The New York International Antiquarian Book Fair - 2017

Buddenbrooks at The New York International Antiquarian Book Fair - 2017

Visit Us in Booth C23 March 9 - 12, 2017

21 Pleasant Street On the Courtyard Newburyport, MA. 01950, USA Boston MA. 02116 - By Appointment (617) 536-4433 F: (978) 358-7805 [email protected] or [email protected] www.Buddenbrooks.com

Newburyport - Boston - Mount Desert Island De Civitate Dei - An Extremely Early Printing - Rome 1474 The Press of Ulrich Han - The First Active Printer in Rome The City of God - St. Augustine - The Efficacy of Grace With Fine Provenance - Beautifully Decorated

1 [St. Augustine]. Augustini, Aureliii Hipponen. DE CIVITATE DEI (Rome: Ulrich Han (Gallus) and Simon Nicolai Chardella, 1474, Feb. 4) A Rare Incunable Printing, the first printing by Ulrich Han in Rome, of this landmark text, and only the fifth printing overall. A rare and an unusually early printing of this great work. With Excellent Provenance. The opening leaf with magnificent illuminated gilt initial “I”, 15 lines tall on a field of blue, red and green and with further scroll and intertwined vine work extending across the top and down two-thirds of the page in red, blue, green, brown and burnished in gold, a second 9 line gilt initial “G”, on a field of green, blue, red and gilt, enclosed in a green box, further gold and black embellishments and a Visconti Biscione, coat of arms of the Duchy of Milan, from the era of the House of Sforza, (likely the fifth or sixth Duke) at the foot in green blue and red. Further rubricated throughout with large initials in blue and red. Folio (350 x 245 mm), bound in later full calf, the boards nicely paneled with a frame in blind, the spines with tall gilt ruled raised bands creating compartments with either gilt lettering or a central gilt tool in a thistle motif, additional giltwork at the spine tips. 248 (of 264) leaves, the work itself textually complete, lacking only 14 leaves of introductory matter, a blank and a final leaf of register. A wonderful survival of this important and early printing, the text handsome and desirable, illuminated decoration on opening leaf trimmed a touch, the final six leaves with old paper repairs ranging in size, overall very clean and fresh, the paper with a nice crispness still to it, only very minor and occasional evidence of soiling, later leaves with some small flaws, the binding with cosmetic wear but still very sturdy, solid and sound. A RARE AND EARLY INCUNABULAR PRINTING. OF ST. AUGUSTINE’S CLASSIC WORK, THE CITY OF GOD, DE CIVITATE DEI. THIS PRINTING, FROM THE PRESS OF ULRICH HAN, the first active printer in Rome and one of the first in all of Italy. This is, an elusive and important printing of the great work. According to Goff, it was preceeded in Rome only by those of Sweynheym and Pannartz in 1468 and 1470. Sweynheym and Pannartz’s Subiaco printing (the editio princeps of 1467) and a Venetian printing by Johannes and Vindelinus de Spira (in 1470). Ulric Han is frequently considered to have established printing in Rome, though some would argue that the distinction might in fact, belong to Sweynheym and Pannartz. The immediate purpose of Augustine in writing THE CITY OF GOD (DE CIVITATE DEI) was as apologia; “ the fall of Rome cannot be attributed to the abolition of pagan worship...the happiness of mankind in this and the next world can only be assured by the Christian religion; and St Augustine explains the Christian Church as an organization which would fill the vacuum caused by the break-up of the secular state. There is no opposition between State and Church; the State is not necessarily evil; if it is pervaded by Christian ideals and the God-fearing life, then it approaches true justice and thereby the City of God. DE CIVITATIS DEI is Augustine’s most important work. His principal tenet was the immediate efficacy of grace, and his theology remained an influence of profound importance on Franciscans, Cistercians, and others in the Middle Ages, when it was often characterized as being an alternative orthodoxy to the Dominican system of Aquinas. The first five books deal with the polytheism of Rome, the second five with Greek philosophy, particularly Platonism and Neo- Platonism ...and the last twelve books with the history of time and eternity as set out in the Bible. History is conceived as the struggle between two communities...but history is understood as a continuous evolution of the divine purpose and all forces work towards redemption of man by God’s grace, the central figure of Augustine’s theology....For the first time a comprehensive survey of human history is presented....In economics Augustine praised labor as a means towards moral perfection...and his contrasting description of a just ruler (imbued with piety, humility, fairness) and the tyrant or Antichrist (imiety, craving for glory) powerfully influenced Renaissance thought. ‘The City of God’ pervaded the whole Middle Ages...in the struggle between Pope and Emperor both sides drew arguments from it....The idea of international law was partly derived from the book...” PMM. And in our own day Maritain, Niebuhr, Tillich and other great thinkers have drawn inspiration from this great work. Goff A-1234; HCR 2050; Pell 1549; CIBN A-681; Péligry 104; IGI 970; IBE 92; IJL2 42; SI 427; Sajó-Soltész 369; Madsen 392; Lőkkös(Cat BPU) 53; Martín Abad A-237; Günt(L) 2412; Kind(Göttingen) 1925; Döring-Fuchs A-394; Walsh 1310; Bod-inc A-521; Sheppard 2674; Pr 3359; BMC IV 24; GW 2878 $29,500. Very Rare True First Edition of a Cornerstone Text Charles Andersson - The Okavango River - 1861 - London A Narrative of Travel, Exploration and Adventure

2 Andersson, Charles John. THE OKAVANGO RIVER: A Narrative of Travel, Exploration, and Adventure (London: Hurst and Blackett, 1861) First edition. With a steel-engraved portrait vignette title page and 16 other engraved illustrations as called for. 8vo, handsomely bound in half tan calf over boards, the spine with raised bands gilt ruled, black morocco lettering label gilt. [xxi], [iii], 364 pp. A very nice copy, with only very light mellowing to the extremities. RARE FIRST EDITION OF THIS CORNERSTONE TEXT. A very scarce volume in first edition format, it was written five years after his LAKE NGAMI, and is a record of Andersson’s hunting adventures though Namaqualand and Damaraland (present day Namibia). “Andersson intended to explore these countries right up to the Cunene or Nourse River, but the difficulties of the expedition, though encountered with indomitable courage, proved to be insuperable, and he had to turn back. He obtained, however, much valuable information, and his success as a hunter and collector was unique in this part of the continent. The coast-line of South-West Africa is carefully described, and there is an interesting account of the once-famed guano island, Ichaboe” (Mendelssohn I, p. 42). $2850.

An Enduring Classic - The Ship of Fooles The Earliest Obtainable Edition - With Woodcuts Throughout

3 Brant, Sebastian. STULTIFERA NAVIS...THE SHIP OF FOOLES, WHEREIN IS SHEWED THE FOLLY OF ALL STATES, with divers other workes adjoyned unto the same, very profitable and fruitfull for all men. Trans- lated out of Latin into Englishe by Alexander Barclay, Priest (London: J. Cawood, 1570) The second edition in English, after Pynson’s unobtainable edition of 1509. With 108 of 116 woodcut illustrations within the text, 9 repeats, and with small woodcut initials throughout. Folio (268 x 187 mm), in 20th century calf correct in style to the period of the work, the spine with tall blind ruled bands, central gilt tools in three compartments, gilt lettering in two plus date at the tail in gilt. tp, [para]3-2[para]6, A-VV6, XX4. Lack- ing leaves: [para] 2 (a preliminary leaf), Dd2, Ii6, Kk6-Mm2. Bound without the reprints of Barclay’s Eclogues, which are found in only some copies. A very good copy of this very rare book, printed on thick, crisp paper, with excellent margins--- a good centimeter larger all around than most institutional copies. In general, copies of this edition are substan- tially incomplete; the present copy is comparatively very well preserved. The title is a bit soiled, several previous owner’s signatures show ownership by John Hysop and Sarah Hamvile, who both autograph the title-page twice. Six leaves appear to have been supplied from a smaller copy: [para]6 (which has also been mended at the head of the margin); K5 (remargined at the gutter with white paper); Y2, Y3, Hh4, Hh5 (all mended, and remargined). Leaves T2, Rr5, and Uu3 and Uu5 have tears with some loss of text. There are scattered minor tears and stains. Realistically speaking, this is the earliest obtainable edition in English of Brant’s classic. Pynson’s edition is of notorious rarity and now copies of Cawood’s edition also appear only rarely on the market. Barclay’s translation is based on Jacob Locher’s Latin Version of Brant’s Narrenschiff, first printed by Richard Pynson in 1509. Little is known about Alexander Barclay, except that he was a scholar who travelled abroad and absorbed the spirit of the Reformation in Europe, knew several languages, took holy orders, and became a Benedictine Monk. All but three of the illustrations for this edition were printed from the blocks of the 1509 edition, which Pynson copied from those accompanying Pierre Rivière’s French translation (Paris, 1497). These French illustrations were in turn based on those of the editio princeps (Basel, 1494), of which many were probably made or designed by Albrecht Dürer, an attribu- tion discussed by Arthur M. Hind in his Introduction to a History of Woodcut. Pynson’s blocks remained unused until the present edition, which accounts for their extraordinary clarity. Sebastian Brant’s Narrenschiff (or Stultifera Navis, or Ship of Fools) was enormously popular in its time, going through fifteen editions before the end of the fifteenth century. Barclay’s English translation is not literal but is adapted to English conditions, giving an interesting glimpse into contemporary English life. Its Reformation spirit can be seen in the many criticisms of officials and the corruption of the courts. STC 3546; Pforzheimer 41; Christie’s Berland Sale, Part II (Oct 2001); Grolier Langland to Wither 18; Hodnett English Woodcuts 1824-1932. $28,500.

The Invention of Photography Daguerre’s Conquering Work - PMM 318 The First Edition with the Portrait - 1839 - Paris Historique...Procedes du Daguerreotype et du Diorama

4 Daguerre, Louis Jacques Mandé. HIS- TORIQUE ET DESCRIPTION DES PRO- CEDES DU DAGUERREOTYPE ET DU DIORAMA (Paris: Alphonse Giroux et Cie, Editeurs, 1839) The First Edition with the portrait of Daguerre and with the additional seventh figure on plate 1, this rare edition is one of the first printings of the groundbreaking work. With the lithographed portrait of the author and 6 engraved plates, numbered I-VI. 8vo, in an attractive antique binding of half tan calf over marbled boards, the spine lettered in gilt between flat bands, marbled endpapers and additional blanks, t.e.g. With half-title, portrait, title, and 76 pp. A very fine and handsome copy, the text especially clean and fresh, beautifully preserved, the binding attractive and tight. RARE. ONE OF THE FIRST PRINTINGS OF THIS LANDMARK WORK. FIRST EDI- TION WITH THE PORTRAIT OF DAGURRE AND THE FIRST EDITION TO INCLUDE THE SEVENTH FIGURE TO PLATE 1. “Daguerre’s exposition of his photographic process. Daguerre, a gifted set designer and creator of the famous Diorama, a picture show based on lighting effects, began experimenting in the 1820’s with fixing the images of the camera obscura on silver chloride paper. His continued lack of success using this method stimulated his interest in the heliographic method invented by Nicéphor Niépce, who had produced the first successful photographic image in 1826 or 1827 on a pewter plate coated with bbitumen of Judea dissolved in oil of lavender, and in 1829 Daguerre succeeded in persuading the reluctant Niépce to become his partner. It was only after Niépce’s death, however, in the spring of 1835, that Daguerre accidentally discovered a quicker method of exposing and developing the Niépcian image through the application of mercury vapor. Us- ing this method, with common table salt as the fixative, he produced his first successful permanent photographic image in 1837.” ‘In 1839, the discovery was given official status by a brief announcement at the Académie des Sciences. In the late summer, a full announcement was made to a packed house at a joint meeting of the Académies des Sciences and des Beaux-Arts at the Institut de France. The excitement was palpable. “Perhaps no other invention ever captured the imagination of the public to such a degree and conquered the world with such lightening rapidity as the daguerreotype”. Daguerre’s manual, published by order of the government, was quickly sold out. A total of 39 reprints, new editions and translations appeared in the following 18 months. The great demand accounts for the profusion of issues of the first edition: 7 are recorded, all from the basic setting of type. The first issue to appear was the Alphonse Giroux issue of which only 3 copies are known to survive.’ The copy here offered is also printed by Giroux and is the first to appear with the seventh figure. “Along with the official documents relating to the government’s review of the procedure, Daguerre’s manual includes details of its genesis, including a transcription of Niépce’s own description of his heliographic process, submitted to Da- guerre in 1839, and a full illustrated description of his daguerreotype process---presented as an independent invention... . In the public imagination, Daguerre competed only with Fox Talbot for the title of inventor of photography....” Norman 569. Horblit, One Hundred Books Famous in Science, 21a; Heralds of Science, 183; PMM, 318; Gersheim, History of Photography, Ch.6. $6750.

