Chippendale, but they include tripod or ‘claw’ tables, which are not to be found in Chippendale’s Gentleman and Cabinet-maker’s Director” (Grove Encyclopedia of Decorative Arts). Mayhew and Ince worked closely with Robert Adam, most notably for Sir John Whitwell at Audley end in 1767, for the Duchess of Northumberland in 1771, for the Earl of Kerry in 1771 and, most importantly for the Duchess of Manchester in 1775 creating the Kimbolton Cabinet. In addition, they received commissions from the Dukes of Bedford.

This copy of their Universal System complete with the last 6 unnumbered plates (on 3 sheets) not found in all copies. Extant copies of the work contain various issues of the engraved dedication; the present copy can be dated from the dedication which is addressed to the fourth Duke of Marlborough, and includes the words “Lord Chamberlain of His Majesties Household,” an office he held from 1762 until 1765.

The work is considerably rarer than any of the editions of Chippendale’s Director, with only four complete copies appearing in the last thirty years.

Berlin Kat. 1229 (#27160) $ 16,500 20 KHAN, Mirza Mohammed Ali.

Epitome of India. Containing a brief and concise description of the land, from the political, social, statistical & general points of view, including that of all the principal & petty Native states.

Bombay: Haidary Printing Press, 1893. 8vo (9 1/4 x 6 inches). Text in English and Persian. 16 portrait plates, lithographed at Chitrotejuck Press, Bombay. Contemporary black morocco, covers elaborated blocked in gilt, gilt spine with raised bands in six compartments, cloth gilt endpapers, gilt edges, bound at the Education Society’s Press, Byculla.

Scarce Bombay imprint, illustrated with portraits of the Maharaja.

The author served as the Minister of Foreign Affairs of the Imperial Persian Government. (#26433) $ 4,000 21 LAJOUE, Jacques de (1687 - 1761).

[A collection of engravings of cartouches, architectural fantasies and fans, all in a single album.

Paris: Huquier and others, circa 1740] - 1744 - 1768. 18 suites and 4 unassigned plates in one volume, folio (21 5/8 x 14 inches). Engraved throughout. 150 leaves with 13 titles and 161 plates, all after Lajoue (1 folding, 1 hand-coloured reverse-printed ‘vue d’optique’ plate), most plates mounted to size, some plates cut to the edge or into the plate area. Mid-nineteenth century green morocco gilt, covers with wide decorative border tooled in gilt, expertly rebacked to style, spine in compartments with double raised bands, lettered gilt. Provenance: F.A. Magliss (inscription dated 1905? on the verso of the second plate in the 16th suite).

A unique ‘sammelband’ including the greatest engraved work produced from Jacques de Lajoue drawings: a celebration of French rocaille at its peak, as executed by an exuberant master.

Jacques de Lajoue ‘is one of a group of masters who, during the last years of Louis XIV’s reign, reacted against the conventional austerity and heaviness of form that characterised the art of the 17th century. Gillot, Watteau, Aurèle Meissonier and Gilles-Marie Oppenoord were friends of his. Alongside them he provided work for Gabriel Huquier to engrave. Huquier rendered 39 [sic.] drawings by Lajoue - of ornaments, trophies, griffins [sic.] and architectural monuments ... It was through his influence that the taste for rocaille developed’ (Benezit VIII, p.322).

Lajoue ‘was the son of the architect and master mason Jacques de La Joue and Marguerite Cannaban. He was accepted by the Académie Royale as an architectural painter on 26 April 1721 and he continued to take part in its exhibitions until 1753. He exhibited at the Place Dauphine in 1721 and his success never seems to have waned from this date onwards. He obtained work in several decorative projects in royal palaces and buildings. In 1732, he won great acclaim with a View of the Bibliothèque Ste-Geneviève. From 1730 to 1739, he provided drawings to C. Nicolas Cochin (junior) to be used for engravings ... Lajoue was patronised, in particular, by Mme. de Pomadour... [he] was also a close friend of Nicolas Cochin, de Troy, Lemoyne and Coustou the Elder. (op.cit.)

This album was apparently assembled in 1905 or shortly afterwards, perhaps by F.A. Magliss. Cohen/de Ricci (column 589) record a similar ‘sammelband’ but it includes fewer images: 160 images including titles, as opposed to 174 images in the present work. The order in which the various suites are bound here is the same (with one or two insertions or omissions) as the Cohen/de Ricci example: this suggests that the compiler had knowledge either of the Cohen/de Ricci example or of their description of it. The majority of the plates are mounted to size (a few are cut into the plate mark, but, with two exceptions, the image area is not affected). The Berlin Katalog describes a smaller ‘sammelband’ basically made up from suites 6-10 and 15 from the present work, and their entry includes two of the ‘chinoiserie’ plates that are part of suite number 18 in this album.

The suites are as follows: 1. Livre Nouveau de Douze Morceaux de Fantasie utile a divers usages. Paris: chez l’Auteur ... et chez la Veuve Chereau, [no date]. Folio. Title and 11 plates after Lajoue by Lucas, Desplaces, Cochin fils, Guélard, Ch. Duflos, Ravenet and Aveline. (5 plates cut to within the plate mark). 2. [Premier Livre de Divers Morceaux d’Architecture, inventés par J. de La Joue et gravés par Huquier]. Paris: [no date]. Folio. 11 plates after Lajoue by Huquier. (Plates cut to edge of plate mark, lacking title)

