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A Nineteenth-Century List [email protected] 917-974-2420 full descriptions available at www.honeyandwaxbooks.com or click on any image The Uncanny Animals of William

1. (illustrator); . Ballads . . . Founded on Anecdotes Relating to Animals, with Prints, Designed and Engraved by William Blake. : J. Seagrave for Richard Phillips, 1805.

$5500.

Octavo, measuring 6 x 4.25 inches: [4], 212, [2]. Late nineteenth-century full blue crushed morocco gilt, boards triple-ruled in gilt, raised bands, spine compartments richly decorated in gilt, all edges gilt, gilt dentelles, marbled endpapers. Five plates designed and engraved by William Blake, including frontispiece; index at rear. Bound without half- title, several signatures uniformly toned.

First edition of this collection of fifteen ballads for young readers by English poet William Hayley (1745-1820), each devoted to a different animal, offering adventure, pathos, and moral lessons: “Ye, whom a friend’s dark perils pain, / When terrors most unnerve him, / Learn from this Elephant to strain / Your sinews to preserve him.” The enduring interest of the book lies in the five remarkable contributed by William Blake, a partner in the venture, “which Hayley seems to have invented as a make-work project for Blake” (Morgan Library). In 1802, Blake produced engravings to accompany a proposed quarto edition of Hayley’s ballads to be issued in fifteen parts; only four parts appeared, for lack of sales. For this 1805 octavo edition, Blake re-engraved three of his earlier plates (“The Dog,” “,” and “The Lion”) in a smaller format, and produced two new designs: “The Horse” and “The Hermit’s Dog.”

The immediately recognizable, dreamlike quality of Blake’s vision elevates (and effectively disrupts) an otherwise conventional volume of verse. A near-fine copy, handsomely bound by Riviere. Tom Telescope Explains It All

2. Tom Telescope; [John Newbery]; [Oliver Goldsmith]. The Newtonian System of Philosophy, Explained by Familiar Objects, in an Entertaining Manner for the Use of Young Persons. : Ogilvy and Son; et al., 1806.

$500.

18mo, measuring 5.25 x 3.25 inches: vii, [1], 136. Contemporary green roan spine, marbled paper boards, pale grey endpapers, all edges speckled blue. Cop- per-engraved frontispiece and three copper-engraved plates; wood-engravings throughout text. Illustrated appendix. Light shelfwear; paper flaw to lower corner of page 129, not affecting text or .

Early nineteenth-century edition of this popular introduction to science for young readers, first published in 1761; authorship has been ascribed to both publisher John Newbery and Oliver Goldsmith. A country-house party of “young people of both sexes,” looking for amusement, invite the “very ingenious” Mr. Thomas Telescope to come teach them about natural philosophy. He delivers six lectures spanning the laws of physics, the solar system, the elements, geography, natural history, and the limits of human perception. The handsome copper engravings depict Vesuvius in mid-eruption, the Earth’s solar system, an orrery which has been updated with “the Moons which have been newly discovered,” and a combined illustration of the moon and an ar- millary sphere. At the end, readers encounter as an appendix a catalog of the scientific and drawing instruments mentioned in the book, with prices ranging from a shilling map of the moon to a six-pound air-gun “for experiments only.” A near-fine copy, in a contemporary binding.

Shakespeare’s Reading: Mirror for Magistrates and The Palace of Pleasure, Edited by Joseph Haslewood

3. []; Joseph Haslewood (editor). Mirror for Magistrates (three volumes); WITH: The Palace of Pleasure (three volumes). London: Lackington, Allen, and Co. Finsbury Square; and Longman, Hurst, Rees, Orme, and Brown, Paternoster Row; Reprinted for Robert Triphook, St. James’s Street, by Harding and Wright, St. John’s Square, 1815, 1813.

$7500.

Six quarto volumes, contemporary full brown crushed morocco gilt, gilt- ruled blind-tooled boards, raised bands decorated in gilt, spine compart- ments decorated in blind, maroon endpapers, all edges gilt. Letterpress titles in Mirror for Magistrates printed in red and black, decorative engraved titles throughout all three volumes, small woodcut vignettes in Volume III; two engraved half-titles in Palace of Pleasure. Crease to front free endpaper of first volume of Mirror for Magistrates, lightest occasional foxing. Deluxe large-paper reissues of two classic sixteenth-century source texts, the inspiration for some of the most important Elizabethan and Jacobean plays. Featuring chapters by a number of English poets, Mirror for Magistrates was at first suppressed by the Lord Chancellor in 1555, then published under Elizabeth in 1559, and expanded by new contributors over the decades to come. The anthology offers pointed verse portraits of historic rulers, with an eye to instructing those in power; Philip Sidney, in his Defence of Poesy, recommends “Mirrour of Magistrates meetly furnished of beautiful parts.” The chapter on “Queene Cordila” served as a key source for Shakespeare's : “I must assay your friendly faithes to prove: / My daughters, tell mee how you doe mee love.”