Daguerre’s Groundbreaking Work in Photography The Earliest Announcements and Articles Académie des Sciences - August Through December 1839

5 [Daguerre, Louis Jacques Mandé; Photography; Da- guerreotype]; Arago, François; Duvernoy, M. et al.. [DAGUERRE] [FIRST SCIENTIFIC REPORTS ON THE DAGUERRÉOTYPE]. COMPTE RENDU DES SÉANCES DE L’ACADÉMIE DES SCIENCES. SÉANCE DU LUNDI 12 AOUT 1839 [thru] Decembre 1839. PRÉSIDENCE DE M. CHEVREUL. Remarques a l’occasion d’un passage du Rapport...Lettre de M. Duvernoy a M. Flourens. [contained within] COMPTES RENDUS DES SÉANCES DE L’ACADÉMIE DES SCIENCES... Tome Neuvieme Juillet- Decembre 1839 (Paris: Bachelier, Imprimeur-Libraire, Various dates, August - December 1839) FIRST EDITON OF THE VERY RARE FIRST ANNOUNCEMENT OF DAGUERRE’S GROUNDBREAKING WORK IN PHO- TOGRAPHY. A COLLECTION OF IMPORTANT ACAD- EMIE DES SCIENCES PRINTINGS ON DAGUERRE AND PHOTOGRAPHY and ADDITIONALLY WITH, the first descriptions of the process and with letters and articles on the work of Daguerre, Niepce and others. 4to, in a French binding of fine crushed navy-blue morocco over sympathetically coloured fine marbled boards, the spine gilt ruled, lettered and with decorations, marbled endpapers. half-title; 227-228; 249-268; 289-290; 353; 376- 380; 455-458; 411-412; 423-432; 485-486; 511-514; 539-540; 553-554; 559-560; 595-596; 713-714; 771-772; 801-802; 823- 824 Beautifully preserved oriignal extracts relating to the discovery of the Daguerréotype handsomely bound together. FIRST EDITION OF THE VERY RARE FIRST ANNOUNCEMENT OF DAGUERRE’S GROUNDBREAKING WORK IN PHOTOGRAPHY. RARE ARTICLES FROM L’ACADÉMIE DES SCIENCES RELATING TO THE DA- GUERRE AND THE DAGUERREOTYPE AND EARLY PHOTOGRAPHY. The first announcements of Daguerre’s groundbreaking work in photography and other important letters and articles on the discovery. “Daguerre’s exposition of his photographic process. Daguerre, a gifted set designer and creator of the famous Diorama, a picture show based on lighting effects, began experimenting in the 1820’s with fixing the images of the camera obscura on silver chloride paper. His continued lack of success using this method stimulated his interest in the heliographic method invented by Nicéphor Niépce, who had produced the first successful photographic image in 1826 or 1827 on a pewter plate coated with bitumen of Judea dissolved in oil of lavender, and in 1829 Daguerre succeeded in persuading the reluctant Niépce to become his partner. It was only after Niépce’s death, however, in the spring of 1835, that Daguerre accidentally discovered a quicker method of exposing and developing the Niépcian image through the application of mercury vapor. Us- ing this method, with common table salt as the fixative, he produced his first successful permanent photographic image in 1837.” ‘In 1839, the discovery was given official status by a brief announcement at the Académie des Sciences. In the late summer, a full announcement was made to a packed house at a joint meeting of the Académies des Sciences and des Beaux-Arts at the Institut de France. The excitement was palpable. “Perhaps no other invention ever captured the imagination of the public to such a degree and conquered the world with such lightening rapidity as the daguerreotype”. Daguerre’s manual, published by order of the government, was quickly sold out. A total of 39 reprints, new editions and translations appeared in the following 18 months. The great demand accounts for the profusion of issues of the first edition: 7 are recorded, all from the basic setting of type. The first issue to appear was the Alphonse Giroux issue of which only 3 copies are known to survive.’ “Along with the official documents relating to the government’s review of the procedure, Daguerre’s manual includes details of its genesis, including a transcription of Niépce’s own description of his heliographic process, submitted to Da- guerre in 1839, and a full illustrated description of his daguerreotype process---presented as an independent invention... . In the public imagination, Daguerre competed only with Fox Talbot for the title of inventor of photography....” Norman 569. Horblit ; PMM $7500.

Adolphus Greely’s Three Years of Arctic Service One of the Most Tragic Narratives of Arctic Exploration Scarce First Edition in Especially Pleasing Condition

6 Greely, Adolphus. THREE YEARS OF ARC- TIC SERVICE: An Account of the Lady Frank- lin Bay Expedition of 1881-84 and the Attain- ment of the Farthest North (London: Richard Bentley and Son, 1886) 2 volumes. First edition. Illustrated with 2 frontispieces, 42 full page plates, several of which are folding, 81 text illustrations, and 9 maps, 2 of which are very large folding maps bound in at the end of Vol. II. 8vo, publisher’s original navy-blue cloth lettered and decorated in gilt with com- pass designs on the spines, the upper covers with a polar vignette in gilt and white. xxvi, 428; xiv, 444 index pp. A very handsome set, with the cloth in fine condition and with no fading, internally with very little evidence of use or age, an unusually pleasing copy, especially well preserved, tight and strong and with only very minimal breakage of the joining of the free-fly and pastedown. A UNUSUALLY nice set OF THE SCARCE FIRST EDITION of this narrative of one of the more tragic episodes in the history of polar exploration-- only six members of the expedition survived (just barely) the ordeal which Greely narrates. First edition of this first person account of the 1881-1884 Greely expedition, with additional material from the diaries of Lt. Lockwood and Sgt. Brainard. The engravings are from original sketches, photos, and drawings and furnish some of the earliest view of these regions. This U.S. Army expedition, sent to establish a scientific observation post at Lady Franklin Bay (just north of the 81st) reached 83°24’ by advancing along the coast of Greenland, breaking the English record by 4 miles and with its high number of fatalities, demonstrated the immense difficulty of reaching the Pole. $1375. Hoskin’s Travels in Ethiopia - Rare First Edition Scarce and Highly Important in Original Cloth - 1835 Also a Book of Considerable Beauty and Quality

7 Hoskins, G. A. TRAVELS IN ETHIOPIA, Above the Second Cataract of the Nile; Exhibiting the State of That Country, and its Various Inhabitants, Under the Dominion of Mohammed Ali; and Illustrating the Antiquities, Arts, and History of the Ancient Kingdom of Meroe. (London: Longman, Rees, Orme, Brown, Green & Longman, 1835) First edition. With a folding map and 54 lithographic plates including the frontispiece after Hoskins and Bon- doni, 8 of which are double page, 4 are coloured chromolithos, and 2 are coloured by hand, also with numerous wood engravings within the text. 90 illustrations in total. 4to, in the original near black dark green cloth, bordered in blind on both covers and with pictorial gilt designs of Egyptian statuary on the top cover and spine, gilt lettered on the spine, edges untrimmed. xix, 367. A handsome copy of a book quite hard to find in collectable condition, well preserved and clean with just a bit of minor toning to the page edges, sometime very skillfully rebacked preserving all of the original decorated cloth spine, board edges with minor wear and mellowing, the folding map backed with linen for support, endpapers matching the originals renewed. Very scarce in the original cloth. SCARCE IN THE ORIGINAL CLOTH. A cornerstone work, Hoskins was the first European to describe and illustrate the antiquities of Meroe and one of only a tiny number of explores at the time to have ventured above the Second Cataract. He also spent a year in upper Egypt studying its monuments and journeyed extensively into the Nubian and Ethiopian deserts. It was Hoskins intent to prove that Meroe was the seat of learning from where the arts and sciences of Egypt, and then ultimately Greece and Rome, derived their origin. This account contains detailed studies on the arts and education in these regions. The fine lithographs in this volume were the first collection of illustrations of the region’s antiquities. American author Edgar Allan Poe was quite impressed with Hoskin’s handiwork. “Mr. Hoskins’ Travels in Ethiopia above the Second Cataract of the Nile, are very highly spoken of. The work is a large quarto; and the expense of getting it up has been so great, as to leave its author no chance of remuneration. It contains ninety illustrations, by a Neapolitan artist of great eminence. The risk attending the publication of so valuable a book, will operate to deter any American bookseller from attempting it.” The quality that so impressed Mr. Poe is evident, especially so in the impressive plates. It is not only a book of great historical and archaeological importance, but also a book of considerable beauty. Gay 2574, Hess & Coger 1376, Hilmy I, p. 310. Blackmer 832. $5500.

The Water Babies - Charles Kingley’s Satiric Classic First Edition in a Very Handsome Bayntun of Bath Binding

8 Kingsley, The Rev. Charles. THE WATER BABIES; A Fairy Tale for a Land Baby (London: Macmillan and Company, 1863) First edition, without the L’Envoi leaf as is almost always encountered as the author had it removed from all but the first 200 or so copies. With two full page plates by J. Noel Paton and with a number of small illustrations used throughout as opening initials. 8vo, in a very fine and very handsome Bayntun of Bath binding of full navy crushed morocco, the covers decorated with handsome all-over geometric gilt framework tooling, the spine with gilt tooled raised bands separating compartments with matching geometric gilt decorations, two compartments gilt lettered, wide gilt decorated turn-ins and marbled endpapers, a.e.g., The publisher’s original green cloth preserved and bound in the rear, the upper piece with central gilt Water Baby vignette, the spine piece gilt lettered. Also retained is the original half-title. Now all in preserved in a blue cloth slipcase with chemise. 350 pp. A very beautiful and very handsome copy, the text wonderfully bright and clean for this title, the fine binding pristine and perfect. SCARCE FIRST EDITION IN A WONDERFUL BINDING BY BAYNTUN OF BATH. Kingsley’s WATER BABIES was extremely popular and remained a mainstay of English children’s literature for many decades. Kingsley wrote the work as part satire in support for Darwin’s ‘Origin of Species’, which Kingsley had been one of the earliest public figures to praise. Within the tale Kingsley alludes to debates among biologists of its day, satirizing and at various times referring to Sir Roderick Murchison, Professor Rich- ard Owen, Professor Thomas Henry Huxley, and of course, “Mr. Darwin” They, and the science of the period become explicitly part of the story. The story is also thematically concerned with Christian redemption, and Kingsley also used the book to argue that Eng- land treated its poor badly, and to question child labour. Unfortunate common prejudices of its day, particularly in reference to Americans, Jews, blacks, Catholics and the Irish, have led to the story’s fall from popularity. $3950.

First Edition Paradise Lost with John Martin’s Illustrations A Superb Copy of the Grand Large Plate Imperial Quarto

9 Milton, John. THE PAR- ADISE LOST OF MILTON (London: Sepitmus Prowett, 1827) 2 volumes bound as one. A Very Scarce “large plate” copy of the the First Edition with the illustrations of John Martin. With the 24 very fine large full page illustrations designed and engraved in mezzotint by John Martin. Imperial 4to, in a especially handsome period binding of full plum pebbled morocco, gilt extra. The covers with thick gilt ruled frames enclosing a smaller more ornate gilt vine panel, the spine with wide flat raised bands gilt bordered between compartments with ornate gilt vine tooled decoration, two compartments boldly lettered in gilt, the thick board edges gilt ruled and with wide gilt ruled turn-ins, a.e.g. Though bound as a single volume the binder has retained the original title and half-title pages to each volume. 228; 219 pp. An extremely handsome and clean copy, the text-block very solid and sound and fresh, the tissue guards intact and the plates rich, only an occasional hint of the common foxing can be found. The binding is in excellent condition, very beautiful and especially well preserved. A very fine copy indeed. FIRST EDITION AND A WONDERFUL COPY OF THE GRAND LARGE PLATE ISSUE OF JOHN MARTIN’S ILLUSTRATED MILTON, this the issue with plates roughly 280 x 190 mm, an octavo issue with smaller plates was also produced. John Martin was one of the earliest practitioners of the mezzotint steel-engraving process, beginning his career in 1825. His subject matter tended to lean towards the spiritual and he did several engravings for illustrated bibles. His style and technique are well demonstrated in this prized work, an excellent accompaniment to Milton’s epic work. Employing this new technique Martin was able to produce plates of exquisite darkness punctuated with glorious streams of heavenly light. Martin’s work has been called one of the “most significant series of British book illustrations ever to have been produced” - (Campbell) Prowett commissioned two complete sets of the plates from Martin. One set was plates measuring about 280 by 190 mm for this Imperial quarto issue. Afterwards he commissioned the second smaller (200 by 150mm) set for an Imperial octavo issue. “This book was one of the great publishing enterprises of the age. The apocalyptic romanticism of his conceptions had many sources: the monumental buildings of London, the engravings of Piranesi, published volumes of eastern views, even incandescent gas, coalpit accidents, and Brunels new Thames Tunnel. The resulting illustrations may be heterogeneous, but they are also unforgettable” -Milton Ray Ray, The Illustrator and the Book in England, p. 69. $18,500.

Francis Osborn’s Greatest Advice to a Son With Two Addition Books Containing Many Discourses

10 Osborn, Francis. ADVICE TO A SON. Or, Directions For Your Better Conduct, Through the Various and Most Important Encounters of This Life... [With] ADVICE TO A SON. The Second Part. [With] POLITCALL REFLEC- TIONS UP THE GOVERNMENT OF THE TURKS. A Dis- course on Nicolas Machiavel; The King of Sweden’s De- scent into Germany; The Conspiracy of Piso and Vindex against Nero; The Greatnesse and Corruption of the Court of Rome; The Election of Pope Leo XI; The Defection From the Church of Rome; A Discourse in Vindication of Martin Luther (Oxford: By H.H. for Tho. Robinson, 1658, 1658, 1662) 3 books bound as one volume. 6th edition and very early printing of “Advice to a Son”, First edition of “Advice the Second Part” and third edition of the collection of discourses. 12mo, full near contemporary calf, the spine gilt tooled in three compartments between gilt ruled bands, one compartment with a brown morocco label gilt lettered and decorated. [A1-4], 188, [8]; [xi], 189, [3]; [iv], 194. Internally very well preserved, quite crisp and fresh with only minor and less then expected evidence of age, the binding without restoration and with some age-wear, still a solid copy. SCARCE WORKS BY ONE OF THE MOST POPULAR WRITERS OF HIS DAY, including his most famous, ADVICE TO A SON. His “Advice” was one of the best known works at the time of its initial publication in 1656 but was also extremely controversial. The first edition was published anonymously, Osborn did not attach his name to the work till 1658. In it he argues against the Monarchy, Marriage, Women and libraries. After this 1658 publication the book was suppressed by the Vice Chancellor and after the Restoration it was brought before the House of Lords as treasonous. The “Advice” is broken down into five major categories; Studies, Love and Marriage, Travel, Government, and Religion. The second part was even more combustible, but did not meet with the same popularity. The third book included here contains a very early English discourse on Machiavelli, Osborn’s well researched work on the Turkish Government and several other short discourses. Madan 2396, 2399, 2603. $1850.