3. Deuxieme Partie Livre d’Architecture paisages et perspectives. Paris: chez Huquier, [no date]. Folio. Title and 11 plates after Lajoue by Huquier. (Two plates cut to within the plate mark, the final plate with neat old repairs, the lower left corner of plate 9 torn and repaired) 4. Troisieme Partie Livre d’Architecture, paisages et perspectives. Paris: chez Huquier, [no date]. Folio. Title and 8 plates only (of 11) after Lajoue by Huquier. (Lacking plates numbered 6, 8 and 10). 5. Quatrieme Partie. Livre d’Architecture paisages et perspectives. Paris: chez Huquere [sic.], [no date]. Folio. Title and 8 plates only (of 11) after Lajoue by Huquier. (Lacking plates numbered 9, 10 and 11). 6. Recüeil Nouveau de differens cartouche inventez par ... La Joüe. Paris: chez Huquier, [no date]. Quarto. Title and 11 plates mounted on 6 leaves after Lajoue by Huquier. 7. Second Livre de Cartouches Inventés par ... La Joüe. Paris: chez Huquier, [no date]. Quarto. Title and 11 plates mounted on 6 leaves after Lajoue by Huquier. 8. Troisieme Livre de Cartouches Inventez par ... La Joüe. Paris: chez Huquier, [no date]. Quarto. Title and 11 plates mounted on 6 leaves after Lajoue by Huquier. 9. Livre de Cartouches de Guerre. Paris: chez Huquier, [no date]. Folio. Title and 6 plates after Lajoue by Huquier, extra-illustrated with a cartouche from a map dated 1744, being an enlarged version of one of the plates. 10. Livre de Buffets. Paris: chez Mondhare, 1768. Folio. Title and 6 plates after Lajoue by Huquier. A later re-issue. 11. Livre de Vases. Inventés par ... La Joüe. Paris: chez Huquier, [no date]. Folio. Title and 5 plates after Lajoue by Huquier. 12. Nouveaux Tableaux d’Ornemens et Rocailles. Paris: chez Huquier, [no date]. Folio. Title and 8 plates after Lajoue by Huquier. 13. Second Livre de Tableaux et Rocailles. Paris: chez Huquier, [no date]. Folio. Title and 8 plates only (of ?14) after Lajoue by Huquier. This suite is numbered consecutively with number 12, i.e. numbered from 10- 18, Cohen/de Ricci records an example of where numbers 12 and 13 combined included a total of ‘24 pièces’. 14. [Designs for ‘écrans à main’ i.e. hand-screens or fans]. [Paris:] Huquier, [no date]. Folio. 8 plates after Lajoue by Huquier. (All cut to the edge of the plate area, 2 cut into the plate area but not affectiing the main image area). 15. Livre de divers Esquices [sic.] et Grifonemens. Paris: chez Huquier, [no date]. Octavo. Title inset to one leaf, 9 plates inset to three leaves, all after Lajoue by Huquier. 16. [Designs for ‘dessus de portes’ i.e. over doorways] Paris: ches [sic.] la veuve de François Chereau, [no date]. Folio. 13 plates after Lajoue by J. Ingram, N. Tardieu, C.N. Cochin (12 shaped designs and 1 rectangular design), extra-illustrated with 1 proof-before-letters, and 3 rectangular versions of three of the shaped designs. (8 plates cut into or close to the plate mark). The shaped designs may also have been intended as designs for ‘écrans à main’ i.e. hand-screens or fans. 17. [The elements]. Paris: ches [sic.] Basan, [no date]. Folio. 4 plates after Lajoue by F. Basan. (2 plates shaved into the plate mark). This is probably what Cohen/de Ricci calls the ‘grands trophées’ suite. 18. [‘Chinoiserie’ plates]. [Paris:] Basan. Folio. 3 plates after Lajoue by F. Basan. (2 plates shaved into the plate mark). 19. [Various subjects]. Paris: [no date]. 4 plates after Lajoue (1 plate present in two states: a normal uncoloured plate, and also a hand-coloured reverse printed ‘vue d’optique’).

Cf. Benezit VIII, p.322; cf. Berlin Kat. 400 and 401; cf. Cohen/de Ricci 589. (#19311) $ 17,500 22 LEE, James (1715-1795).

An Introduction to Botany. Containing an Explanation of the Theory of that Science, and an Interpretation of its Technical Terms; extracted from the Works of Dr. Linnaeus ... and an Appendix; containing upwards of two thousand English names of plants, referred to their proper titles in the Linnaen system ... Second Edition.

London: J. and R. Tonson, 1765. 8vo. xv, [1], iv, 479, [25] pages. 12 engraved plates. Contemporary green morocco, covers decorated with a central gilt cross section of a flower, spine with raised bands in six compartments, ruled in gilt on either side of each band, red morocco lettering piece in the second compartment, gilt edges, marbled endpapers. Provenance: Tommaso Giuseppe Farsetti (1720-1791, arms in gilt on the spine).

Lovely copy of the first work to describe the Linnaen classification system in English.

Lee apprenticed under Philip Miller at the Chelsea Physic Garden and was a frequent correspondent of Linnaeus. His work, in part a translation of Linnaeus’s Philosophia Botanica, was the “first description of the sexual system of plants to appear in English” (ODNB). Originally published in 1760, the present second edition includes a glossary not found in the first as well as a dedication to Linnaeus.

This example from the noted library of Italian bibliophile Tommaso Giuseppe Farsetti.

Henrey II:355-6 (#27906) $ 850 23 LIBRARY COMPANY OF PHILADELPHIA.

A Catalogue of the Books, Belonging to the Library Company of Philadelphia; to which is prefixed, a short account of the institution, with the charter, laws and regulations.

Philadelphia: Zachariah Poulson, Jr, 1789 . 8vo (8 1/4 x 4 7/8 inches). xl, 406, [2]pp. Errata leaf in rear. (Pale dampstain at gutter of title). Early half brown morocco over marbled paper covered boards, spine with raised bands in six compartments, lettered in the second (some early ink staining to the upper cover).

Catalogue of the famed library founded by Benjamin Franklin, published during the time when it served as the Library of Congress.

The first catalogue of the Library Company was printed by Benjamin Franklin in 1741. Winans describes this edition of the catalogue (quoting from an advertisement) as a “social library catalogue: 4000 full author entries, with place and date of publication, numbered accession/shelf numbers, arranged by subject, and then by format within each subject ... donors of books are identified.”

“The 1789 catalogue was a radical departure from all other early American library catalogs. It listed books by subject, according to a scheme derived from the Diderot Encyclopédie, which divided all knowledge into three categories, Memory, Reason, and Imagination, that is history, arts and sciences, and belles lettres. Library catalogues are not only finding aids but also potentially a means of imposing intellectual order on a diverse collection and constituting it as an organic whole. The Library Company’s 1789 catalogue did this brilliantly. Here for the first time the book culture of the old world was reconciled with the homely, quotidian realities of the new” (James Green, “Building a Library by Collecting Collections” [2004], p. 3).

Evans 22066; Sabin 61785; Winans 131. (#27842) $ 3,000 24 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 25 MACAULAY, Colman (1848-1890).

[Confidential]. Report of a Mission to Sikkim and the Tibetan Frontier with a Memorandum on Our Relations with Tibet.