The Palace of Pleasure, first published in 1566 by William Painter, and expanded in subsequent editions, translates dozens of sensational tales from Continental sources, including the first English translations of Boccaccio's Decameron and Marguerite de Navarre’s Heptameron. The anthology provided English playwrights with a rich supply of plots, inspiring The Rape of Lucrece, Titus Andronicus, Romeo and Juliet, All’s Well That Ends Well, Timon of Athens, The Duchess of Malfi, Love’s Cruelty, Insatiate Countess, and The Revenger’s Tragedy. As the Cambridge History of English observes: “it would be difficult to find a plot that has not had its origin, or its counterpart, in Painter’s treasure-house.” Sixteenth-century editions of Mirror for Magistrates and The Palace of Pleasure are exceptionally scarce. Editor Joseph Haslewood, a founder of the Roxburghe Club, strove to bring neglected Renaissance texts to the attention of nineteenth-century readers and collectors; these lavishly produced sets, issued in editions of 150 copies, were part of his mission.

These volumes were splendidly bound by Charles Lewis, “the leading figure in English binding of the first years of the nineteenth century” (Maggs 1075).

A fine collection of Shakespearian source material. Child’s Sketchbook of American , Including Mount Vernon, 1835

4. [MANUSCRIPT]; L.C. Andrew. Sketchbook, including views of Mount Vernon and the Washington family tomb. : 1835.

$850.

Side-stitched sketchbook, measuring 6.25 x 8 inches: [22]. Contemporary marbled wrappers. Five watercolor landscapes, painted rectos only, and three full-page pencil sketches (one detached from binding). Signed in pencil in a child’s hand to verso of upper wrapper: “L.C. Andrew / 1835.” Wrappers partially split at top fold; marginal staining to lower wrapper and two of the pencil sketches.

Vernacular sketchbook of early American views, produced by an unknown young artist. The naïve landscapes include a number of river scenes, including pencil sketches of “a bound out” and Native Americans in a canoe. There are full-page watercolors of Mount Vernon from the Potomac side (complete with family dog and doghouse) and the Washington family tomb. An intriguing artifact of the early national period, reflecting not only reverence for Washington, but also a decidedly Romantic feeling for the American landscape.

Remarkable Insects

5. [EDUCATION]. Remarkable Insects. London: Religious Tract Society, [1842].

$350.

Single volume, measuring 5.25 x 4.5 inches: iv, 32, 32, 32, 32, 32. Original red ribbed pictorial cloth elaborately stamped in gilt and blind, gilt lettering to spine, yellow endpapers, all edges gilt. Hand-colored pictorial title page and throughout text. Ink gift inscription, dated 1881, to front free endpaper; bookseller ticket to front pastedown; binder’s ticket to final pastedown. Light soiling to binding, corners rubbed.

First edition, hand-colored issue, of this illustrated Victorian field guide for young readers, featuring conversational chapters on the honey bee, , the ant, the spider, and the gall insect. The author illuminates the remarkable qualities of everyday insects, drawing comparisons between insect and human achievements, and praising ’s ingenuity in designing even the smallest creatures: “Who is there that devoutly studies animated nature, that is not continually delighted and instructed?” Detailed illustrations are skillfully hand-colored throughout the text. OCLC locates holdings at six American institutions.

A near-fine example of an uncommon and beautiful little guide. and Other Poems by

6. Edgar Allan Poe. The Raven and Other Poems. New York: and Putnam, 1845.

$12,500.

Octavo, measuring 7.25 x 5 inches: [4], 91, [1]. Early twentieth-century full russet calf, boards single-ruled in gilt, raised bands, black morocco spine labels, spine sin- gle-ruled and lettered in gilt, gilt dentelles, marbled endpapers. Slip tipped onto second fly leaf noting “inner gilt dentelles by Zaehnsdorf.” Lacking original wrappers, half title, and ads. Expert repair to joints, a few light scratches to lower board.