The Superb Printing by the Shakespeare Head Press The Works of Shakespeare Stratford-on-Avon - 1904 - Very Handsomely Bound

11 Shakespeare, Wil- liam; [Fine Press Books; Shakespeare Head Press]. THE WORKS OF WILLIAM S H A K E S P E A R E (Stratford-On-Avon: The Shakespeare Head Press, 1904) 10 volumes. First Edition printed by the Shake- speare Head Press. Limited and Num- bered, this being copy number 131. Illustrat- ed with the Droeshout and Chandos portraits as frontispieces as well as the additional gravure frontispieces of known portraits of Shakespeare to every volume. 4to, beautifully bound in three- quarter red morocco by Bayntun of Bath. The spines are decorated with panel designs separated by raised bands gilt stopped, two compartments lettered in gilt, t.e.g. A very fine and very handsome copy of this beautifully printed work. FIRST AND BEST EDITION PRODUCED BY THE SHAKESPEARE HEAD PRESS IN STRATFORD-ON-AVON. The Shakespeare Head Press was the dream child of A. H. Bullen, who wished to produce beautiful editions of Shakespeare’s works-- set, printed and bound in the famed author’s home town of Stratford-Upon-Avon. The press expanded significantly over the years and printed many wonderful editions by a plethora of writers. The books were printed for A.H. Bullen and F. Sidgwick at the press, in the house of Julius Shaw the poet’s friend and one of the witnesses to his will. The text with essays by H.C. Beeching, Robert Bridges, Henry Davey, E.K. Chambers, J.J. Jusserand and M.H. Spielmann. The type was composed under the supervision of T.E. Summerton. The whole was printed by F.S. Cooper. The work was begun in July, 1904 and finished in January 1907. Colin Franklin, writing in THE PRIVATE PRESSES, says that in the years after the death of A. H. Bullen (the Press’s founder), the Shakespeare Head Press “became the most mature and sophisticated of the private presses, producing some works in the grand manner which are a great pleasure to read and examine now” (p. 147). This set indeed is “in the grand manner,” beautifully printed on fine paper, and very handsomely bound and presented. This is a very pleasing binding from the period before Bayntun and Riviere were joined as a bookbinding concern. Such bindings are rarely seen in the marketplace preceding as they do, those of the joined firms. $6500. Washington Irving’s Most Successful Work The Sketch Book of Geoffrey Crayon - Beautifully Illustrated Includes ‘Christmas’, ‘Rip Van Winkle’ and ‘Sleepy Hollow’

12 Irving, Washington, [Crayon, Geoffrey]. THE SKETCH BOOK OF GEOFFREY CRAYON, GENT. (New York and London: G.P. Putnam’s Sons, 1895) 2 volumes. First Edition in the series and the First Van Tassel edition. Illustrated throughout with 36 fine full-page gravure plates including a number by Arthur Rackham, and with fine decorative borders to the textual pages. Large 8vo, in lovely bindings of full white polished cloth, the covers and spines elaborately decorated in all-over designs of gilt and blue, t.e.g., protected in the publisher’s original red linen dustjackets. xix, 294; vi, [2], 315 pp A very handsome, fresh, fine and clean set in beautiful decorated bindings. A FINE COPY AND SCARCE IN THIS CONDITION. Irving’s most successful work. Influenced by Sir Walter Scott, Irving wrote this series of essays and stories primarily about the English countryside. However some were included with American settings, such as Irving’s most famous and beloved stories, Rip Van Winkle and The Legend of Sleepy Hollow. These were Americanized versions of obscure German folk tales relocated to Irving’s familiar and beloved New York countryside. Irving wrote in the guise of an English gentleman as few American authors were given any real credence in Europe at the time. His genteel humor and graceful style brought THE SKETCH BOOK had quick success in both America and Europe, thus marking it as among the earliest American works to establish a truly literary fame. $450.

Washington Irving’s Bracebridge Hall The Very Beautifully Decorated Surrey Edition - 1896

13 Irving, Washington. BRACEBRIDGE HALL (New York and London: The Knickerbocker Press for G. P. Putnam’s Sons, 1896) 2 volumes. The Sur- rey Edition. With 28 illustrations, including four by Arthur Rackham. The text set within elaborate borders designed by Margaret Armstrong, printed in green, and with black and white head- and tail- pieces and multi-line illustrated capitals from designs by Howard Chandler Christy. 8vo, publisher’s original navy-blue cloth, lettered and with very elaborate all-over art nouveau decorations in gilt on the spines and upper covers, t.e.g. vi,, 326; vi, 327 pp. A very fine, well preserved, handsome, clean and sturdy set with virtually no evidence of wear or age. FIRST OF THE EDITION. VERY BEAUTIFULLY DECORATED AND BOUND IN DELUXE CLOTH GILT. BRACEBRIDGE HALL is one of Irving’s most enduring works, depicting in his best style, the medley of ideas thrust upon him during his time spent living in England. Irving himself says that he had spent so much time in all stages of his existence reading and thinking about England, how the differences between the old country and the new, the country of his birth, were bubbling all about him. BRACEBRIDGE HALL is his ode to England, to tracing the footsteps of history and breathing the poetry of a sanctified land. The book production which envelopes these two volumes is especially attractive and its presentation especially desirable and noteworthy. $395. Washington Irving’s Important Americana Travels and Settlement in the Western U.S.A. Astoria - First Tacoma Edition - Beautifully Decorated

14 Irving, Washington. ASTORIA, Or Anecdotes of an Enterprise Beyond the Rocky Mountains. (New York and London: G.P. Putnam’s Sons, 1897) 2 volumes. First edition of this beautifully illustrated and decorated issue, the Tacoma Edition. Beautifully illustrated with 28 full-page gravure plates, and with fine decorative borders to the textual pages. Large 8vo, publisher’s original red buckram, the covers and spines beautifully decorated with elaborate all-over designs in gilt, t.e.g. xxi [3], 389 pp. + xvi [2], 391 pp. Near pristine, as fine and fresh internally as one could ever hope to find, sturdy and exceptionally clean, the bindings are uncommonly handsome and exhibit virtually no evidence of use. IMPORTANT AMERICAN EXPLORATION AND SCARCE IN THIS FOR- MAT. This is Washington Irving’s chronicle of the Hunt and Stuart expedition written by Irving at the request of John Jacob Astor. Astor financed the first U.S. over- land expedition to the Pacific after Lewis and Clark. The “Astorians”, as the party led by Wilson Price Hunt was known, took an entirely different route then Lewis and Clark, thus this book chronicles a number of important firsts through unexplored ter- ritory. Hunt’s party was the first to navigate the Snake River, the first to cross the Tetons and Oregon Blue Mountains and the first to come through the Union Pass. BAL 10148; Sabin 35129; Howes 83; WCB 61-1; Wheat, p. 157. $395.

Washington Irving’s Tales of a Traveller The Beautifully Decorated Buckthorne Edition Extensively Illustrated and Elaborately Bound

15 Irving, Washington. TALES OF A TRAVELLER (New York and London: The Knickerbocker Press for G. P. Putnam’s Sons, 1895) 2 volumes. The Buckthorne Edition. With 25 illustrations, including five by Arthur Rackham. The text set within elaborately designed borders printed in blue-gray and red, and with black and white head- and tail-pieces and multi-line pictorially illustrated capitals. Illustratiions reproduce Rackham paintings and also include gravures. 8vo, original gilt lettered and elaborately decorated blue cloth, with elaborate and extensive art nouveau decorations of green and gilt, blue and black on the spines and upper covers, t.e.g. The bindings are signed GWE (George Wharton Edwards). A very early Rackham illustrated work. The original cloth protective dustjackets are also present here. [viii],, 316; [viii], 312 pp. A very fine and handsome set, bright and clean and unusually well preserved. BEAUTIFULLY DECORATED AND BOUND IN DELUXE CLOTH GILT. A PLEASING COPY WASHINGTON IRVING’S CLASSIC WORK. After the runaway success of THE SKETCH BOOK, also published under the Crayon pseudonym, Irving became quite the literary celebrity in Europe. He was lionized by both the English and French and for several years the inti- mate of such notable men of letters as Scott, Byron and Moore. In fact, it is said that he vied with Payne for the affections of Mary Wollstonecraft Shelley. During this time he traveled Europe extensively always looking for material for his writing endeavors. After a period of living in Dresden and Paris he returned to London to publish these TALES OF A TRAVELLER in 1824. This is the beautifully illustrated and highly decorated Buckthorne Edi- tion. $495. Washington Irving - A Fine Copy of this Elusive Work The Adventures of Captain Bonneville - Beautifully Illustrated Adventures in the Rocky Mountains and the Far West

16 Irving, Washington. THE ADVENTURES OF CAPTAIN BONNEV- ILLE U.S.A. IN THE ROCKY MOUNTAINS AND THE FAR WEST---DI- GESTED FROM HIS JOURNAL AND ILLUSTRATED FROM VARIOUS OTHER SOURCES (New York and London: G.P. Putnam’s Sons, 1898) 2 volumes. First Edition in the series and the First Pawnee edition. Il- lustrated throughout with 29 fine full-page gravure plates including a large, multi-folding map, and with fine decorative borders to the textual pages. Large 8vo, in lovely bindings of full navy-blue polished cloth, the covers and spines elaborately decorated in all-over designs of gilt, t.e.g. [xviii], 339; [xiv], 237 pp A very handsome, fresh, fine and clean set in beautiful decorated bindings. A FINE COPY AND SCARCE IN THIS CONDITION. Military service took Captain Bonneville of the U.S. Army to the frontier, where he was stationed at various posts. He was brought into frequent intercourse with the native Ameri- can traders, mountain trappers and other pioneers of the wilderness. Moved by their stories, he resolved to lead an expedition to the Rocky Mountains and explore along the way, untrodden tracks and places never previously seen or visited. This became the leading object of his ambition. $450.

Washington Irving’s Alhambra The Beautifully Decorated Darro Edition - 1894 17 Irving, Washington. THE ALHAMBRA (New York: The Knickerbocker Press for G. P. Putnam’s Sons, 1894) 2 volumes. The Darro Edition. With 31 photogravure illustrations from photos. The text set within red and gold borders, and with black and white head- and tail-pieces, all of a Moorish style. 8vo, original gilt lettered white cloth, with elaborate arabesque decorations of pale green and navy blue on the spine and upper covers, t.e.g., in the scarce blue cloth dustjackets. [xiv], 266; vi, 312 pp. A very pleasing and handsome, clean, fresh and sturdy set, the beautifully decorated white cloth in remarkably bright condition. THE BEAUTIFULLY DECORATED AND ILLUSTRATED ISSUE OF ONE OF WASH- INGTON IRVING’S MOST FAMOUS BOOKS. While serving as a diplomatic attache to Spain, Ir- ving had access to the fabulous library of Obadiah Rich and engaged in scholarly research. This detailed description of the Alhambra, and account of the legends surrounding the famous monument, was one of the fruits of this research. The Darro edition is scrumptious in a manner quite fitting to the Moorish landmark and the flavor of Irving writings. Quite beautiful indeed. $395. Washington Irving’s ‘Conquest of Granada’ Illustrated Throughout and Elaborately Bound A Beautiful Edition of this Important Historical Work

18 Irving, Washington; Agapida, Fray Antonio. A CHRONICLE OF THE CONQUEST OF GRANADA. (New York: The Knicker- bocker Press for G.P. Putnam’s Sons, 1893) 2 volumes. First Edi- tion of the Agapida Edition and first edition in the series. Illus- trated throughout with 30 gravures and photographs. Designed head and tail-pieces, textual borders elaborately printed and decorated in red, gray and white. Tall thick 8vo, handsomely bound in beautiful full white polished cloth with beveled edges, the spines lettered and decorated with Arabesque designs in gilt, the upper covers with full gilt, green and pink overall decorations incorporating large Arabesque-Moorish central devices surrounded by Arabesque patterns and floral decorations at the corners, patterned end-leaves, t.e.g., and with the publisher’s scarce original sky-blue cloth dustjackets xxx, 379 + 2; xiv, 405 + 2 pp. As fine and fresh internally as one could ever hope to find, sturdy and very clean, the bindings are uncommonly handsome and exhibit only the most minor evidence of age having been well protected by the dustjackets, some light mellowing in spots. SCARCE, AND THIS SET VERY BEAUTIFULLY BOUND AND EXTENSIVELY ILLUSTRATED. Irving combines his talents as a fiction writer with careful historical research to produce this work in which the imaginary chronicler, Fray Antonio Agapida, describes the conquest of Granada with close attention to detail and patriotic zeal. Irving served as a titular diplomat in Madrid, which facilitated his extensive research and increased the sense of authenticity in this work. The resulting products “(THE ALHAMBRA) and the eloquent but diffuse CHRONICLE OF THE CONQUEST OF GRANADA” identify Irving as “an important nineteenth-century interpreter of Spanish legend and culture” (DAB). BAL 10125. $425.

Arthur Rackham’s Illustrated Edition of Rip Van Winkle With 50 Tipped-In Coloured Plates

19 [Rackham, illus.] Irving, Washington. RIP VAN WINKLE (London [and] New York: William Heinemann for Doubleday, Page, 1909) A very early printing. 50 tipped-in color plates by Arthur Rackham, bound in rear as issued. 4to, original olive green cloth, letterd in gilt on the spine and lettered and pictorially illustrated in gilt on the upper cover. xii, 61, illustrated plates. A very handsome copy, internally uncommonly clean with fresh and bright plates. The green cloth in bright and with only a bit of mi- nor mellowing by time.. WITH THE 50 HIGHLY IMPRESSIVE COLOUR PLATES BY ARTHUR RACKHAM. Rackham’s RIP VAN WINKLE was originally issued in 1905 to great critical acclaim. Many compared his style to the German illustrators and The Times called it a “marvel of his Dureresque detail.” Like the first edition, this copy contains the aggregate of illustrations at the back of the book mounted on thick green paper. The story is essentially told twice, first in Irving’s five thousand words, and then in Rackham’s 50 evocative illustrations. $750. THE WHITTINGTON PRESS

“The Whittington Press has, since 1971, been printing books by letterpress from type (‘as God intended’, the Reverand Bernard Roberts once remarked), in the Gloucestershire village of Whittington. The Press was begun by John and Rosalind Randle partly as the result of an early enthusiasm for Caslon type, Albion presses and hand-made papers, and partly because of a wish to escape from London publishing jobs at the weekend. The first book of the Press, Richard Kennedy’s ‘A Boy at the Hogarth Press’ (1972), which took a year of weekends and holidays to print in an edition of 525 copies on an 1848 Columbian hand-press, proved to be that rare event in the private press world, a best seller, and encouraged the founders to make the Press a full-time activity in 1974. From 1972 to 1991 the Press’ home was at Manor Farm, Andoversford, a mile away from the presses at Whittington. Since 1972 they have printed, and nearly always published, some 250 books, including the renowned annual review for printers and bibliophiles, Matrix (‘by far the finest periodical of the book arts of the twentieth century, surpassing even the seven-volume Fleuron issued in the 1920s’), which is now in its thirty- fifth year. The Press has received numerous awards for its printing and publishing, including THE AMERICAN PRINTING HISTORICAL ASSOCIATION’S AWARD for Matrix, the first time APHA’S INSTITUTIONAL AWARD has gone to a private press. The Press has a varied list, which can be best described as belles lettres, and includes books with and about wood-engravings, bibliographies of other presses, type specimens, diaries, pochoir (stencil) illustration, and much else. One common theme is illustration, nearly always printed from the original block, plate or stencil (‘things, not pictures of things’, as Eric Gill once said).” -whittingtonpress.com

The First Ten Years of the Whittington Press The Beautifully Produced Bibliography 1971-1982 One of Only 95 Copies in Vellum and Marbled Boards