Calcutta: Bengal Secretariat Press, 1885. 4to (10 3/4 x 8 1/2 inches). 22 mounted albumen photographs. Folding map. Publisher’s russet cloth, lettered in gilt on the upper cover, rebacked with leather. Provenance: Joseph D. Hooker (presentation inscription from the author on the front blank, dated June 1885).

A presentation copy of a scarce photographically illustrated work on the Tibetan frontier during the period of British interest amidst the Great Game.

Macaulay undertook his mission in October-November 1885, and reported enthusiastically on the value of extending British relations with Tibet, but though he was chosen to lead a subsequent mission to promote this, an Anglo-Chinese treaty led to its abandonment. In his introduction to the present volume, he notes that “photographs were taken on the journey.”

This copy gifted by the author to the botanist Joseph Dalton Hooker (1817-1911), who had travelled to Sikkim in 1848, a journey that resulted in his famous Rhododendrons of the Sikkim-Himalaya. (#26967) $ 9,850 26 [MASONRY, South Carolina and Georgia].

The Free-Mason’s Vocal Assistant, and Register of the Lodges of Masons in South-Carolina and Georgia.

Charleston: Brother F.F. Negrin, 1807. 12mo (6 7/8 x 4 1/8 inches). [8], [13]-121, 158-255, [1] pp. (errors in pagination as issued). Lacks engraved music (as usual, likely not issued with all copies). Contemporary sheep, flat spine divided by gilt rules, red morocco lettering piece in the second compartment. Provenance: Benjamin Donaldson (early signature on title and ink cross outs of previous owner’s inscriptions).

An early southern songster and interesting Masonic item.

This scarce Charleston imprint contains ninety-one Masonic songs in English and forty-eight Masonic songs in French, all of which are substantially indexed. In some cases melodies are provided. Following the numerous loyalty songs and odes is a complete list of the rules and regulations for the associated lodges of South Carolina. Of all known copies, only one, at the Massachusetts Grand Lodge in Boston, retains the usually missing sheet music. Similar Masonic tracts are quite scarce, even more so when relating to southern lodges. Sabin 87840; De Renne I, p. 379; Lowen 336; Shaw & Shoemaker 12620; Wolfe, Secular Music 2863; Walgren, Freemasonry 959; Turnbull I:434. (#26666) $ 2,000 27 MENDELSOHN, Erich (1887-1953).

Amerika. Bilderbuch Eines Architekten. Mit 77 Photographischen Aufnahmen des Verfassers.

Berlin: Rudolf Mosse, 1926. Small folio (13 1/2 x 9 1/4 inches). 77 black-and-white photographic illustrations. Publisher’s cloth-backed lettered boards (minor wear to spine).

First edition of an important 20th century work on architecture by a noted German Jewish expressionist and a photographic record of urban United States in the 1920s.

Mendelsohn was a Jewish German architect, known for his expressionist architecture in the 1920s. Along with Ludwig Mies van der Rohe and Walter Gropius, he was one of the founders of the progressive architectural group known as Der Ring. In 1933, he fled the Nazis and settled in Jerusalem in 1935, where he went on to design noted buildings in Israel including the Weizmann House, laboratories at the Weizmann Institute of Science, the Anglo-Palestine Bank in Jerusalem, Hadassah Hospital on Mount Scopus, Rambam Hospital in Haifa and others.

In this monograph, Mendelssohn reproduces photographs taken by him on a trip to the United States in 1924. The images show vibrancy and boom, with a particular emphasis on buildings both constructed and under construction in New York and Chicago.

Zevi, LXXIX; Placzek, III 157-159; Sharp, 84; Jaeger, 733 (#27455) $ 570 28 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 29 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 30 NACHBAUR, Albert.

Eléments de Décoration Chinoise. Motifs décoratifs relevés dans les Temples et Yamens.

Peking: Albert Nachbaur, editeur, 1931. Large 8vo (12 x 8 inches). Typeset title printed on tissue. 60 hand coloured plates. Red library buckram. Provenance: Library markings (two discreet blindstamps [on title and lower margin of one plate], inked stamps along edges, bookplate on the front pastedown).

A scarce work by Nachbaur with beautiful hand coloured plates. (#26449) $ 2,500 31 (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

32 NEWDEGATE, C.N.

Sketches from the Washington Races on October 1840 by An Eye Witness.

London?: no date, but circa 1840]. Folio (22 x 15 inches). Without title or text (as published). 3 fine hand-coloured lithographed plates by and after Newdegate. Unbound as issued in original oatmeal paper wrappers, lithographic title on upper cover. Modern black cloth box, black morocco lettering piece.

A very fine copy of this rare color-plate work with explanatory rhymed quatrains beneath, on race run at Washington race course, Charleston, South Carolina in October 1840

The descriptive verses beneath each plate describe the race: 1. At the tap of the drum they jump of from the stand, / Be the track deep in mud or heavy with sand, / At a pace which at once makes fast ones extend, / And e’en the best winded cry bellows to mend. 2. And now they have reach’d the third mile, second heat, / The mare is still going, the horse is dead beat; / Says Sambo “Me know how Massa him do it, / So me gib him de whip, and make him stick to it.”3. Now the Winner comes in decidedly blown, / Tho ‘ere two miles were done the race was her own, / But they go the whole hog in this western clime, / When they’ve beaten the field they run against time.

The mention of “western clime” allied with the first line of the verse on the upper cover (British Steeds that you’re fastest I’ve not a doubt) both suggest that the present series was published in Britain. If this is the case then London seems the most likely city of origin for this excellent series, featuring African American jockeys.

The Washington Race Course was established in 1735 and until its sale in 1900 was the oldest race track in the world. The South Carolina Jockey Club Spring and Fall race meetings here were one of the highlights of the Charleston season. The first day’s races were run in four, the second in three and the third in two-mile heats. On the disbanding of the South Carolina Jockey Club, the piers from the entrance of the Washington Race Course were given to Belmont Park, New York, where they still stand today. The proceeds from the sale of the course were passed to the Charleston Library Society for use as an acquisition fund which is still known as the Jockey Club Fund. Not in any of the standard bibliographies. (#6751) $ 4,000 33 PARKYNS, Sir Thomas (1664-1741).

Progymnasmata. The Inn-Play: or, Cornish-Hugg Wrestler. Digested in a Method which teacheth to break all Holds, and throw most Falls Mathematically ... The Third Edition Corrected, with large Additions.