First edition in book form of Edgar Allan Poe’s “The Raven,” the single most famous American poem of the nineteenth century, first published earlier that year in the New York Evening Mirror (under Poe’s own name) and The American Review (under a ). Poe composed “The Raven” in trochaic octometer, with a deranged musicality all his own: “‘Leave no black plume as a token of that lie thy soul hath spoken! / Leave my loneliness unbroken! – quit the bust above my door! / Take thy beak from out my heart, and take thy form from off my door!’ / Quoth the Raven, ‘Nevermore.’” Even before publication, Poe knew he had a sensation on his hands. When a friend described an early reading of the poem as “fine, uncommonly fine,” Poe responded: “Is that all you can say for this poem? I tell you it’s the greatest poem ever written.” Poe’s fame only increased with the appearance of contemporary parodies like “The Owl” and “The Pole- cat”: a contemporary recalls, “‘The Raven’ became known everywhere, and everyone was saying ‘Nevermore.’”

The publication of “The Raven” paved the way for Wiley and Putnam’s publication of Poe’s Tales, the collection that introduced his pioneering to a wider audience that same year. BAL 16147. A near-fine copy of a landmark in .

W.M. Thackeray’s Vanity Fair

7. William Makepeace Thackeray. Vanity Fair. A Without a Hero. London: Bradbury & Evans, 1848.

$2800.

Octavo, measuring 8 x 5 inches: xvi, 624. Early twentieth-century polished calf, boards triple-ruled in gilt, raised bands, spine compartments ruled and decorated in gilt, red and green morocco spine labels, gilt dentelles, marbled endpapers, all edges gilt. Frontispiece, illustrated title page, 38 full-page plates, and 150 wood-engraved illustrations throughout text. A few faint scratches to rear board.

First edition of Thackeray’s comic masterpiece, illustrated by the author. “A novel without a hero,” Vanity Fair follows the entangled adventures of two school friends, the gentle, trusting Amelia Sedley and the calculating Becky Sharp, as they come of age during the Napoleonic Wars. “Are not there little chapters in everybody’s life, that seem to be nothing, and yet affect all the rest of the history? Let us then step into the coach with the Russell-square party, and be off to the Gardens.” First issue, with the heading on page 1 in rustic type, the woodcut of the debauched Marquis of Steyne on 336 (suppressed in later issues, as based too obviously on the late Lord Hertford), and “Mr. Pitt” for “Sir Pitt” on 453.

A fine copy, splendidly bound by Riviere & Son. Florence Nightingale’s Notes on Nursing, from the Library of the First Woman Pharmacist in the United States

8. Florence Nightingale; [Susan Hayhurst]. Notes on Nursing: What It Is, and What It Is Not. New York: D. Appleton and Co., 1861.

$950.

Single volume, measuring 7.75 x 4.75 inches: [3], 4-140, [4]. Original full brown textured cloth, boards blind-ruled and lettered in gilt, pale yellow coated endpapers. Four pages of publisher’s advertisements at rear. Bookplate of Susan Hayhurst to front past- edown, early ownership stamp of A.M. Fullerton to front free endpaper. Light spotting and rubbing to binding, especially spine ends; upper hinge weak; short closed tear to gutter of front free endpaper.

Early American printing of Florence Nightingale’s classic treatise on the care of the sick, the copy of Susan Hayhurst, the first female pharmacist in the United States. Nightingale’s brisk common sense is fully on display in Notes on Nursing, a treatise aimed not at medical professionals, but at women nursing ailing family members at home. Nightingale stresses the importance of fresh air, light, cleanliness, and quiet in the sickroom, and offers pointed advice on diet: “To leave the patient's untasted food by his side, from meal to meal, in hopes that he will eat it in the in- terval is simply to prevent him from taking any food at all.” Notes on Nursing was an immediate success in when it appeared in 1859; the first American edition, in 1860, was similarly well-received.

The owner of this 1861 printing, the Quaker Susan Hayhurst, earned her degree in medicine from the Woman’s Medical College of Pennsylvania in 1857. A lifelong public health educator, she chaired the Committee of Supplies of the Pennsylvania Relief Association during the Civil War. In 1883, Hayhurst became the first woman to receive a pharmacy degree in the United States, going on to mentor generations of women pharmacists at the Woman’s Hospital of until her death in 1909. A very good copy of a classic work of nursing, bringing together two pioneering women in medicine. 1873 Meeting of the Philadelphian and Charlotte Bronte Societies

9. Program of the Public Meeting of the Philadelphian and Charlotte Brontë Societies. Lyndon Centre, Vermont: Caledonian Printers, November 21, 1873.