20 [Whittington Press] Butcher, David, compiler. THE WHITTINGTON PRESS A BIBLIOGRAPHY 1971-1981 With an Introduction and Notes By John Randle (Risbury, Herefordshire: The Whittington Press, July, 1982) NUMBERED LIMITED EDITION, one of only 95 copies bound in vellum and marbled boards and with 25 others, the only issue to include an extensive set of tipped-in specimen pages. Including the normal copies, there was a printing of only 320 copies in total. Handsomely printed on Zerkall Halbmatt mould-made papers, illustrated with engravings printed from woodblocks and halftones, the plates printed by Adrian Lack at Senecio, and this copy with the set of over 50 specimen pages, mostly from the original printings, and which were not included in the 200 buckram bound copies. 4to, in the original binding by Paul Collet and designed by Richard Kennedy of quarter vellum over marbled boards, the paper marbled at Whit- tington by Colen Gryspeerdt, the spine panel trimmed and lettered in gilt, in the original slipcase of brown paper-covered boards with woodcut vignette pastedown. 83, [1], specimen leaves pp. An especially fine and beautiful copy, essentially pristine and as mint. FIRST EDITION AND A VERY BEAUTIFUL AND SCARCE BIBLIOGRAPHY OF THIS MODERN FINE PRESS. $1650. The Whittington Press Bibliography 1982-1993 One of Only 80 Copies in Vellum and Marbled Boards

21 Butcher, David, compiler. THE WHIT- TINGTON PRESS A BIBLIOGRAPHY 1982-1993 With An Introduction By John Randle (Risbury, Herefordshire: The Whittington Press, June, 1996) NUM- BERED FIRST AND LIMITED EDITION, one of only 80 copies bound in vellum and marbled boards and one of only a small number to include an extensive set of tipped-in specimen pages. Including the normal copies, there was a printing of only 380 copies in total. Included is a printed letter/order form with notations and salutation in hand from Rosalind Randle to the original owner. Handsome- ly printed on Zerkall mould-made papers, illustrated with engravings printed from woodblocks and tritone plates printed by DTD, and with the set of over 40 specimen pages, mostly from the original printings, which was not included in the 244 buckram bound copies. 4to, in the original binding by the Fine Bindery of half vellum over beautifully marbled paper covered boards, the spine panel trimmed and lettered in gilt, in the original slipcase. 179, [1], specimen leaves. A pristine and perfect as mint copy of this beautifully produced book. FIRST EDITION, VERY LIMITED ISSUE AND A VERY BEAUTIFUL AND SCARCE BIBLIOGRAPHY OF THIS MODERN FINE PRESS. The Press has a varied list, which can be best described as belles lettres, and includes books with and about wood-engravings, bibliographies of other presses, type specimens, diaries, pochoir (stencil) illustration, and much else. One common theme is illustration, nearly always printed from the original block, plate or stencil. $1150.

Miriam Macgregor’s Pochoirs Hand-Coloured One of Only 100 Copies Ever Produced

22 Macgregor, Miriam. NEW CASTLE A Brief Encounter (Ris- bury, Herefordshire: The Whit- tington Press, 1998) FIRST EDITION, SIGNED AND NUM- BERED AND LIMITED, one of only 100 copies, and the only issue as no trade edition has been printed. With eleven beautiful hand stenciled pochoir illustrations coloured in watercolours by artist Miriam Macgregor, and with one initial in colours. 4to, in the original binding by the Fine Bindery of artist designed brick- red paper over boards, hand- stenciled in a pattern resembling brick paving stones, in the original slipcase. 12 ff, unpaginated. A pristine and perfect as new copy of this lovely book. FIRST EDITION, LIMITED AND SIGNED. A VERY BEAUTIFUL AND SCARCE CONTEMPORARY EX- AMPLE OF POCHOIR AND WATERCOLOUR ILLUSTRATION. Macgregor and the Whittington Press have jointed talents to produce a book that can stand proudly beside the wonderful art deco period productions of the Curwen Press. These lovingly hand-coloured pages capture Ms. Macregor’s impressions in both words and images of her brief visit to New Castle, Delaware, to attend the Oak Knoll Fest, a bi-annual celebration of book arts, fine press, and beautiful books. The text was hand-set in 14 point Walbaum and was printed at Whittington on heavy Zerkall mould-made paper. Macgregor’s eleven pochoir illustrations include four that are full page and one that is a two page spread. $850.

Miriam Macgregor’s Wonderful Woodcuts - Signed and Limited One of Only 50 Copies With the Extra Portfolio of Prints The Whittington Press - A Fine Press Gem

23 Macgregor, Miriam. WHITTINGTON Aspects of a Cotswold Village (Risbury, Herefordshire: The Whittington Press, May, 1991) FIRST EDITION, SIGNED AND NUMBERED AND LIMITED, one of only 50 copies specially bound and including a portfolio of hand pressed and initialed woodcut prints by the Author/Artist. In- cluding the normal copies, only 350 copies were produced. With 34 beautiful woodcut engravings by artist Miriam Macgregor, one of which is printed in colours, and with a view of Whittington. Also with the portfolio containing the twelve woodcuts printed and initialed by Macgregor and a large folding panoramic woodcut in colours (the dustjacket design of the cloth-bound copies) which is signed by Macgregor. 4to, in the original binding exclusive to the fifty deluxe copies of gray-green paper-covered boards backed in fine brick red morocco, the spine gilt lettered, the portfolio in a binding of brown paper-covered boards, both housed together in the original slipcase. 24 ff., + unpaginated full-page plates + plates in portfolio. A pristine and perfect set, the book and portfolio both as mint, the slipcase also pristine. FIRST EDITION, LIMITED, SIGNED AND NUMBERED. A VERY BEAUTIFUL AND SCARCE WORK BY A CONTEMPORARY MASTER OF WOODBLOCK ENGRAVING AND PRINTING. Macgregor and the Whit- tington Press have again joined talents to produce a book that can stand proudly beside the Fine Press books of decades long past. These lovingly hand-printed pages capture Ms. Macgregor’s impressions of Whittington, the home of the Whittington Press and Macgregor’s occupation. She began working at the press in 1972 as a compositor and wood-engraver but has since also ventured into the art of pochoir. Wood engravings by Miriam MacGregor highlight the greatest of intricacies. Cats and nature and the varied aspects of country life are favored subjects, where workers are often captured mid-task and one can almost hear the village bustling with life and activity. The text is set in 12 point Bell and was printed at Whittington on fine Zerkall mould-made paper. $950. A Book of Posters Printed at Whittington This Being One of Fifty With 25 Original Posters Included Limited to Only 50 Copies in Thus

24 Randle, John. A BOOK OF POSTERS PRINTED AT WHIT- TINGTON With an Introduction by John Randle (Risbury, Her- efordshire: Whittington Press, 1996) First Edition, LIMITED TO ONLY 50 HANDNUMBERED COPIES, the “B” collection numbered 51-100 and containing 25 tipped in posters. With wood engravings on the half-title and colophon by Hellmuth Weissen- born along with the 20 tipped-in posters on various papers, many of which printed in colours, many are large and fold out. Super folio, in the original binding by the Fine Book Bindery of half buckram over paper covered boards with woodblock on upper cover, coloured endpapers, contained in the original matching slipcase. 6, [1] + posters preceded by captioned leaves pp. A very fine copy, pristine and perfect. As mint. FIRST EDITION. A BEAUTIFUL PRODUCTION AND VERY SCARCE DUE TO VERY LIMITED NUMBER PRODUCED. The Whittington Press produces posters mostly as a form of distraction from their more complex projects and typically in very small numbers. Over time these have become an important tool for spreading word of the Press’ activities and goals. This collection includes posters printed between 1979 and 1995, and has been selected to display the great variety of typefaces and papers used by the press. $950.

Posters From Whittington Press - 1996 - 2013 One of Sixty Copies Only With 30 Posters Included A Fine Press Gem of a Collection

25 Randle, John and Patrick, Compilers. POSTERS FROM WHITTINGTON 1996 - 2013 With an Introduction by John and Patrick Randle (Risbury, Herefordshire: Whittington Press, 2013) First Edition, ONE OF ONLY 60 COPIES WITH 30 POSTERS IN- CLUDED. Including the normal copies, only 140 HANDNUM- BERED COPIES were issued. Included with this copy is also the publisher’s large illustrated prospectus with tipped-in specimen sheet. With wood engravings on the half-title and colophon by Hellmuth Weissenborn along with the 30 tipped-in posters on various papers, many of which printed in colours, many are large and fold out. Super folio, in the original binding by the Fine Book Bindery of half buckram over paper boards with woodblock on upper cover, coloured endpapers, the book is contained in a folding chemise-style case with silk ties. 2 + posters preceded by captioned leaves pp. A very fine copy, pristine and as from the press. A BEAUTIFUL PRODUCTION AND VERY SCARCE DUE TO THE VERY LIMITED NUMBER PRODUCED. In the eighteen years of printing and design represented in this collection the Press produced approximately 150 posters, but selected the 30 with the greatest variety of typefaces and papers to be collected here. $1150. A Superior Copy of this Beautiful Printing British Private Press Prospectuses 1891-2001 The Whittington Press - England - One of 40 Copies Only

26 Butcher, David. BRITISH PRIVATE PRESS PROSPECTUSES 1891-2001 (Risbury, Herefordshire: The Whit- tington Press, April, 2001) LIMITED FIRST EDITION AND THE BEST (DE LUXE) ISSUE, “Edition A”, and one of only 40 copies, this being copy VI. Beautifully bound in full Oasis with endpapers marbled by Christopher Rowlatt and including a separate portfolio containing 30 original prospectuses or announcements from British Private Presses. The entire edition including the non-de luxe issue totaled 350 copies. With an impressive woodcut frontispiece by Eric Ravilious, numerous plates printed in colour especially as called for with the various prospectuses, some tipped- in illustrations, and three facsimile prospectuses in a pocket at the rear of the bound volume, the plates handsomely produced by Premiere Press. Of the large group of prospectuses included in the portolio, many are also finely illustrated. 4to, in the original fine deluxe binding by the Fine Bindery of Wellingborough of full coral Oasis morocco, the spine gilt lettered, fine Christopher Rowlatt endpapers, the prospectus portfolio of quarter honey buckram over russet boards, all contained in the original slipcase of matching Oasis and buckram, also gilt lettered. xii,147, [1] pp. plus portfolio. All in exceedingly fine condition, pristine and as mint both inside and out. FIRST EDITION, THE BEST DE LUXE ISSUE OF THE WORK WITH ADDED PORTFOLIO, HANDSOMELY BOUND AND BOXED. A BEAUTIFUL PRODUCTION, The Wittington Press has spared no expense right down to the fine Zerkall mould-made paper. The text is lively and entertaining and yet highly informative and educational. The author’s own introduction describes the work far better then we can; “The catalogues and prospectuses issued by private presses over the last century are not only beautiful examples of the work of each press, but also offer clues to the development of the titles they promote. Many are printed on handmade paper with illustrations from the original blocks and some are set in a proprietary typeface unique to the press. They encapsulate the idea which the printer later, and after much labour, translates into the book itself.... This book might well be called ‘The pleasures of private press prospectuses.’ It is not intended to be an exhaustive or academic study, nor a bibliographical listing of prospectuses... Instead it looks at the different aspects of prospectuses which appeal to the collector and some of the more fascinating stories behind them.” A full century of Great Britain’s finest presses are represented in the portfolio which includes a total of 30 original prospectuses, catalogues and announcements from the following presses: Kelmscott Press; Doves Press; Golden Cockerel Press; Nonesuch Press; Gregynog Press, Shakespeare Head Press; Stanbrook Abbey Press; Rampant Lions Press; Whittington Press; Curwen Press; Fleece Press; Gwasg Gregynog; Libanus Press; Workshop Press; Inky Parrot Press; Previous Parrot Press; Old School Press; Incline Press; Tern Press; Celtic Cross Press; Cherub Press; Red Hen Press; Rhinocerous Press; September Press; Tabard Press; Warren Press. $1595. One of Only 100 Deluxe Copies of the First Edition The Beautiful Bibliography of the Saint Dominic’s Press Exquisitely Printed and Presented in Fine Bindings

27 Taylor, Michael and Sewell, Brocard. SAINT DOMINIC’S PRESS A Bibliography 1916-1937. With a Memoir by Susan Falkner, an Introduction by Brocard Sewell, a Preface by Mi- chael Taylor and an Appendix by Adrian Cunningham (Her- efordshire: The Whittington Press, 1995) LIMITED FIRST EDI- TION, SIGNED by Sewell, Taylor and Falkner, one of only 100 deluxe copies to be specially bound and housed in a fine case, and presented with a very limited facsimile printing of DAISY AND MARGUERITE (100 copies only) and with a portfolio containing a bifolium from ‘Horae Beatae Virginis’ printed at Saint Dominic’s Press. This copy further with an autograph letter and a typed letter, both signed, from Michael Taylor to the original owner and a signed autograph letter from the Whit- tington Press to the original owner. Including the non-deluxe issue, only 400 copies of the work were printed. With plates in both colour and black and white and with 12 finely produced tipped-in facsimiles of printing examples. 4to, in the special deluxe binding of quarter Oasis morocco over paper-coved boards, the portfolio of matching paper backed in cloth. The DAISY AND MARGUERITE facsimile bound tan paper-covered boards backed in buckram as the original, all contained in the original paper and cloth covered printer’s slipcase. 181pp; 23 pp; portfolio. A copy of this special issue in extremely fine condition, mint and completely as originally issued from the press.

FIRST EDITION, THE MOST LIMITED AND MOST DE- LUXE ISSUE OF THE DEFINITIVE TEXT ON THE SAINT DOMINIC’S PRESS. Taylor and Sewell provide a most comprehensive bibliography with ample additional material and a very generous number of illustrations and facsimile sample pages. The facsimiles provided were produced by letterpress at the Whittington Press and are of far better quality then could be produced by photo- lithography. The portfolio specimen is an original Saint Dominic’s Press printed sheet. A painstakingly produced book based on both extensive research and firsthand accounts. $975. A Presentation Copy to Mark Twain Inscribed by Thomas Bailey Aldrich to the American Master Prudence Palfrey; A Novel - First Edition - 1874

28 Aldrich, Thomas Bailey. PRUDENCE PALFREY; A NOVEL (Bos- ton: James R. Osgood & Co., 1874) First Edition and a copy with superb provenance, A PRESENTATION COPY FROM ALDRICH TO MARK TWAIN, INSCRIBED ON THE FRONT BLANK: “MARK, FROM HIS FRIEND T.B.A.” And with the additional ownership provenance of the Estelle Doheny collection with her bookplate present. 8vo, publisher’s original green cloth, the lettering in gilt as issued, in a nice cloth folding protective box. 311 pp. A very pleasing copy of a unique item, neatly restored at some time in the distant past. A UNIQUE ITEM. THE FIRST EDITION OF THIS NOVEL BY ONE OF AMERICA’S MOST FAMOUS WRITERS OF THE 19TH CENTURY, INSCRIBED BY ALDRICH TO MARK TWAIN, HIS FRIEND. Twain first met Aldrich, after corresponding for some months, in November 1871. From that day forward the two enjoyed a lifelong friendship. Twain once said he “could not admire” Aldrich’s “The Story of a Bad Boy” (published 1869) but it is clearly a model for “The Adventures of Tom Sawyer”, and Twain credited it as his inspiration for that novel. In his autobiography Twain praised Aldrich’s brilliant conversation, remarking that he had no peer for “pithy and witty and humorous sayings.” Twain’s autobiography is famous for the LACK of praise he heaped upon his contemporaries, it is thus clear that his affection for Aldrich was genuine. Twain was in attendance at Aldrich’s memorial service in 1908. At the top of his career Aldrich outranked both Twain and Walt Whitman in popularity, his light verse and witty stories delighted the literary public who considered him an equal to Longfellow, Lowell and Holmes in the canon of American Literature, an honor Twain would have to wait many more years to achieve. “Beginning with the collection of stories entitled Marjorie Daw and Other People (1873), Aldrich wrote works of realism and quiet humor. His novels Prudence Palfrey (1874), The Queen of Sheba (1877), and The Stillwater Tragedy (1880) had more dramatic action. The first portrayed Portsmouth with the affectionate touch shown in the shorter humorous tale, A Rivermouth Romance (1877).” BAL 278 $7850.