London: Printed for Tho. Weekes ... and sold by Humph. Wainwright, 1727. Small 4to (7 3/4 x 5 7/8 inches). Headpieces, woodcut engravings. 8, xviii, 9-64, [12] pp. Contemporary manuscript corrections and annotations. Early 19th century diced russia, gilt arms on both covers, spine with raised bands in six compartments, black morocco lettering piece in the second compartment, the others with a repeat decoration in gilt, marbled endpapers. Provenance: James Edward Harris, 2nd Earl of Malmesbury, 1778-1841 (arms on covers).

A noted early English work on wrestling and fencing: this copy from the library of noted sportsman the second Earl of Malmesbury.

“The book was one of the earliest practical manuals on fencing and wrestling, and stemmed from Parkyns’s noting down every lesson that his instructor, Mr Cornish, had given him at Gray’s Inn . . . the most notable aspect of his work was the way in which he fused very practical advice with ponderous scientific terminology” (ODNB). (#26541) $ 2,000 34 PORTLAND MUSEUM. - John LIGHTFOOT (1735-1788).

A Catalogue of the Portland Museum, lately the property of the Dutchess Dowager of Portland, Deceased: Which will be sold at auction, by Mr. Skinner and Co. on Monday the 24th of April, 1786, and the thirty-seven following days, at Twelve O’Clock ... at her late Dwelling-House, in Privy-Garden, Whitehall.

London: 1786. 4to (9 1/2 x 7 3/4 inches). Engraved frontispiece by Grignion after Burney. Early tree calf, covers bordered with a gilt double fillet, expertly rebacked to style, flat spine in six compartments, red morocco lettering piece in the second, the others with a repeat neo-classical decoration in gilt. Provenance: Charles Stanhope, 4th Earl of Harrington, Viscount Petersham (inscription and shelf mark on front pastedown).

The rare and important catalogue of the Duchess of Portland’s famed natural history collection, featuring specimens collected by Captain Cook.

Margaret Cavendish Bentinck, the second Duchess of Portland, was a noted patron of Captain Cook and her private museum was “considered the finest in England and rivalled the best in Europe” (Dance). Following her death, her wunderkammer was put on the block. The auction was held from 24 April to 3 July 1786 and included over 4000 lots. The catalogue was drawn up by her chaplain and librarian the Reverend John Lightfoot. It was “an impressive publication and was to become of lasting importance, once it was realized that it utilised valid binomial nomenclature to denote most of the zoological specimens and that many scientifically correct names were first published therein. Another unusual feature of the catalogue is the frequent appearance of locality information in the description of lots” (Chalmers-Hunt).

This copy with provenance to noted snuff box collector the 4th Earl of Harrington

Dance, pp. 102-103; Forbes 116; Chalmers-Hunt, Natural History Auctions 1700-1972, pp. 46 and 62. (#27106) $ 4,500 35 [RAILROADS].

The Michigan Bridge & Construction Co. Detroit. Manufacturers of Iron, Wooden, Combination and Suspension Bridges, Trestles, Roofs, Turn-tables, Water-Stations, &c.

Detroit: O. S. Gulley’s Steam Presses, 1871. Octavo (10 3/8 x 6 5/8 inches). 40pp., each page with an ornamental border. 13 full-page mounted albumen photographs. Publisher’s black morocco, covers bordered in blind, upper cover lettered in gilt. Provenance: contemporary presentation inscription on the title.

Rare photographically illustrated trade catalogue for a Michigan railroad bridge builder.

The images depict various examples of iron and wooden railroad bridges, as well as trestling, as well as an image of a roundhouse and types of roofs for railroad buildings. Though unattributed, the images are artfully composed and are in wonderful condition with strong tones. (#27001) $ 3,750 36 READ, General John Meredith (1837-1896). - Maxime LALANNE (1827-1886).

An important collection of twenty five original etchings, including works from two separate series and three proofs-before-letters of Lalanne’s ‘Passage de la Seine par le Genl. Read pendant la guerre de 1870’.

Paris: Cadart & Luce, 1869[-1871]. Folio (18 x 12 3/4 inches and smaller). 25 etched plates (comprising 12 plates on india paper mounted from the ‘12 Croquis à l’eau-forte’ series; 10 [of 12] plates on from the ‘Souvenirs Artistiques du Siège de Paris 1870-1871’ series; and three proof-before-letters examples of the ‘Passage de la Seine’ plate [one on india paper mounted]). The collection unbound as issued within recent dark green morocco-backed cloth box, the ‘12 Croquis’ series with original light blue paper wrappers, the upper cover with etched title block and artist’s manuscript presentation inscription, contained within original green cloth-backed paper-covered boards, titled in gilt on upper cover, cloth ties. Provenance: John Meredith Read (1837-1896, presentation inscription from the artist ‘Au Général J. Meredith Read / Hommage de son dien dévoué / Maxime Lalanne’).

The John Meredith Read collection of Lalanne etchings: an important archive recalling the former’s role in the Franco-Prussian war of 1870-1871 and his time as U.S. Consul-General to France.

Maxime Lalanne was a highly accomplished etcher and draughtsman whose talents were readily acknowledged by his peers. P.G. Hamerton wrote that ‘No one etched so gracefully as Maxine Lalanne. This merit of gracefulness is what chiefly distinguishes him … there has never been an etcher equal to him in a certain delicate elegance, from the earliest times till now’ (Etchings and Etchers, 1880, p.154). Joseph Pennell echoed this view, ‘Lalanne is one of the most exquisite and refined illustrators of architecture who ever lived. His ability to express a great building, a vast town, or a delicate little landscape, has never been equaled’ (Pen Drawing and Pen Draughtsmen, 1920, p.92.) Lalanne initially made a career in the law, but in about 1850 was persuaded by his friends to turn to the study of art full-time. He moved from Bordeaux to Paris, joined the studio of Jean Gigoux, and made his Salon début in 1852. Lalanne was one of those who were instrumental in the revival of etching in France, and was a founding member of the Société des Aqua- Fortistes. His illustrated manual Traité de la gravure à l’eau-forte, published in 1866, was pivotal in elevating etching to the status of a fine art, and he became one of the medium’s most influential instructors. He published seven prints in the Society’s Eaux-fortes modernes series between 1862 and 1866, and provided drawings for their journal, L’Illustration nouvelle. The present collection includes two series that have highly contrasting subject matter: the first bucolic land- and seascapes, the second a series forming an eyewitness record of the Franco-Prussian War. Perhaps the most interesting print is a supplementary image from the Franco-Prussian War, the subject being the original owner of this collection (General Read) being rowed across the Seine (like Washington across the Delaware) whilst the bombardment continues all around.