$100.

Single bifolium, measuring 8 x 5 inches folded: [4]. Program cover printed in red within a decorative floral border, interior printed in black. Offsetting to cover, short split to fold.

Program of an 1873 evening of , featuring members of the Philadelphian and Charlotte Brontë societies. The Philadelphian Society was most likely the organization founded at Middlebury in 1804, with chapters at other colleges as well; the Charlotte Brontë Society, a local club for women. The evening featured musical performances, recitations, and charades, with men and women contributing equally to the program. The one exception is the debate on the proposition “woman should enjoy an equality of privileges with man,” conducted by men on both sides. A window into American cultural life after the Civil War, and evidence (in the name of the women’s club) of Charlotte Brontë’s considerable American reputation in the decades after her death. Collection of Four Victorian Picture Alphabets

10. [ABC]. Book of Picture Alphabets. Contains: 1. Alphabet of Beasts. 2. Al- phabet of Birds. 3. Alphabet of Nations. 4. Scripture Alphabet. London: T. Nelson and Sons, [circa 1880].

$450.

Single volume, measuring 11 x 8.5 inches: [2], [64]. Original green cloth elaborately stamped in black and gilt, oval color-printed pastedown label to upper board. Pictorial title page printed in brown, followed by 32 leaves “mounted on cloth,” printed alternately on verso and recto: sixteen chromolithographed plates and sixteen pages of text. Light wear to binding, corners rubbed, offsetting to endpapers.

First edition of this Victorian collection of four brightly chromolithographed alphabets, representing beasts, birds, nations, and figures from the Bible. The Alphabet of Nations, with its casual ethnic stereotypes, is a particularly striking artifact of British colonialism: “The Feejees were at one time very fierce and cruel, and killed and ate men. But they have been taught to read the Bible, and are now gentle and good.” “The Turks are lazy and stupid, but they are also honest and brave.” “We should try to love Yankees, for though they live in a country far away from us, they are our friends and cousins, and speak English as we do.” A bright, near-fine copy. Helen Hunt Jackson’s Letters from a Cat

11. H.H. [Helen Hunt Jackson]; Addie Ledyard (illustrator). Letters from a Cat. Published by Her Mistress for the Bene- fit of All Cats and the Amusement of Little Children. : Roberts Brothers, 1880.

$600.

Small quarto, measuring 7.5 x 6 inches: [2], 89, [1]. Original green pictorial cloth stamped in gilt and blind, grey floral endpapers. Decorative headpieces throughout text, seventeen black and white illustrations. Presentation inscription to flyleaf. Cor- ners and spine ends lightly bumped, occasional smudge to text.

Early edition of this illustrated children’s book by Helen Hunt Jackson, best remembered for her popular 1884 novel Ramona. In 1836, Jackson’s mother mailed her five-year-old daughter, then traveling, a series of letters in the voice of the family cat: “until I grew to be a big girl, I never doubted but that Pussy printed them all alone by herself, after dark.” Decades later, Jackson revisited the letters, which record her cat’s adventures and misadventures back home, and wrote this delightful book. Widely reprinted, Letters from a Cat first appeared in 1879. A near-fine copy.

A Memphis Belle at Home and Abroad

12. Kate Thompson. Scrapbook. Various places, 1877-1881.

$1800.

Single volume, measuring 12.5 x 10 inches: [96]. Original brown pictorial cloth elaborately stamped in black, gilt, sil- ver, blue, ivory, and blind. Every page covered in inscriptions, ephemera, and pressed leaves and ; a few engravings and collages laid in. Shelfwear to binding, some botanical specimens crumbling or detached, occasional offsetting.

Bursting Gilded Age scrapbook kept by Katie Thompson, a “young and very beautiful” Memphis belle (as reported in the society pages) traveling through the American South and the capitals of Europe. Wonderfully thorough, Thompson chronicles her school days at Fairmount Collegiate Institute for Young Ladies near Sewanee, and her American travels: the University of Alabama Commencement Hop, several weeks near Ole Miss where “many anxious hearts (especially among the students) look forward with unbounded pleasure to her return,” New Orleans for Mardi Gras. Her overseas tour takes her through England, Scotland, Ireland, Germany, and Switzerland, collecting souvenirs all the way.