The True First Edition - Arabia Deserta Doughty’s Great Work of Travels in Arabia

29 Doughty, Charles M. TRAVELS IN ARABIA DESERTA (Cambridge: At the University Press, 1888) 2 volumes. First edition. With numerous drawings, diagrams and folding plans and maps in text, including a color folding map in rear pocket. 8vo, green cloth lettered in gilt on spine and with large gilt pictorial vignettes of desert scenery and fauna on upper covers. xx, 623, 32 ads; xiv, 690, glossary & index. A very nice set of this scarce work. With no repairs and the hinges still in very good order without breaks or separations, unusual for these heavy volumes. The giltwork on the cloth is still very bright, especially so the large vignettes on the covers as well as the spine lettering. The cloth is still deep rich green and unfaded, surface polish applied to the cloth to protect the gilt, only light aging to the cloth. ONE OF THE GREATEST WORKS OF TRAVEL EVER WRITTEN IN THE ENGLISH LANGUAGE. THIS IS THE VERY SCARCE TRUE FIRST EDITION. T.E. Lawrence in his introduction to the 1921 edition describes this ‘not like other books...a bible of its kind’. In referring to Doughty’s own impressions of his effort, Lawrence states: ‘[H]e calls his book the seeing of a hungry man, the telling of a most weary man.” ARABIA DESERTA is one of the best-known classics of exploration and travel. Few writers of any genre have worked such magic or mischief on the English language as Doughty. He disapproved of Victorian prose style, and mingled his own with Chaucerian and Elizabethan English and Arabic. But whatever the style, the result is perhaps the finest book on Arabia ever written. Another Arabist, T.E. Lawrence, speaks on Doughty: “I have talked the book over with many travellers, and we are agreed that here you have all the desert, its hills and plains, the lava fields, the villages, the tents, the men and animals. They are told of the life, with words and phrases fitted to them so perfectly that one cannot dissociate them in memory. It is the true Arabia, the land with its smells and dirt, as well as its nobility and freedom. There is no sentiment, nothing merely picturesque, that most common failing of oriental travel-books. Doughty’s completeness is devastating. There is nothing we would take away, little we could add. He took all Arabia for his province, and has left to his successors only the poor part of specialists. We may write books on parts of the desert or some of the history of it; but there can never be another picture of the whole, in our time, because here it is all said...” (- from the Introduction). $10,500.

Rare Account of the Jesuit Missions in Asia and Africa Padre Fernâo Guerreiro’s ‘Annals of the Fathers’ - 1611 Relaçam Annal Das Cousas que Fezere os Padres...

30 [Ethiopia; Goa; Malabar; Guinè; Sierra Leone]; Guerreiro, Padre Fernâo. RELAÇAM ANNAL DAS COUSAS QUE FEZERAM OS PADRES DA COMPANHIA DE IESUS NAS PARTES DA INDIA ORIENTAL, & EM ALGUAS OUTRAS DA CONQUISTA DESTE REYNO NO ANNO DE 606. & 607. & do Processo da Conversaõ, & Christandades Daquellas Partes Com Mais Hũaaddicam á Relaçam de Ethi- opia... (Lisbon: Pedro Crasbeeck, 1611) First edition, and a rare Portuguese report from the overseas missions. Short 4to, bound in contemporary calf over white vellum, the spine lettered in gilt and with three gilt tooled floral ornaments, remnants of ties at the yapped edges, page edges red. [4f], 264 ff. including all parts through the 4th part but not including the 5th part with additional notes on Ethiopia. A very well preserved copy, handsome and a fine period piece, the text very clean and fresh, the sewing firm and the binding sound. Pleasing age to the vellum as would be expected. RARE ACCOUNTS IN PORTUGUESE OF THE JESUIT MIS- SIONARIES. The letters regard missions in India (Goa, Malabar, Maharashtra, ect.), Africa (Ethiopia, Manomotapa, Guinea, Sierra Leone and ect.), Burma (Pegu), Japan and elsewhere. The texts on both Ethiopia and Japan are quite extensive. Father Fernão Guerreiro was a Portuguese Jesuit and historian. This work is a continuation of the Chinese and Japanese church history of Luis de Guzmań. It is a highly important source of the history of the Jesuit missions in the East Indies, China, Japan and Africa during the first nine years of the 17th century and provides particularly important information about the Mogul Emperor Jah- angir and the Kingdom of Pegu. $14,500. The Haskell F. Norman Copy - First Edition - Very Rare Ferrari’s Important Early Work on Pediatric Care - 1577 Omniboni Ferrarii Medici ac Philosphi de Arte Medica

31 Ferrarius, Omnibonus [Ognibene Ferrari]. OMNIBONI FER- RARII MEDICI AC PHILOSOPHI DE ARTE MEDICA INFANIUM, Libri Quatuor. Qvorum Duo Priores de Tuenda Eorum Sanitate, Posteriores de Cu-Randis Morbis Agunt [bound with] De Arte Medica Infantium Aphorismorum, Particulae Tres. (Brixiae [Bres- cia]: Apud Franciscum & Pet. Mariam fratres de Marchettis, 1577) First Edition. A superb copy with fine provenance, HASKELL F. NORMAN’S COPY, THE COPY FROM HIS LIBRARY, Norman 788. With four pairs of engravings within the text and with woodcut printer’s device on titles, large woodcut initials and headpieces. Small 4to, bound in full vellum, the spine with a tan morocco label gilt lettered, in a custom slipcase. (12), 195, (1) pp., 11 ff. Beautifully preserved, the text especially fresh and clean. RARE FIRST EDITION OF FERRARI’S IMPORTANT COLLEC- TION OF PEDIATRIC SUBJECTS BOUND WITH ITS COMPANION PIECE ISSUED LATER IN THE SAME YEAR. Ferrari, a physician of Verona, assembled this important early treatise on pediatrics and child care. His work is partly based on translations of Hippocrates and Galen, but also includes contemporary science, as can be seen in the mixture of quaint superstitions of the period with ancient teachings. It is all delivered with a nice healthy dose of good common sense. The very practical illustrations demonstrate forerunners of common modern child-rearing tools, a breast pump, protective headgear, a combination walker and play pen, and a high chair/ potty seat. There is information given on the management of nurses and milk, the care and feeding of newborns, and diseases and injuries of children, which includes burns and diseases of the eyes, ears, mouth and skin. This copy is from the Haskell F. Norman private library of rare scientific and medical first editions. His distinctive label on the front endpaper. This book once graced shelves featuring the greatest classics of science and medicine from the fifteenth to the twentieth centuries. This, Norman’s copy, is the one of only three copies listed at auction going back as far as the 1970s. The others were significantly inferior. Norman 788; Still, pp. 147-51. $16,500.

The Dialogo - 1641 - The Important Latin Edition Galileo’s Exposition and Proof of the Copernican System

32 Galilei, Galilaeo. [DIALOGO]; DIALOGUS DE SYSTEMATE MUNDI. SYSTEMA COSMICUM: IN QUO DIALOGIS IV. DE DUOBUS MAXIMIS MUNDI SYSTEMATIBUS, PTOLEMAICO & COPERNICANO, RATIO- NIBUS VTRINQUE PROPOSITIS INDEFINITE DIFFERITUR. (Lugduni: Sumptibus Ioann. Antonij Huguetan., 1641) Second Latin edition of Galileo’s masterwork on the Copernican system. With the famous frontispiece illustrating the three scientists in the midst of their dialogue, engraved title-page, full-page pictorial engraving of Galileo, a profusion of engraved scientific diagrams and head and tail pieces throughout. 4to, bound in antique, near contemporary polished calf, the covers with double gilt fillet ruled borders, the spine with raised bands gilt ruled, gilt lettering in one compartment, gilt tooling at the head and tail. (*4), 377, colophon, [20 pp. index], errata pp. A very handsome contemporaneously bound copy of this highly important work in the history of science, minor edge repair to the frontis, occasional very slight evidence of staining, the binding with some very expert and sympathetic refurbishment. GALILEO’S EXPOSITION AND PROOF OF THE COPERNICAN SYSTEM, which led to his trial before the In- quisition and sentence to perpetual house arrest. The book, as is well known, was placed on the Vatican’s list of outlawed books. It was not published again legally in Italy until approximately a century after the original printing. The title was not removed from the “Index librorum prohibitorum” until 1823. In 1610 Galileo published his SIDEREUS NUNCIUS, in which he described the construction of his telescope and his observations using the new instrument. His discoveries did not prove that Coper- nicus’s heliocentric theory was correct, but they did show that geocentric philosophy of Aristotle and the geocentric system proposed by Ptolemy were incorrect, pro- viding strong evidence for the heliocentric theory--an implausible theory which had largely been ignored for sixty years after Copernicus’s death. His new support for the Copernican system reopened the controversy, and in 1615 he was officially si- lenced as regards the truth of astronomy. “The DIALOGO was designed both as an appeal to the great public and as an escape from silence. In the form of an open discussion between three friends--intellectu- ally speaking, a radical, a conservative, and an agnostic--it is a masterly polemic for the new science. It displays all the great discoveries in the heavens which the ancients had ignored; it inveighs against the sterility, wilfulness, and ignorance of those who defend their systems; it revels in the simplicity of Copernican thought and, above all, it teaches that the movement of the earth makes sense in philosophy, that is, in physics. Astronomy and the science of motion, rightly understood, says Galileo, are hand in glove. There is no need to fear that the earth’s rotation will cause it to fly to pieces” (PMM). Galileo pioneered the study of motion and its mathematical analysis, a field which was taken up by Decartes and Huygens and culminated in the “massive achievements of Newton in dynamics and gravitational astronomy” (PMM). $18,500.

The Beautiful Kelmscott Press Limited Edition of 1895 The Poetical Works of Percy Bysshe Shelley Designed and Printed by William Morris

33 [Kelmscott Press] Shelley, Percy Bysshe. THE POETICAL WORKS (Hammersmith: By William Morris at the Kelmscott Press, 21 Au- gust, 1895) 3 volumes. Limited Edition, of which only 250 copies printed on paper. Beau- tifully printed in William Morris’ ‘Golden’ type, one of the tree typefaces he designed himself, a stunning double-page title with wood-cut border designed by Morris, numerous and large woodcut initials, some quite ornate, printing in red and black, all in the finest of the Kelm- scott Press’ style on fine hand-made paper with the Flower watermark. Tall thick 8vos, in the original bindings of full limp vellum with yap edges, gilt lettered on the spines. In sturdy and very attractive separate slipcases of marbled paper over boards. 399; 412; 421 pp. A very fine and very beautiful set, especially well preserved and presented. FIRST EDITION IN ESPECIALLY FINE CONDITION AND AN EXQUISITE PRINTING FROM WILLIAM MORRIS AT HIS KELMSCOTT PRESS. The text, edited by F.S. Ellis from the best former editions, is set in Morris’ fine Golden Type, one of the three he designed himself. The type was cut by Edward P. Prince in an exhausting effort that took nearly a year to complete. Peterson A29; Walsdorf 29. $13,500. The Home of the Blizzard - First Edition - Very Handsome 1915 - A Cornerstone Work of Antarctic Exploration Douglas Mawson’s Greatest Work - Two Volumes Original

34 Mawson, Sir Douglas. THE HOME OF THE BLIZ- ZARD: Being the Story of the Australian Antarctic Expe- dition, 1911-1914 (Philadelphia: J.B. Lippincott Company, 1915) 2 volumes. First edition. The English sheets were used for the copies offered by Lippincott. The bindings are as the first English printings with all spine and cover lettering and decorations in silver. Portrait frontispiece, 21 color plates, profusion of plates and illustrations in text, 3 folding maps in rear pocket of volume 2. Large, thick 8vo, publisher’s original dark blue cloth lettered in silver on the spines and covers, and pictorially decorated with silver devices on the upper covers. xxx, 349; xiii, 338 pp. A very well preserved and handsome set. The text very clean and quite bright, the cloth and bindings in nice condition, some light, unobtrusive mellowing to the spine panels, the bindings handsome and in good order and still very attractive with the condition of the heads, tails and tips all quite pleasing, some old shelf numbers coloured over, the silver pictorial devices and the silver lettering to the covers are in quite nice condition, hinges tight and strong and in a fine state, maps in excellent condition. A well preserved set of this very important book. FIRST EDITION, U.S ISSUANCE USING THE ENG- LISH SHEETS AND BINDING DESIGNS, PRINTED AND BOUND IN ENGLAND, SCARCE AND HIGHLY IMPOR- TANT ANTARCTIC EXPLORATION. Mawson’s account of the Australasian Antarctic Expedition in the “Aurora.” Maw- son made a solitary sledge journey of over 160 miles of the most treacherous and wind-lashed ice in Antarctica. The expedition systematically explored King George V Land and the Terre Adelie. It also charted the whole 2000 mile coastline from the Mertz Glacier and Garssberg, thereby connecting the discoveries of Wilkes and Dumont d’Urville, Scott and Drygalski. During a second sledging journey, however, Mawson’s two companions perished and he was only just able to save his own life by dragging a sledge he’d cut in two to save weight back to Cape Denison. One of the most important works on Antarctica, quite scarce. $1550.