‘John Meredith Read, Jr. was born in Philadelphia on February 21, 1837. The Read family was prominent in American political life; Read’s great-grandfather George Read signed the Declaration of Independence and was a framer of the Constitution; his father, John Meredith Read, Sr., was a prominent Pennsylvania jurist who was outspoken on the “Free Kansas” issue and was later appointed Chief Justice of the Pennsylvania Supreme Court. Read was educated at a military school, followed by college education at Brown University and Albany (New York) Law School, from which he graduated in 1859. That year he was admitted to the Pennsylvania bar and married Delphine Marie Pumpelly.

Read was an active supporter of Abraham Lincoln and the Republican Party in the elections of 1860. As a reward, he was promoted to brigadier-general (the youngest man ever to hold this rank) and made adjutant- general of New York State, directing military affairs there during the Civil War with great success, eventually receiving official recognition from the War Department. His support of the Republican party continued through the Civil War, and he was active in General Ulysses S. Grant’s campaign for President in 1868. His reward for service this time was to be appointed consul-general to France and Algeria in 1869. During the Franco-Prussian War (1870-1871), Read acted as the representative for the German government, protecting German interests and citizens until the Germans re-established diplomatic relations in 1872; for this, the Kaiser eventually tried to confer a knighthood on Read, but Congress never passed the resolution that would have allowed this. Read also looked after American and French interests during the Paris Commune uprising and the second siege of Paris. The French held him in such high esteem that in 1872 the Minister of War appointed him president of a commission to determine whether French troops should be taught English.

Recognizing Read’s talents in the diplomatic service, Grant appointed him the first resident minister to Greece in 1873. Once again, his term of office was marked with diplomatic successes. One of his first accomplishments was to gain the release of the American ship Armenia from Greek authorities. In 1876, he compelled the Greek government to revoke an order banning sales of English translations of the Bible. In 1877, he notified the U.S. press that the Russo-Turkish War was disrupting Russia’s wheat exports to Europe and that U.S. exports to Europe at that time might capture the market. The resulting grain exports to Europe netted U.S. businessmen $73 million. As minister, he was also responsible for protecting American interests and citizens during the Balkan crisis and War of 1875-1878.’ (University of Rochester Libraries). H. Beraldi Les Graveurs du XIX Siecle (Paris, 1889) vol.IX, pp.18-23; J. Laran Inventaire du Fonds Francais apres 1800 (Paris, 1932) vol.XII, pp.272-282; J.M. Villet The Etchings of Maxime Lalanne a catalogue raisonne (Washington, 2003) 56 (IV/IV); 57 (IV/IV); 58 (V/V); 59 (III/III); 60 (II/III); 61 (III/IV); 62 (III/V); 63 (IV/IV); 64 (II/II); 65 (III/III); 66 (III/III); 67 (II/II); 69 (III/ III); 70 (II/II); 71 (II/Ii); 72 (II/II); 73 (II/II); 74 (II/II); 77 (II/II); 78 (II/II); 79 (III/III); 80 (III/III); 107 (I/III or II/III) (#18753) $ 9,500 37 REDON, Odilon, artist (1840-1916) -- Iwan GILKIN (1858-1924).

La damnation de l’artiste.

Brussels: Edmond Deman, 1890. 4to (10 1/4 x 7 1/4 inches). Lithographic frontispiece by Redon. Uncut on two sides. Contemporary half red morocco over marbled paper covered boards, spine lettered in gilt and decoratively tooled in blind, marbled endpapers, top edge gilt. Original wrappers bound in. (Some wear to spine). Provenance: René Kieffer (binder’s ticket).

Limited edition, number 54 of 140 copies on Holland Van Gelder, with a frontispiece lithograph by Redon.

Gilkin was a fervent disciple of Baudelaire. His anguished verse and philosophical pessimism was an important source for some of Redon’s most important imagery. Like Emile Verhaeren, Gilkin was an early champion of Redon’s art, ensuring that the artist was better understood by the Belgian avant garde than in Paris. “For his frontispiece to this work by Gilkin, Redon employs many of the images frequently found in his drawings: the winged head, the primitive idol, the all-knowing eye, and the poet’s lyre. He suggests a sense of damnation through scattering these objects across a vast void, watched over by the eye” (Arts Council, French Symbolist Painters, 293)

Mellerio 104. (#27847) $ 1,875 38 RIDGWAY, Robert (1850-1929).

Color Standards and Color Nomenclature.

Washington, D.C.: Published by the Author [printed by A. Hoen & Company] , 1912. 8vo (8 5/8 x 5 1/2 inches). 53 plates with 1115 mounted colour samples. Small printed errata slip inserted concerning plates XXII and XXV. Publisher’s green cloth, upper cover titled in gilt, original front wrapper bound in. (Minor wear).

First edition of an attempt to standardize color terminology for the use of naturalists, authored by the noted Smithsonian ornithologist.

The privately-printed work is among the most famous books on the standardization of color. It is also a noted achievement in bookmaking, with 1115 individually mounted color samples, each produced with special dyes and pigments to fix the color permanently.

Cf. Robert Herbert, “A Color Bibliography II” in the Yale Library Gazette (1978). (#27845) $ 650 39 [SHERIDAN, Richard Brinsley (1751-1816)].

Verses to the Memory of Garrick. Spoken as a monody, at the Theatre Royal in Drury-Lane.

London: published by T. Evans [etc.], 1779. Quarto (10 1/2 x 8 1/4 inches). Half-title. Stipple- engraved allegorical frontispiece by A. Albanesi after P.T. de Loutherbourg. Later brown calf by Riviere & Son, expertly rebacked.

First edition of Sheridan’s memorial to famed actor and playwright David Garrick.

Sheridan, Garrick’s friend, colleague and business partner in Drury Lane Theatre, dedicates his ode to the memory of the 18th century’s greatest actor to Garrick’s friend, the Countess Spencer. The monody, a poem in which one person laments another’s death, was first spoken on stage at the Theatre Royal by Mary Ann Yates, the greatest English tragic actress of her day who had often shared the stage with Garrick.