Thompson’s scrapbook includes autographs, photographs, cards (greeting, calling, and ), newspaper clippings, caricatures, Mardi Gras favors, a lock of hair, a peacock feather, and flowers picked near ’s grave at Mount Vernon and Ann Hathaway’s cottage in Stratford-upon-Avon.

A rich trove of ephemera, assembled by a real-life Daisy Miller.

Oscar Wilde’s Poems, 1881 One of 250 Copies Published at his Own Expense, Splendidly Bound

13. Oscar Wilde. Poems. London: David Bogue, 1881.

$4800.

Octavo, measuring 7.25 x 4.5 inches: x, 229, [1]. Early twentieth-century full red crushed morocco gilt, boards gilt-ruled with gilt cornerpieces and floral medallions inlaid with green morocco, raised bands, spine compartments lettered and decorated in gilt, marbled endpapers, gilt dentelles, top edge gilt, other edges uncut, red silk ribbon marker. Gilt-embossed rectangular panel of publisher's first binding, measuring 2 by 2.5 inches, affixed to blank flyleaf.

First edition of Oscar Wilde's first book of poems, one of 250 copies. By his mid-twenties, Wilde had enjoyed considerable success as a poet: “Ravenna” won 's Newdigate Prize in 1878, and dozens of Wilde's poems had appeared in Irish, English and American periodicals. This first edition of his collected poems, handsomely printed on handmade paper, was published at Wilde's own expense. Highlights include “Requiescat” (an for his sister Isola, who died when they were children), “ of Keats,” and “Her Voice”: “Sweet, there is nothing left to say / But this, that love is never lost, / Keen winter stabs the breasts of May / Whose crimson roses burst his frost, / Ships tempest-tossed / Will find a harbour in some bay, / And so we may.”

Wilde was disappointed in the reception of his first book, and turned from to the more profitable genres of fiction and drama, but he always considered himself a poet before all, and declared that he would be remembered as “the infamous St Oscar of Oxford, Poet and Martyr” (Letters, 720).

First printing, with first issue title page, misprint “may” for “maid” on page 136, and a panel of publisher's first binding, featuring a gilt plum blossom pattern designed by Wilde, affixed to rear flyleaf. A fine copy of a major literary debut, splendidly bound by Root & Son. Gilded Age Aesthetic Interiors in Brooklyn: Chromolithographic Trade Card, 1882

14. Invitation to the Lang & Nau Fall Exhibition. New York: Sackett, Williams and Betzig, [1882].

$250.

Chromolithographic trade card heightened in gold, measuring 5 x 4 inches, verso printed in black and white. Lightest edgewear.

Elaborate Victorian trade card for the Brooklyn-based furniture and upholstery company Lang & Nau, featuring an invitation to their fall exhibition. Lang & Nau specialized in modern Aesthetic Movement interiors. The invitation depicts a brownstone parlor, featuring objets d’ arranged against a background of patterned moldings, mantels, wallpaper, rugs, tiles, upholstery, and draperies. Shades of peacock blue, terracotta, and “greenery-yallery,” heightened in gold, recall the fashionable decorative work of James Whistler, William Morris, and Edward Burne-Jones across the Atlantic, while the pudgy family dog by the fire signals old-fashioned domestic comfort. Near-fine. Celebrated Crimes by , Splendidly Bound by Ramage

15. Alexandre Dumas; I.G. Burnham (translator). Celebrated Crimes. London: H.S. Nichols, 1895.

$3800.

Eight royal octavo volumes, contemporary full plum crushed morocco gilt, boards ruled in gilt, raised bands, spine compartments elaborately tooled in gilt with a fleur-de-lis motif, top edges gilt, other edges uncut. Title pages in red and black, text printed on vellum, all volumes illustrated with photogravures in two states throughout text.

Limited large-paper English edition of the elder Alexandre Dumas’s true crime narratives, number 15 of 25 copies, printed on Japanese vellum with the photogravure illustrations in two states. First published in French in 1839 and 1840, the collection includes on the Borgias, Martin Guerre, Mary Stuart, and Beatrice Cenci, as well as modern criminals such as the poisoner Antoine Derues and the assassin Karl Ludwig Sand. Most notable is the historical account of the , a real prisoner of the Sun King whose plight would inspire the final chapter of Dumas's d'Artagnan romances: “The imagination is fired at the thought of that enforced dumbness, of that lifetime of reflections which the features did not betray, of that isolation for forty years confined within double walls of stone and iron.”

A fine deluxe set, splendidly bound. All books are offered subject to prior sale.

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