Italian Villas and Their Gardens - With Fine Provenance Maxfield Parrish and Edith Wharton The Magic of the Italian Garden

35 [Parrish, Maxfield]. Wharton, Edith. ITALIAN VILLAS AND THEIR GARDENS (New York: John Lane: The Bodley Head, 1904) First edition and First Issue. A COPY WITH SUPERB PROVENANCE and especially so as regards its association with garden design and garden ornament, This copy was owned by and comes from the home of Nancy Lancaster and her husband, Arthur Ronald Lambert Field Tree. Lancaster has been called “the most influential English gardener since Gertrude Jekyll.” Profusely illustrated with 52 illustrations, 27 of which are colourplates or half tones by Maxfield Parrish, the rest being photographs and drawings by E. Denison, Mal- colm Fraser and C. A. Vanderhof. Tall 8vo, publisher’s original dark forest green cloth decorated and lettered in gilt on the spine, cover design by Decorative Designers with elaborate pictorial decorations after Maxfield Parrish in an all over design, upper cover stamped in gilt and blocked in light green, blue, purple, gilt and rust, showing a villa garden. 270 pp. A fine copy with only light evidence of age or use, an uncommonly bright and appealing copy, internally clean and fresh, firm and solid, the binding with only minor evidence of age, the gilt bright and the colours unfaded. SCARCE FIRST EDITION, FIRST ISSUE AND A COPY WITH VERY FINE PROVENANCE. One of the most well written books on Italian garden design. The combination of Wharton’s liquid descriptions and Parrish’s romantic paintings, makes for an extremely delightful book. Special attention is given to the gardens found at Florentine, Sienese and Roman villas. The relationship of the buildings to the natural surroundings is explored in detail. “The Italian garden does not exist for its flowers; its flowers exist for it: they are a late and infrequent adjunct to its beauties, a parenthetical grace counting only as one more touch in the general effect of enchant- ment. This is no doubt partly explained by the difficulty of cultivat- ing any but spring flowers in so hot and dry a climate, and the result has been a wonderful development of the more permanent effects to be obtained from the three other factors in garden-composition - marble, water and perennial verdure - and the achievement, by their skillful blending, of a charm independent of the seasons”. This copy was owned by and is from the home of Nancy Lancaster and her second husband, important Conservative MP Ronald Lambert Tree. It has his engraved library plate on the front endpaper. Nancy Lancaster (Nancy Keene Perkins Fields Tree Lancaster) was a leading 20th-century tastemaker and the owner of Sibyl Colefax & John Fowler, an influential British decorating firm that codified what is known as the English country-house look. Nancy was first married, in 1917, to Henry Field, the heir to the Marshall Field department store fortune. He died five months later, and in 1920 she married his bisexual cousin, journalist and investor Arthur Ronald Lambert Tree. The couple moved to England where they took a 10-year repairing lease on Kelmarsh Hall near Market Harborough in Northamptonshire, which Nancy redeco- rated with help from Mrs Guy Bethell of Elden Ltd. In 1933 the Trees bought Ditchley Park near Charlbury in Oxfordshire, and it was the decoration of this house which earned Nancy the reputation of having “the finest taste of almost anyone in the world.” She worked on it with Lady Colefax and the French decorator Stéphane Boudin of the Paris firm Jansen. In November 1933 Ronald Tree became Conservative Party member of Parliament for Harborough. Tree was among a small group who saw the rising Nazi party in Germany as a threat to Britain, and he became a member of the anti-appease- ment MPs (who included Eden, Duff Cooper etc.) who would meet at his house in Queen Anne’s Gate. Winston Churchill was not really part of this group, but he and his wife Clementine dined at Ditchley on numerous occasions. During the war there was considerable concern over the visibility of Churchill’s retreat home at Chequers, so Tree offered Churchill use of Ditchley, which thanks to its tree coverage and no visible access road made it an ideal site which Churchill was happy with. Churchill first went to Ditchley in lieu of Chequers on 9 November 1940, accompanied by Clementine and his daughter Mary. The Trees divorced in 1947 and Nancy shortly thereafter married Lieutenant Colonel Claude Lancaster and began working under the name of Nancy Lancaster. Lancaster was a former military officer, country squire and member of Parliament who owned Kelmarsh Hall near Market Harborough, Northamptonshire. Renowned today for its gardens, it is a popular tourist site and said to be Nancy Lancaster’s favorite home of all despite their divorce after only five years in 1953. The renowned British interior designer David Hicks called Nancy Lancaster “the most influential English gardener since Gertrude Jekyll.” She was often referred to as the doyenne of interior decorators and smart gardeners. She, together with business partner John Fowler, created much of the English country house look. Nancy Lancaster: English Country House Style, by Martin Wood, Frances; DNB; John Fowler: Prince of Decorators, by Martin Wood; The Churchill Centre. $4500. First Printing of Plato into English The Earliest and Most Important Impression The Apology of Socrates and the Phaedo The Immortality of the Soul

36 Plato, (427–347 BC). PLATO, HIS APOLOGY OF SOCRATES, AND PHAE- DO OR DIALOGUE CONCERNING THE IMMORTALITY OF MANS SOUL, AND MANNER OF SOCRATES HIS DEATH: Carefully translated fromt the Greek, and Illustrated by Reflections upon both the Athenian Laws, and ancient Rites and Traditions concerning the Soul, therein mentioned (London: Printed for James Magnes and Richard Bentley, 1675) The Rare First Edition in English of any work of Plato Engraved frontispiece illustration entitled “Socrates Triumphans” and engraved head pieces, the title-page lettered in red and black. 8vo, original mottled calf, the back fully gilt in elaborate panel designs within compartments, separated by raised bands gilt tooled, red morocco lettering label gilt decorated. (44), 300. A fine and very attractive copy in pleasing contemporary state, very handsome and well preserved, the back expertly and perfectly restored. tidying the joints and re-gilding the tooled areas, lettering label refreshed. THE KING OF PHILOSOPHERS. ONE OF THE SUPREME TEXTS OF THE RENAISSANCE. AND THE FIRST TRANSLATION OF PLATO INTO ENGLISH. Plato’s reintroduction into European thought has had a total and sweeping effect in the realms of philosophy, science, and religion. These two texts are among Plato’s most important. The PHAEDO is Plato’s revered discussion ot the immortality of the human soul. Wing P2405 $14,500.

The Truly Rare First Edition, First Issue Sir Walter Raleigh’s History of the World - London - 1614 In Fine and Handsome Binding - A Classic of the Renaissance One of the Earliest English Views of the World and History

37 Raleigh, Sir Walter. THE HISTORY OF THE WORLD (London: Printed for W. Barre, 1614) First edition, first issue, with the Errata leaf at the end. With the engraved title-page and the “Minde of the Frontispiece” leaf, and 8 double-page plates and maps as issued, and with a great profusion of decorated multi-line initials throughout and charts and decorations in the text. Folio, very handsomely bound in dark honey-brown morocco, the covers with triple blind fillet rules at the borders, surrounding a central panel ruled in blind and with fleurons in the corners. The spine is designed in six compartments, each with a fleuron in blind, and with a red morocco label lettered in gilt. [4m Frontispiece, Minde of the Front], [40, preface], [40, Contents of the Chapters], 1-651, [3, blanks], 1-776, [2, To the Reader], 26, A Chronologicall Table], [16, An Alphabeticall Table...of the First and Second Bookes], [16, An Alphaeticall Table ...of the Third, Fourth and Fift Bookes], [2, errata] pp. A handsome and pleasing copy, the text-block large and well preserved, quite crisp and clean throughout, the opening two leaves as is usual, with some expert refurbishment and strengthening, some evidence of oamp, old and faint to some of the initial leaves, withal a fine copy, with the covers beautifullyl preserved and the spine panel handsomely accomplished. RARE FIRST EDITION OF RALEIGH’S MASSIVE WORK AND A CORNERSTONE WORK IN HISTORIOG- RAPHY. ONE OF THE GREAT BOOKS PRINTED IN ENGLAND AT THE BEGINNING OF THE 1600’s. This is the only volume published of the massive history Raleigh planned and began while in the Tower of London after the accession of James I. This is the earlier of the two editions having the colophon dated 1614, with the errata uncorrected. It was rigidly suppressed by order of King James I, but nevertheless passed through several editions. The engraved title was not issued with the second edition, which appeared in 1617, a printed title having a portrait of Raleigh taking its place. A reissue of the second edition appeared in 1621, and later editions in 1624, 1628, 1666, and 1684, 1687 and throughout the 18th century. This is the only volume published of the massive history Raleigh planned and began while in the Tower of London after the accession of James I. It was rigidly suppressed by order of King James I, but nevertheless passed through several editions. While most of his prose works up to then had been written fro private circulation[...] the HISTORY was intended for publication to a wide audience. Raleigh began writing it about 1607, the work was entered in the Stationers’ register in 1611 and appeared towards the end of 1614. The preface was suppressed by George Abbot, archbishop of Canterbury, on 22 December and copies were seized by the kings’ agents for this own use. According to Cham- berlain the suppression came about because it was “too sawcie in censur- ing princes” [...] The suppression order was soon lifted and the History was reprinted in 1617. It remained popular: there were at least eleven editions in the seventeenth century, one in the eighteenth, and one in the nineteenth. Raleigh was one of the principal figures of the English Renaissance. As well as being a poet of wide repute and a successful soldier, he was one of the earliest explorers of the New World (one of its cities still bears his name). This ambitious book, which Raleigh worked on with the help of several assistants, ostensibly deals with Greek, Egyptian, and biblical history up to 168 B.C., but the preface summarizes modern European history and represents one of the earliest English views of the world and its history. It has become a classic of English Renassaince literature. The History is described as “The first part of the general history of the world”, implying, as Ralegh said, that other parts were to come. This, he admitted, was his intention and indeed he had “hewn them out”. What exists is a substantial work, of about a million words, in five books, running from the creation of the world to 146 B.C., the time of the second Macedo- nian war. The first two books are principally, though not wholly, concerned with biblical history, the last three mainly with the story of Greece and Rome. In the first two, God’s judgments are seen as the central determinants of events; in the latter three the role of man is more evident. History is regarded as moral exemplum, a classical concept appropriate ot the treatment of ancient history but unusual for the subsequent discussion of Henry VIII. The juxtaposition of the discussion of Henry with that of James must have registered as ironic with the original readers, especially later when James’s “unstained sword of justice” had Ralegh’s blood on it. The HISTORY IS FAR MORE THAN A CHRONOLOGY, ITS OPENING CHAPTERS DESCRIBED THE CREATION OF THE WORLD AND ITS NATURE BEFORE RALEGH MOVED TO THE PHILOSOPHICAL PROBLEMS RAISED BY THE CONCEPTS OF PRESCIENCE, PROVIDENCE, FREE WILL AND FORTUNE. He adopted the familiar distinction between first and second causes, God’ Will, he later wrote, determined everything [...] yet God works through second causes, “Instruments, Causes and Pipes”, which carry his will to the world. The distinction is not clear or unambiguous, but it enabled Ralegh to focus upon human actions. Essentially, he wrote for a purpose, as a man of action: it was, he said, “the end and scope of all History, to teach by example of times past, such wisdom as my guide our desires and actions” (ODNB). perhaps unsurprisingly, given his previous experiences, one of Raleigh’s principal themes was ‘the general wickedness of kings and the severity of God’s judgement upon them [...] The misdeeds of English kings were related in some detail. o Henry VIII Ralegh wrote that “if all the pictures and patterns of a merciless prince were lost in the World, they might again be painted to the life, out of the story of this king” [...] Only one ruler in the entire history of the world receives unstinted and unadulterated praise from Ralegh: Epaminondas of Thebes, with Hannibal as proxime accessit. Although Ralegh believed that history could provide examples and precepts for rulers to follow, its events demonstrated only too clearly that they were unlikely to do so. His book ends with a paean of praise to Death: “Oh eloquent, just and mighty Death! whom none could advise, thou has persuaded; that none has dared, thou hast done; and whom all the world hath flattered, thou only hath cast out of the world and despised: thou hast drawn together all the far stretched greatness, all the pride, cruelty, and ambition of man, and covered it over with these two narrow words, Hic jacet” (loc.cit.) The poem “The Mind of the Front’ (i.e. explanation of the allegorical frontispiece) was written by Ben Jonson, who had been tutor to Raleigh’s son at the time of the book’s production. Raleigh was one of the principal figures of the English Renaissance. As well as being a poet of wide repute and a successful soldier, he was one of the earliest explorers of the New World (one of its cities still bears his name). This ambitious book, which Raleigh worked on with the help of several assistants, ostensibly deals with Greek, Egyptian, and biblical history up to 168 B.C., but the preface summarizes modern European history and represents one of the earliest English views of the world and its history. It has become a classic of English Renaissance literature. Pforzheimer 820; PMM 117; Sabin 67560; STC 20637 $11,500.