This copy with the second state of the dedication, with the word “deference” spelled correctly. Arnot & Robinson 2925; ESTC t50721; cf. Rothschild 1844 (first state, but lacking the frontispiece); Williams Seven 18th-century Bibliographies p.219 (#23416) $ 300 40 (SLAVE NARRATIVE) - NORTHUP, Solomon (1808-1857).

Twelve Years a Slave: Narrative of Solomon Northup, a Citizen of New York, Kidnapped in Washington City in 1841, and Rescued in 1853, from a cotton plantation near the Red RIver in Louisiana.

Auburn: Derby and Miller, 1853. 12mo (7 1/2 x 5 inches). Frontispiece, 6 plates. Publisher’s ads. (Some browing). Publisher’s brown cloth (worn at edges and head and tail of spine). Provenance: Philip Stevens (bookplate); Zelma Watson (1903-1994, signature and inscription).

First edition of a noted slave narrative: now a major motion picture!

Northup, a free-born African American, was kidnapped in 1841 after being lured to Washington D.C. with a ficticious job offer. When he accompanied his supposed employers to Washington, DC, they drugged him and sold him into slavery. From Washington, DC, he was transported to New Orleans where he was sold to a Louisiana cotton plantation owner. After 12 years in bondage, he regained his freedom in January 1853. Northup sued the slave traders in Washington, DC, but lost in the local court. District of Columbia law prohibited him as a black man from testifying against whites and, without his testimony, he was unable to sue for civil damages. The two men were charged with the crime of kidnapping and remanded into custody on $5000 bail but without Northup’s testimony a conviction could not be secured and the men were released. Returning to his family in New York, Northup became active in abolitionism. He first published the present account of his experiences in 1853 in his first year of freedom. Solomon Northup’s memoir was reprinted several times later in the 19th century, an annotated version was published in 1968 and the memoir was recently adapted and produced as a 2013 film.

The present first edition noted on the title as the “thirteenth thousand”.

Sabin 55847; Work, page 313; Hubbard 855 (later edition); Blockson Collection 10165 (#27764) $ 1,875

41 [SLAVERY] - BARBADOS, House of Assembly.

The Report from a Select Committee of the House of Assembly, appointed to inquire into the origin, causes, and progress, of the late Insurrection.

[Bridgetown] Barbados: printed (by order of the Legislature) by W. Walker, Mercury and Gazette Office, [1818]. Octavo signed in fours (9 x 5 5/8 inches). Collation:[a2] A-G4 (pp.[i-ii, 1-]63 [3 unnumbered pages, including a final blank]). Half-title. Stitched, as issued, uncut, in a modern red cloth chemise, all contained within a modern red morocco-backed slipcase, titled in gilt on spine. Provenance: Sir John Gladstone (Fasque, Kincardinshire, Scotland. “Fasque” written in ink on half- title). Very rare first edition of a report printed in Barbados on the origins of the slave insurrection of 1816, including numerous eyewitness descriptions of the bloodshed.

“The rebellion began on April 14, 1816, in St. Philip’s Parish. The canes on one-fifth of the estates in the island were burned, and property to the amount of £179,000 was destroyed. It had its origin in a rumor that freedom was to have been granted at the close of 1815. When this had not transpired, a restlessness resulted which showed itself in the Easter outbreak. The foundation of the false report was to be found in the proposed establishment of registration, and the hope for emancipation had been kept alive by the exertions of Wilberforce in England.” (Ragatz).

Following a report of the committee containing a history of the insurrection as well as conclusions of its origins, the pamphlet includes transcripts of 21 interviews with various slaves, free men of colour, military officers, pastors of local churches and others. The pamphlet concludes with the 17 January 1816 resolutions of the Barbados House of Assembly as well as an alphabetical listing of Barbados property owners with the amounts of their losses from the insurrection.

Undated on the title, Ragatz and other bibliographers have ascribed the date of this pamphlet to 1816; however a footnote on p. 23 references a 19 February 1817 report and at a meeting of the Barbados Assembly on January 7, 1818 the committee’s report was formally presented and 250 copies were directed to be printed for distribution on the island and in England. Among the recipients of the latter was John Gladstone, the original owner of the present copy. The provenance of this copy to Gladstone, the father of the prime minister, is significant, as he was among the largest of the slaveowners in the West Indies.

OCLC cites but three extant copies of the first edition (Library of Congress, University of London and the American Antiquarian Society). Schomburgk, in his mid-19th century history of Barbados, confirms: “There are few copies if any of that report left in the island.” Handler, A guide to source materials for the study of Barbados history, pp. 70-71; Ragatz, p. 138; Schomburgk, The History of Barbados, p. 398; Sabin 3284. (#21899) $ 8,500 42 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) $ 2,400 43 [SOUTH CAROLINA] - Alexander Edwards, compilor.

Ordinances of the City Council of Charleston, In the State of South-Carolina, Passed since the Incorporation of the City ...

Charleston: Printed by W. P. Young, 1802. [2], 234, [2] pp.

[Bound with:] Ordinances of the City Council of Charleston, in the State of South Carolina, passed since the 28th of October, 1801. Charleston: Printed by W. P. Young, 1804. [2], 235-269, [1], [2]pp. [And with:] Ordinances of the City Council of Charleston, in the State of South Carolina, passed between the 24th Day of September 1804, and the 1st Day of September 1807... Charleston: Printed by G. M. Bounetheau, 1807. [2], [270]-496pp. [And with:] Selection of such Acts and Resolutions of the General Assembly of the State of South- Carolina, as relate to the City of Charleston. Charleston: G. M. Bounetheau, 1807. 28, [4]pp.

Together, 4 works in 1. 4to (9 3/4 x 7 3/4 inches). (Browning). Contemporary calf, original owner’s name stamped in gilt on the upper cover, flat spine divided into compartments with gilt roll tools, red morocco lettering piece in the second compartment, the others with a repeat decoration in gilt, marbled endpapers. (Expert repair to the front joint). Provenance: J[ervis] H[enry] Stevens, City Sheriff (name in gilt on upper cover).

The sheriff’s copy of an early compilation of the laws of Charleston, South Carolina, bound with continuations for several sessions and including many laws relating to slavery in the city.

Stevens (1750-1828) served as an officer under General Francis Marion during the American Revolution and later as the sheriff of Charleston.

For the first work: Sabin 12062; Shaw & Shoemaker 2012. (#26663) $ 3,750 44 THIERRY, A.

Colonie Agricole et Penitentiare de Mettray.

[Paris]: Imprimerie de Lemercier, [circa 1850]. Oblong folio (11 x 15 3/4 inches). Lithographed title and 20 lithographed plates by Sauve, Tirpenne and Faivre after Thierry. Publisher’s burgundy patterned cloth stamped in blind and gilt, with a floral and arabesque design, gilt lettering on upper cover, expertly rebacked to style, yellow endpapers (covers a bit abraded).

First edition of a very rare book of views of a French prison for juvenile delinquents.

Founded in 1840 by Frederic Demetz with just six inmates, the juvenile-only facilities of the Colonie Agricole et Penitentiare de Mettray was a revolutionary penal institution inasmuch as youth delinquents had hitherto been incarcerated with adult offenders. Demetz worked in conjunction with Guillame-Abel Blouet, perhaps better known for the final design of the Arc de Triomph, with a goal of actually rehabilitating young criminals rather than simply warehousing them. Set in an orderly open-air environment, the colony promoted manual labor and prayer, work, education and moral rectitude. Like many other idealistic attempts at penal reform, the once revolutionary methods at the Colonie Agricole et Penitentiare de Mettray devolved into often cruel and harsh punishment amidst deplorably overcrowded conditions. The full-page lithographs in this volume recount the various idealized activities and so-called schools within the colony, ranging from a general view of the colony, to church services, to sleeping quarters, to mess halls to agriculture and mining. (#26694) $ 6,500 45 [TRADE CATALOGUE] - John HEYWOOD LTD.

Wholesale Catalogue of Fancy Stationery, Booksellers’ and Stationers’ Sundries.

Manchester: [1905]. Large 8vo (10 3/4 x 7 3/8 inches). 8 colour plates (3 picturing various ledger bindings, 2 picturing examples of gummed labels, 4 showing embossed stamps), numerous illustrations. 5 trade cards or advertising handbills, laid in. Publisher’s cloth-backed lettered stiff wrappers (minor wear and spotting).

Bookseller and printer’s illustrated trade catalogue.

This catalogue advertising an impressive myriad of products for sale: paper, notebooks, fine stationery, labels, stamps, toys, dolls, playing cards, pens, ink stands, luggage, wallets, rubber bands, frames, bicycles, baby carriages, clocks and more. Also included is a lengthy catalogue of books for sale by Heywood.

Upon the death of the elder John Heywood in 1888, The Bookseller published a lengthy obituary and description of his premises: “A visitor to the establishment in Deansgate must be almost spell-bound by the world of books, paper and stationery goods which fill the interminable rows of shelves and counters, seemingly, in the various departments, miles in length. Two to five tons of literature enter the establishement every day; at special seasons, ten tons!” (#26434) $ 560 46 UZANNE, Octave (1851-1931).

L’Art dans la Décoration Extérieure des Livres en France et à l’etranger. Les couvertures illustrées. Les cartonnages d’editeurs. La reliure d’art.

Paris: Société Française d’Editions d’Art, 1898. Quarto (10 3/4 x 7 3/4 inches). Two-colour decorative title and additional title, numerous illustrations, many printed in a tone, 128 plates printed recto and verso of 64 leaves, most printed in a tone. Contemporary dark blue half morocco by J. Kauffmann, the flat spine with an overall design incorporating an onlaid shaped red morocco panel lettered in gilt with the author and title, the area above tooled with small flowerheads and a large flowerspray, the flowerspray tooled onto light brown morocco inlays, the area below the red morocco onlay with the same small flowerheads and a repeat pattern of six flower sprays, the flowerheads tooled onto grey morocco onlays, marbled endpapers, original paper wrappers bound in at the front and rear, skilful repairs to joints.

Limited edition of 1060 copies, this copy numbered 1042, one of 1000 copies on papier vélin.

A delightful and informative fin-de-siecle work concentrating on the way art was being applied to the decoration of the exterior of books of all kinds: from the illustrations on paper wrappers, to the decoration of cloth publishers bindings to the unique work being produced by the fine-art binders of the period. The designs for wrappers are ably represented by the charming art nouveau design by Louis Rhead for the original covers of the present work (here bound in at the front and back), and the leather binding by J. Kauffmann, particularly the spine, offers a fine demonstration of beautiful design and the flawless finishing of the best quality fine-art binders. The illustrations in the text supply numerous other examples from all three categories, highlighting the best work of the period. (#23226) $ 900 47 VAN HORNE and CLARKSON; and STREATFEILD & LEVINUS CLARKSON CO.

[Retained manuscript letterbook of correspondence from Dutch traders Pieter and Christiaan van Eeghen to American traders Garrit Van Horne, David Clarkson and Streatfeild and Levinus Clarkson].

[The letters written in Amsterdam, these being contemporary true copies made in New York]: 29 December 1795 to 30 May 1798. Small folio (13 x 8 inches). 59 letters, written in a neat hand on 84pp., recto and verso of 42 consecutive leaves, followed by 44 leaves of blank paper, written on American laid paper (watermarked D&D NY Mill). (Dampstained). Contemporary calf backed marbled paper covered boards (rear joint cracked).

An American primary source on the early period of the U.S. import/export trade and the effects of the Quasi War with France.

This letterbook was created by and belonged to the American merchants, being retained ledger copies of fifty-nine letters written to them by the Dutch trading firm between 1795 and 1798. While it would be more usual for such a ledger to have been retained by the sender, the binding and paper of the ledger is American, proving the letterbook to have been created by the American traders.

Christiaan van Eeghen, (1757-1798) and his brother Pieter van Eeghen founded the Handelshuis (trading company) P. en C. van Eeghen in 1778, later to be called Van Eeghen en Co. (and still in operation today). The brothers were much interested in the American trade after independence was declared in 1776. They not only shipped all kinds of goods in large quantities to and from the States, but also the van Eeghen banking house, Huis of Negocie, procured loans for the new country, first in 1782. They also, together with other Dutch bankers, bought a large area of land in the state of New York, south and west of Lake Ontario. Christiaan van Eeghen became the director of the Holland Land Company, founded to administer the land. In the 1790s, during the war between England and France, business was very difficult and subject to dangers and losses, with assets and revenues decreasing rapidly after 1796.