The Striking Sangorski and Sutcliffe“Rubaiyat” After One of Their Greatest Illuminated Manuscripts The First Printed Edition, Signed

38 [Sangorski and Sutcliffe] Fitzgerald, Edward. RUBAIYAT OF OMAR KHAYYAM, Translated into English verse by Edward Fitzgerald, With an Introduction by A.C. Benson. Reproduced from a Manuscript written and illuminated by Sangorski and G. Sutcliffe (London: Siegle Hill and Co., n.d. circa 1909) First Edi- tion, reproduced from a manuscript written and illuminated by F. Sangorski and G. Sutcliffe. This is number 167 signed by signed by Mssrs. Sangorski and Sutcliffe. With 12 plates printed in gold and colours, Text printed in black and red, with elaborate initials throughout in red, blue, gold, brown and black. Further decorated with fine borders in gilt and colours surrounding the illustrations, beautiful decorative endpapers. Large 4to, original full vellum with a honey-green morocco lettering label gilt to the spine, the cover elaborately decorated with an all-over design in gilt featuring most prominently the distinctive Sangorski and Sutcliffe pea- cock within an elaborate oriental frame, the spine also decorated in gilt with rich floral tooling, t.e.g.. Now housed in a cloth covered slipcase. A handsome copy of the book, well preserved, a bit of bumping to the upper corners of the copy, internally clean and tight and strong, the slipcase in excellent condition. FIRST EDITION, LIMITED ISSUE, SIGNED AND NUMBERED. The first book publication of the famous Sangorski and Sutcliffe illuminated manuscript, very nicely done. With an introduction, life of the author, and notes. The illuminations in this manuscript are of exquisite patterns executed in Sangorski’s best style. The initials are quite breathtaking. The colours used, heightened with burnished gold, and the delicate borders are in the manner of the finest manuscripts. A brilliant example of Sangorski and Sutcliffe’s workmanship. The binding calls to mind some of the designs for jeweled bindings that Sangorski and Sutcliffe executed. A similar pea- cock motif was used on the binding for the RUBAIYAT which now lies on the ocean floor somewhere within the wreckage of the White Star Liner Titanic. $2000. The Second Folio of Shakespeare’s Plays A Rare and Especially Beautiful Copy Printed by Tho. Cotes and Robert Allot - 1632 - London

39 Shakespeare, William. COMEDIES, HISTORIES, AND TRAGEDIES. Published according to the true Origi- nall Copies. The second Impression (London: Printed by Tho. Cotes, for Robert Allot, and are to be sold at his shop at the signe of the Blacke Beare in Pauls Church-yard, 1632) Second Folio edition of what is generally considered to be the most important work of literature in the English language. Engraved portrait by Martin Droeshout on title page, woodcut ornaments and initials. Folio (335x220 mm), very fine full crimson morocco by Lloyd, the covers beautifully decorated with three gilt fillet lines at the border surrounded by a key rolled border gilt, and with central gilt heraldic device, the spine in compartments fully tooled and elaborately and very handsomely decorated in gilt with superb tooling at the borders of the compartments and with central gilt devices exquisitely decorated in gilt, separated by raised bands gilt stopped and tooled, two compartments lettered in gilt. The turnovers and edges are fully gilt with fillet lines at the edges and elaborate gilt rolled decorative borders at the turnovers. Edges of the leaves with wide borders and virtually untrimmed, gilt An especially handsome, large and very attractive copy in a wonderful state of preservation. Fresh, clean and crisp throughout. The “To the Reader” leaf and title-page are expertly accomplished antique facsimiles on old paper and the final Cymbeline leaf as these, all done many years ago in completely unobtrusive and very skilled workmanship. A RARE AND ESPECIALLY BEAUTIFUL COPY OF THE SECOND FOLIO. And a most desirable copy. A Shakespeare folio is one of the most significant books for a collector of literature, and the Second Folio is the earliest copy still generally available to him or her, as most of the First Folios, of course, reside in institutional hands. The second folio is also significant for Milton collectors as it includes, on the Effigies leaf, his first published poem, entitled “An Epitaph on the admirable Dramaticke Poet, W. Shakespeare.” The original folio printing of Shakespeare’s works in all likelihood owes its existence to two of the Bard’s principle actors, Henry Condell and John Heminges. Prior to the first folio there had been only a few “curious and rather shabby” collections of Shakespearian and non-Shakespearian works published under the bard’s name. After Shakespeare’s death Condell and Heminges dedicated themselves to producing a folio volume of all of his plays that would be accurate and authoritative “..only to keep the memory of so worthy a friend and fellow alive as was our Shakespeare.” Their dedication, combined with help from others, eventually led to the publication of the First Folio in 1623. Without the hard work of these friends there is no knowing how many of the plays might have been lost in the years that followed. These two actor’s work not only preserved the memory of their great friend but is perhaps the single most important publishing endeavor of English literature. How much the modern English-speaking world owes to these two men will never be calculable. The Second Folio contains JOHN MILTON S FIRST APPEARANCE IN PRINT: an epitaph on Shakespeare in 16 verses, incipit: What neede my Shakespeare for his honour’d bones; it appears on the same page A5r as “Upon the Effigies” in eight verses, incipit: Spectator, this Lifes Shaddow is; To see. The inner form containing these two poems is recorded in several states (in the Bruce copy: “Comicke” in line 3, “Laugh” in line 4, “passions” with ligatured double-s in line 6 of the “Effigies” poem); the outer form contains the title (A2r), whose setting varies according to the publisher in the imprint. Like its predecessor, from which the edition was set page-for-page, the Second Folio has now become extremely elusive in the open market. Copies as beautiful as this are highly desirable. W.W. Greg. A Bibliography or the English Printed Drama to the Restoration. (London, 1957), pp l I l3- 15. $185,000. Captain John Hanning Speke What Led to the Discovery of the Source of the Nile The Rare First Edition in the Original Cloth

40 Speke, John Hanning. WHAT LED TO THE DISCOVERY OF THE SOURCE OF THE NILE (Edinburgh: Wil- liam Blackwood and Sons, 1864) First edition. With an engraved frontispiece, folding map, and the double-page map of the Somali Coast. 8vo, publisher’s original rust-coloured cloth, the spine lettered in gilt, the covers ruled and decorated in blind. x, 372 pp., 32-page publisher’s catalogue. A very good and handsome copy, with a bit of tenderness to the outer hinge of the upper cover, light shelf wear, a sound and clean copy, well preserved for this difficult book . THE RAREST AND DEAREST OF THE TWO BOOKS PENNED BY JOHN SPEKE AFTER HIS TRAVELS INTO THE LAKE REGIONS OF AFRICA AND THIS, THE NARRATION OF THE HIGHLY IM- PORTANT JOURNEY WITH RICHARD FRAN- CIS BURTON. This work is composed of two parts, the “Journal of Adventures in Somali Land,” and the “Journal of a Cruise on the Tanganyika Lake.” Speke had apparently, at the end of the Punjab campaign in 1849, developed the idea to explore Central Africa with a view to collecting hitherto unknown species of fauna. At the same time the Bombay government was organizing an expedition to Somaliland under Lieutenant Richard Burton. Speke had originally planned to travel into Africa alone--a very unwise proposal--and James Outram, the political resident at Aden, at first forbid him. Outram then suggested that Speke join Burton’s expedition, which he did. It was during this expedition that Speke claimed to have discovered the true source of the Nile, but Burton and his associate, James Macqueen, immediately disputed his claims. Speke was granted command of a second expedition in 1860 to explore the Victoria Nyanza and verify his earlier findings. In the years 1863 and 1864 Speke published, respectively, JOURNAL OF THE DISCOVERY OF THE SOURCE OF THE NILE and this book, WHAT LED TO THE DISCOVERY OF THE SOURCE OF THE NILE. Despite the confusing titles, the “Journal” actually covers his second expedition, with James Grant, while “What Led To” narrates his first journey in the company of Burton. $4500.

Henry David Thoreau - Walden - First Edition A Highlight of American Renaissance Thought A Clean and Handsome Copy of an Iconic Work - 1854

41 Thoreau, Henry David. WALDEN, Or, Life In the Woods (Bos- ton: Ticknor and Fields, 1854) First edition, first state of the text, early state of the ads, May 1854 (no priority). Illustrated with the map of Walden Pond printed on a separate leaf and inserted at p. 307. 8vo, publisher’s original brown cloth lettered in gilt and ruled in blind on spine, bordered and decorated in blind on all covers. 357, [8 ads (dated May, 1854)] pp. A handsome copy indeed, internally very pleasing and very fresh with very little evidence of age or use, the volume is especially clean and shows essentially none of the foxing to which it is prone, the binding expertly refurbished at the top of the spine panel. HIGHLY IMPORTANT FIRST EDITION OF A SEMINAL WORK IN AMERICAN LITERATURE. WALDEN IS AN ICONIC BOOK and it has taken its place as one of the greatest books of American literature and a highlight of American thought. In attempting an experiment in simple living Thoreau became the embodiment of the American quest for the spiritual over the material; and his book, ostensibly a simple record of his experiment, has earned the reputation as a work of great philosophical import. “I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not learn what it had to teach, and not, when I came to die, discover that I had not lived.” Walden is part personal declaration of independence, social experiment, voyage of spiritual discovery, satire, and manual for self-reliance. By immersing himself in nature, Thoreau hoped to gain a more objective understanding of society through personal intro- spection. Simple living and self-sufficiency were Thoreau’s other goals, and the whole project was inspired by transcenden- talist philosophy, a central theme of the American Romantic Period. As Thoreau made clear in his book, his cabin was not in the wilderness, but at the edge of town, only about two miles from his family home. Grolier 100. $12,500.

The Golden Legend of Jacobus de Voragine Printed by Wynken de Worde in London - 1527 A Largely Complete Copy in a Fine State of Preservation

42 [Voragine, Jacobus de]. [THE LEGENDE NAMED IN LATYN LEGEDA AUREA THAT IS TO SAYE IN ENGLYSSHE THE GOLDEN LEGENDE (Trans- lated by William Caxton)] ([London: Wynkyn de Worde, 1527) VERY RARE EARLY PRINTING BY WYNKEN DE WORDE. A copy with pleasing provenance. Black letter, 46 lines double column, with numerous woodcuts throughout the text, some of which repeated, and with engraved initials. Folio (288 x 190 mm), in very fine full dark maroon levant morocco signed “C. McL., 1917”, with de Worde’s printer’s device in gilt in the center of both boards, the spine lettered in gilt and with thick, tall raised bands, board edges and turn-ins gilt ruled, a.e.g., from the library of Wilfred Merton with his book label on front paste-down. 417 of 438 leaves, lacking only ff. i-viii (1st foliation, lxxxviii, ccxx-ccxxi, ccclxviiii, ccclxxvi-ccclxxxiiii (final foliation), which includes the title, the full-page woodcut at the front, and the woodcut printer’s device at the end. In an especially fine state of preservation, with an early owner’s occasional underlining or marginal notations and the censoring of the words “pope” and “mass” each time they appear in the text, cxxxvi remargined with loss of a few words; clxiiii remargined; clxxxi torn with a few letters of text lost; tear repaired in clxxxxvi without loss. VERY EARLY PRINTING OF ONE OF THE MOST WIDELY READ BOOKS OF THE MIDDLE AGES, THE GOLDEN LEGEND was translated by William Caxton—his largest and most complex work of translation—and was originally printed by him in 1483, going through seven full and one partial editions by 1527. The famous medieval manual of ecclesiastical lore and one of the most widely read books of Middle Ages, consisting of the lives of the saints, commentary on the church service, homilies of saints’ days, etc. The chief source for William Caxton’s translation is the Legenda Aurea of Jacobus de Voragine (1230-98), archbishop of Genoa. The original edition of Voragine’s work appeared in 1472, followed by scores of others. Caxton’s edition, the first in English, initially appeared in 1483 and proved his most popular production. Wynkyn de Worde was Caxton’s successor and first published the work in 1493. The present edition here offered is considered very rare and is a prize of collectors. Provenance: Wilfred Merton (1889-1957) collector of Greek papryri. STC (2nd) 24880; ESTC S111988. $38,500. Koberger’s Magnificent Incunable Bible - July 30, 1477 His Second Latin Bible - Beautifully Rubricated Superb in Impressive Contemporary German Binding

43 [Bible, in Latin]. BIBLIA LATINA [With the tractate of Menardus Monachus] (Nuremberg: Anton Koberger, 30 July, 1477) Very Early Print- ing of the Bible and only the second Latin Bible printed by Koberger, 51 lines and headline, double column, canon marginalia in the Gospels. With manuscript headlines in red, a beautiful opening initial of 10 lines with elaborate flourishes that flow from the very top to very bottom of the page in red, blue and green, numerous 6 line initials in red and blue, some with much longer extensions or flourishes, a profusion of 3 line initials in red or blue, red paragraph marks and additional rubricating throughout primarily in red. Royal folio (375 x 265mm approx), in contemporary German blind-stamped pigskin over thick wood boards, (probably a Nurem- berg binding), the boards center-paneled and decorated in blind with a central tool within multiple borders, remnants of brass catches on the fore-edge. Manuscript lettering to the spine with wide tall bands. 468 leaves, complete. An unusually fine copy, especially well preserved and very handsome indeed. An important copy with full contemporary binding intact, and in great likelihood coming directly from Koberger’s workshop. A RARE AND EXTREMELY HANDSOME COPY, ESPECIALLY WELL PRESERVED. THIS BOOK REPRESENTS ONLY THE SECOND TIME THAT KOBERGER PRINTED THE LAT- IN BIBLE. This printing was issued in the second year after the first printing of 1475. Anton Koberg- er was for a number of years the leading publisher/ printer of his time. The total list of his printings for the forty years from 1473 to 1513, when he died, comprises no less than two-hundred and thirty-six separate works, including fifteen impressions of the Biblia Latina, eight of which presented material differences of notes and commentaries which entitled them to be considered as distinct editions. “In the actual number of separate works issued, Koberger was possibly equaled by one or more of his contemporaries, but in respect to literary importance and costliness, and in the beauty and excellence of the typography, the Koberger publications were not equaled by any books of the time excepting the issues of Aldus in Venice” (Putnam II, p. 150). This printing of Koberger’s Latin Bible was printed again in1478 and is largely based on the Fust and Schoeffer edition of 1462. The tractate of Menardus is included which is a summary of the books of the Bible with a guide on how to best study them. It was first printed not after 1474. A beautiful example of the magnificent productions during the first generation of printed Bibles, the state of preservation and the impressive German binding making it all the more so. HC *3065; GW 4227; BMC II, 414 (IC. 7159); Goff B-552 $155,000. Lieutenant William Bligh - First Edition - 1792 A Voyage to the South Sea One of the Most Famous Sea Tales of All Time

44 Bligh, Lieutenant William. A VOYAGE TO THE SOUTH SEA, undertaken by command of His Majesty, for the purpose of conveying the bread-fruit tree to the West Indies, in His Majesty’s Ship the Bounty...including an account of the mutiny on board the said ship, and the subsequent voyage of part of the crew... (London: George Nicol, 1792) First edition. Engraved portrait frontispiece, 7 plates of plans and charts including a fine engraved oval portrait frontispiece of Bligh by Conde after Russell, folding plan of the Bounty, folding plan of the Bounty’s launch, a plate of bread-fruit, and 4 other plans and charts (3 folding). 4to, full contemporary calf, skillfully rebacked at an early date with an elegantly gilt patterned spine, gilt armorial devise on covers, expert restoration accomplished very sympathetically. viii, 264. A very handsome and large copy with occasional offset. RARE FIRST EDITION OF ONE OF THE MOST FA- MOUS SEA TALES IN ALL OF MARITIME AND VOYAGE LITERATURE. On their way to introduce the bread-fruit as a cash crop to the West Indies from the South Sea Island, “Bread- fruit Bligh” and eighteen of his crew were set adrift by Fletcher Christian, the master’s mate of the “Bounty,” and made a journey of about 4000 miles in an open boat before landing on the East Indian island of Timor. Several of the mutineers, who had settled on Pitcairn Island, were eventually captured and three were executed in England. “An extremely important book” (Hill, p. 27). Interestingly enough, Bligh was subjected to two further mu- tinies in his career, though only the last, in New South Wales, can be blamed upon the harsh exercise of authority. Though Bligh’s account of the mutiny had been published first in 1790, it was because, as the publisher explains in his Advertisment, for the need of “communicating early information concerning an event which attracted the public notice: and being drawn up in a hasty manner, it required many corrections.” The present work is the first appearance of the story of the entire expedition. “Having acquired a high reputation as a skillful navigator, [Bligh] was appointed to the Bounty, of 250 tons, in December 1787, arriving at his destination, Otaheite, ten months afterwards. Here he remained for five or six months, during which period his crew became demoralised by the luxurious climate and their apparently unrestricted intercourse with the natives. The object of the voyage, namely to obtain plants of the bread-fruit with a view to its acclimatisation in the British West In- dia islands, having been accomplished, Bligh set out on his voyage thither. But his irascible temper and overbearing conduct excited (under the leadership of Fletcher Christian) a mutiny on board the ship; and on 28 April 1789 he, with eighteen of his crew, were overmastered and cast adrift in an open boat, only twenty-three feet long, and deeply laden; they had a small amount of provisions allotted to them, but no chart. In this frail craft they sailed, for nearly three months, a distance of 3,618 miles, touching at some small islands, where they got only a few shellfish and some fruit; but at length, thanks to Bligh’s skill, resource, and courage, they reached Timor” (DNB) Sabin 5910; Ferguson 125. $18,500. One of the Earliest Illustrated Printings of Caesar - Folio Printed In Venice By Zani - 1511 - Contemporary Binding With Title In Red And Black And Fine Large Woodcuts