Related to each other by marriage, Garrit Van Horne, David Clarkson and Streatfeild and Levinus Clarkson were among the most successful of the early merchants of New York. Brothers-in-law Garrit Van Horne (1758-1825) and David Clarkson (1760-1815) entered into a partnership in the late 1780s. Their counting house on Pearl Street was described by Barret in The Old Merchants of New York as “merchant, of high standing, importer and exporter.” David Clarkson’s younger brothers Streatfeild (1763-1844) (who was married to Garrit Van Horne’s daughter) and Levinus (1765-1845) formed their own firm which seemed to operate jointly with Van Horne & Clarkson, at least in their ventures with the Dutch traders.

As evidenced from the present ledger, the American merchants were exporting American and West Indian commodities for sale in the Netherlands, including sugar, coffee, potash and pear ash, tobacco, rice, cotton, wheat, rye, as well as spices. Van Eeghen and Co. served as their brokers in Amsterdam, selling the products on consignment and occasionally insuring the American traders against the loss of their cargo on the trans- Atlantic voyage. Most of the letters written by the Dutch traders include a list of commodities with their respective prices at market on that week. In addition, the American traders were using their proceeds from sales to purchase gin, oil, glass and other sundry goods from Van Eeghen and Co. and importing it back on their ships for sale in New York.

The letters contain much discussion of the French Revolutionary Wars, the conflicts between post- Revolutionary France and various European countries including the Netherlands and Great Britain, as well as the so-called American Quasi War with France. Starting in 1796, French privateers began seizing American ships and their cargo in reaction to the United States refusing to pay down its debt with France from the Revolution, as well as the economic ramifications of Jay’s Treaty with Great Britain. By 1798, the relationship between the countries had fallen into all but an undeclared naval war. Besides giving news of various events, the letters directly link political events with the rising and falling prices of their goods.

While the American traders seemed to benefit from the high prices of goods being sold in Amsterdam due to increased demand brought about by a sharp decrease in supplies caused by the wars, the merchants were not immune to the conflict. A 16 December 1797 letter, details the capture of their Ship Cheesman, bound from New York to Amsterdam laden with goods for sale on consignment. The ship was seized by a French privateer, though was subsequently retaken by an English Frigate 27 days later. Brought into Falmouth, the English “re-captors” were demanding salvage money in the amount of one eighth the value of the ship and cargo, which was upheld by the Court of Admiralty several months later. A 25 May 1798 letter by the Dutch merchants confirm that by the Spring of 1798 the American traders had suspended all exports to Europe: “We are extremely sorry for the reasons which have determined you to suspend for the present your Shipments abroad & which to our great regret we must confess are but too well founded in regard to the depradations commited on neutral navigation by the cruisers and privateeers of all the warring Powers.”

A facsinating primary source for the study of early American trans-Atlantic trade in the last decade of the 18th century and the effects of the Quasi War with France. (#27231) $ 3,500 48 WEDGWOOD, Ralph (1766-1837).

Ralph Wedgwood 328 Oxford Street London, Inventor Patentee & Manufacturer of the Stylographic Manifold Writer and Penna Polygraph ...

London: [circa 1820]. 4to (10 1/2 x 9 inches). Engraved instruction sheet and letterpress advertisement, both on yellow paper, mounted to inside pastedowns, as issued. Contemporary wallet-style green straight grained morocco binding, covers elaborately tooled in gilt with a a wide key scroll border, brass lock affixed to the upper cover and flap (with the original key present), interior in a contrasting red morocco with flaps and pockets tooled in blind, smaller tan morocco interior wallet enclosure.

A wonderful example of Wedgwood’s ground breaking carbonic paper copy book.

Wedgwood, a relative of the famous pottery family, first obtained a copyright for carbon paper in 1806. This wallet-style binding, or “pocket secretary,” was marketed in the 19th century for use with the carbonic paper. The binding was designed to hold all the supplies needed for making duplicate copies of correspondence, including carbon paper, writing paper, as well as the steel pens which were used. Carbon paper (manufactured by soaking paper in printer’s ink and then letting it dry) was simply layered between a thin sheet of tissue paper on top and writing paper on bottom. A steel pen was then used to write on the tissue paper, impressing the ink from the carbon paper onto the verso of the tissue paper and onto the recto of the writing paper. The latter became the copy for the recipient, with the tissue paper kept as the retained copy (with the writing in reverse on the underside able to be read through the front of the thin tissue). The present pocket-book is the earliest encountered, with Wedgwood’s Oxford Street address of circa 1820. (#27132) $ 2,400 49 WESTWOOD, John O. (1805-1893).

Fac-similes of the Miniatures & Ornaments of Anglo-Saxon & Irish Manuscripts.

London: Bernard Quaritch, 1868. Folio (22 1/2 x 15 inches). Chromolithographed title and sectional title, 53 chromolithographs, printed in gold, silver and colours, drawn on stone by W.R. Tymms, chromolithographed by Day and Son. Publisher’s limitation slip inserted. (Scattered minor foxing). Publisher’s black cloth, upper cover blocked in gilt and blind, spine lettered in gilt (minor wear).

Limited to 200 numbered copies.

“The work now submitted to the public may be regarded as constituting the first chapter of a History of the Fine Arts in this kingdom, extending from the Roman occupation of Great Britain to the Norman conquest ... In almost every instance the fac-similes from the original MSS. for this work have been executed by myself, with the most scrupulous care, the majority having been made with the assistance of a magnifying glass, and the plates have been produced under my especial direction and constant supervision...” (Introduction).

Published at nearly £21, an 1868 Quaritch catalogue confirms that only 200 copies were printed and that the lithographic stones for the plates destroyed.

Brunet, p. 944. (#27052) $ 1,850 50 [WRITING CASE].

Nineteenth century writing case in book form, opening to reveal compartments for ink, paper and writing implements, the original ink wells present.

No place: mid-19th century. 10 1/4 x 6 1/4 x 3 inches. Patterned paper covered trays, morocco covered divider tooled in blind, two cut glass inkwells, one with a silver cover. Period burgundy morocco, covers and spine decoratively tooled in gilt and blind, with white, red and green painted onlays, stamped Fanny on the upper cover.

(#26975) $ 1,200