45 Caesar, Caius Julius. COM- MENTARIA... Nunc primum a viro docto expolite: & optime recognita. Additis de novo apos- tillis: una cum figuis suis locis apte disposiris (Venezia: Ago- stino Zani, 1511) A Very Early Folio Illustrated Edition incorporating incunabular plates, of Caesar’s Commentaries, a core classical text of the Roman period. Illustrated with incunabular woodcuts from plates used for the 1493 edition of Livy. The title page is printed in red and there is a very fine, large woodcut to the title leaf (92 x 120 mm) within an elaborate border printed in red and repeated on the first leaf of text, within an altogether different woodcut border printed in black. There is a woodcut of approximately the same size at f. 51; twelve smaller woodcuts (each approx. 56 x 74 mm) are placed at the beginning of each chapter. Folio (mm 314x210), contemporary Italian half goatskin over wooden boards, goatskin on the sides with blind-ruled geometric designs, a pair of scallop-shaped brass fore-edge catches on front cover, vellum half pastedowns cut from a 14th-century theological manuscript, without the clasps. A very handsome copy of this rare illustrated work. RARE. ONE OF THE EARLIEST AND MOST BEAUTIFUL ILLUSTRATED EDITIONS AND THE IMPOR- TANT FIRST ITALIAN PRINTING OF AN ILLUSTRATED EDITION OF THIS GREAT CLASSICAL WORK. The title woodcut depicts a battle scene; the second large woodcut shows Lentulus seated addressing the Senate. The woodblocks depicted, were first used in Giunta’s 1493 edition of Livy and were immensely successful and consequently passed on from printer to printer. Considered very rare. A superbly illustrated edition of Cæsar, apparently the first illustrated Cæsar published in Italy. The title woodcut is strongly reminiscent of Uscello’s great tryptich, “The Battle of San Romano,” and the spare line of the woodcuts at the head of each chapter is perhaps inspired by Aldus’ HYPNEROTOMACHIA POLIPHILI (1499). The text was edited by L. Panaetius. The Duc de Rivoli (Livres a figures Venitiens, p. 160) records a similar edition printed at the same press in 1517 but does not mention this one. A highly important book and a very desirable copy. BMC/STC Italian p. 135; Essling 1727; Sander 1503. $18,500. One of the Greatest and Most Important Classics on America First Edition of the Original Work - Two Volumes - 1835 Alexis De Tocqueville - De la Démocratié en Amérique A Very Handsome Set in Contemporary Calf Gilt

46 De Tocqueville, Alexis. DE LA DÉMOCRATIE EN AMÉRIQUE. (Paris: Librairie de Charles Gosselin, 1835) 2 volumes. RARE FIRST EDITION OF THIS CLASSIC WORK. Two further volumes were issued in 1840, but this is complete unto itself, rare, and highly important, being one of the cornerstone works on America and one of the most significant works ever penned on the American- democ racy. Illustrated with a folding map as called for. This particular copy handcoloured and more rare than in the usual copies. Tall 8vo, bound in three-quarter contemporary polished French calf over royal-blue marbled boards, the spines with gilt bands and tooling, two compartments with contrasting black and dark-blue morocco lettering labels gilt. The spine panels and endleaves sometime renewed in skilled and sympathetic fashion. 4, xxiv, 367 pp. + 1 folding map; 4, 459 pp; A handsome and pleasing set, and a well preserved copy in contemporary binding. A tight and clean set, with a bit of the typical and occasional light mellowing or browning to some leaves. HIGHLY IMPORTANT TRUE FIRST EDITION OF ONE OF THE GREAT BOOKS ON AMERICA AND A SET HANDSOMELY BOUND IN PERIOD FRENCH CALF, GILT. RARE FIRST EDITION OF VOL- UMES ONE AND TWO. “One of the most important texts of political literature” (PMM). Toc- queville travelled to America to examine prisons and penitentiaries in this country, and upon his return he wrote DE LA DEMOCRATIE, the first book of reasoned politics on democratic government in America, which made his reputation. The book established many of the fundamental concepts of sociology. De Tocqueville’s articulation and application of the concepts of power, social stratification, industrialism and mass culture in particular provided the theoretical framework for their more detailed treatment at the end of the century by Weber, Simmel, Tönnies, Burckhardt, Michels, Acton, Taine and Le Play. Harold J. Laski calls Democracy in America “perhaps. . . the greatest work ever written on one country by the citizen of another.” The book grew out of a trip to the United States De Tocqueville took as an assistant magistrate, with Gustave de Beaumont, in order to study the American penitentiary system for France. From New York City they travelled as far east as Boston, as far west as Green Bay, as far north as Sault Ste. Marie and Quebec, and as far south as New Orleans. Their analysis was published in 1833, and immediatly afterward Tocqueville began to write the work by which he is best remembered. The book treats specific aspects of government and politics, including the principal of popular sovereignty, the nature of the states and local government, judicial power, the American Constitution, political parties, freedom of the press, suffrage, the role of the majority and the methods used to ensure against its tyranny, and the present and possible future of the three races making up the population--whites, blacks, and the indigenous peoples. There is also a discussion of the difficulties inhibiting the creation of an aristocracy, and an analysis of the causes of prosperity. The second part was published in the following year. DEMOCRACY IN AMERICA “remains the best philosophical discussion of democracy, illustrated by the experience of the United States, up to the time when it was written, which can be found in any language. More than this is true. Notwithstanding the changes which have occurred in the material and social circumstances of the United States during the last sixty years [written in 1898], the consequent elimination of certain factors in the civilization of this country, and the introduction of new and unforeseen problems,--notwithstanding all this, the student of modern popular government must revert to Tocqueville....When his work appeared, democracy was to some an ‘ideal,’ a ‘brilliant dream;’ to others, ‘ruin, anarchy, robbery, murder.’ De Tocqueville wished to lessen the fears of the latter, the ardor of the former class. He treats Democracy as a fact” (Daniel Gilman, in his introduction to the 1898 edition, quoted by Larned 2807). De Tocqueville’s conclusions about the system of government chosen by the young nation, and the implications of that choice, have been reexamined by each succeeding generation since it was originally published. Sabin 96060; Howes T278; Clark III:111; Li- brary of Congress, A PASSION FOR LIBERTY, ALEXIS DE TOCQUEVILLE ON DEMOCRACY & REVOLUTION (Washington, 1989) $22,500.

Important First Edition - Handsomely Bound - Denham Narrative of Travels and Discoveries in Africa 1822-1824 Published in London in 1826 - Contemporary Binding

47 Denham, Major Dixon and Clap- perton, Captain Hugh, and Doctor Oudney. NARRATIVE OF TRAVELS AND DISCOVERIES IN NORTH- ERN AND CENTRAL AFRICA in the years 1822, 1823, and 1824... Extending Across the Great Des- ert...and From Kouka in Bornou, to Sackatoo, the Capital of the Fellatah Empire. With an Appendix by Major Dixon Denham and Captain Hugh Clapperton (London: John Murray, 1826) First edition. With 34 fine engraved plates, one of which is hand- colored, 3 sketch maps, 6 engraved vignettes and large folding map of the route. 4to, full contemporary diced calf with blind rolled borders to the coverss, the spine sometime expertly restored preserving most of the original backing which features large central gilt tools in between multi-ruled gilt bands, one compartment with a red morocco label lettered and ruled in gilt, gilt tooled turn-ins xlviii, 335, 269, plates, map and list of illustrations. A fine and handsome copy, internally fresh and clean, plates in fine order with less then typical offsetting, folding map near and with no wear and just a bit of spotting, all very sturdy and solid, binding with restoration and other evidence of age but very handsome and proper. SCARCE AND IMPORTANT WORK. Denham and Clapperton, in the company of Dr. Walter Oudney, traveled from Benioleed, near Tripoli, almost due south to Lake Tchad, with excursions into the mountains west of Mourzuk in Fezzan. Dixon attempted to follow the circuit around Lake Tchad but was unsuccessful. In the meantime, Clapperton and Oudney journeyed west from the lake toward the Niger River, but the doctor only made it about a third of the way and died in Mur- mur. Clapperton continued west, but was prevented from passing beyond Sackatoo by the local Sultan. He and Denham subsequently returned to Tripoli and crossed back to England This narrative is compiled primarily from Denham’s journal, with a chapter by Dr. Oudney on the excursion to the mountains west of Mourzuk. A final section by Clapperton relates the westward journey from Lake Tchad to Sackatoo and includes an account of Oudney’s death. Among the several appendices are translations from the Arabic of various letters and documents brought back by Denham and Clapperton, including a document relating to the death of Mungo Park; a translation from the Arabic of a geographical and historical account of the Kingdom of Tak-roor, from a larger work composed by Sultan Mohammed Bello of Hausa; vocabularies of Bornou, Begharmi, Mandara, and Timbuctoo; appendices on the zoology and botany of the regions based on samples collected by Dr. Oudney; a note on rock specimens; and a thermo- metrical journal kept at Kouka in Bornou. The engravings, after drawings by Denham and Clapperton, are superbly engraved by Edward Finden, one of the finest steel-engravers in England at the time. $2500. The Foundation of Any Piracy Collection The Buccaneers of America - An Americana Cornerstone First Edition - Esquemeling’s Classic Work- 1684-1685

48 Esquemeling, John. BUCA- NIERS OF AMERICA: Or, a true Account of the Most remarkable Assaults Committed of late years upon the Coasts of The West-Indies, By the Bucaniers of Jamaica and Tortuga, Both English and French. Wherein are contained more especially, The unparallel’d Exploits of Sir Henry Morgan, our English Jamaican Hero, who sack’d Puerto Velo, burnt Panama, &c. Written originally in Dutch, by John Esque- meling, one of the Bucaniers, who was present at those Tragedies, and thence translated into Spanish, by Alonso de Bonne-maison, Doctor of Physick, and Practitioner at Am- sterdam. Now faithfully rendered into English [with] BUCANIERS OF AMERICA. The Second Vol- ume. Containing the Dangerous Voyage and Bold Attempts of Cap- tain Bartholomew Sharp, and others; perfomred upon the Coasts of the South Sea, for the space of two years, &c. From the Original Journal of the said Voyage. Written by Mr. Basil Ringrose, Gent. Who was all along present at those transactions (London: Printed for William Crooke, at the Green Dragon with-out Temple-bar, 1684, 1685) Two volumes in one. The first edition in English of each volume, with Volume II being the first appearance in any language. With 25 engraved portraits, views, and maps, four of them folding, as well as maps and coastal profiles in the text of volume two. 4to, full crimson crushed morocco, very handsomely designed with elaborate gilt panel designs and central gilt devices in the compartments of the spine, lettered in gilt in two compartments, the covers with a triple filet borders enclosing a triple gilt fillet frame with floral tools at the corners, elaborate gilt dentelle turn-ins, all edges gilt, by Lloyd. [12] Title and To the reader, 115, 151, 124, [11] Table, [13] To the reader, 212, [17] Table, [7] ads. A very fine, very pleasing and especially well preserved copy. RARE FIRST EDITION OF BOTH VOLUMES AND THE CLASSIC ACCOUNT OF THE BUCCANEERS. A COPY IN UNUSUALLY FINE CONDITION. “Perhaps no book in any language was ever the parent of so many imita- tions, and the source of so many fictions as this” (Sabin). Here are the exploits of Henry Morgan, who sacked Panama and absconded without dividing the booty--a transgression of the pirate’s honor that Esquemeling could not applaud; here also the vicious Francis L’Ollonois, who tore out the hearts from his still-living victims and ate them; here are countless tortures and robberies, raids and rampages, as related by a reliable witness. For Esquemeling was himself a pirate: he had been sold into slavery in the West Indian plantations, beaten, tortured, and nearly starved to death, and “so I determined, not knowing how to get any living, to enter into the order of the pirates or robbers of the sea.” His career lasted from 1666 until he saw the error of his ways and withdrew from the profession in 1672. “Esquemeling’s book gives a very reliable account of the principal exploits of the buccaneers down to their final disap- pearance, with the notable exception of their adventures in the South Sea, of which he makes no mention. This defect is, however, amply supplied by the journal of Mr. Basil Ringrose [which comprises the second volume here]. Ringrose in the capacity of pilot personally took part in Sharp’s voyage and was killed in a plundering raid; his account is extremely curious and accurate” (from the Introduction to the 1898 reprint). The BUCANIERS OF AMERICA is the foundation of any pirate collection, an important part of any collection of voyages, and a seminal piece of Americana. Sabin 23479. Nat. Maritime Museum Catalogue IV, 175. $27,500. Very Rare First and Only Antiquarian Edition The Most Famous of Tudor Poems – The Spider and the Flie

49 Heywood, John. A PAR- ABLE OF THE SPIDER AND THE FLIE, Made by John Heywood (London: Tho. Powell, 1556) VERY RARE. First Edition, and the only edition prior to the modern era, this the Berland copy with his famous ex-libris to the upper pastedown. Ap- proximately thirty 3/4 page woodcuts and 10 full page woodcuts, most of which are repeated several times throughout the text (for a total of 118 woodcut illustrations). In addition there are four woodcut tailpieces (each used many times, a total of 73 impressions.) There are also two full-page portraits of the author. Small 4to, in very handsome 19th c. full maroon straight grain morocco, tooled in blind and gilt on both covers and spine, titled and dated on spine in gilt, author’s name on a small gilt lettered brown morocco label, tooled edges and dentelles, very attractively gauffered edges in a pattern reminiscent of a medieval binding, sewn headbands, silk marker. Extremities a bit scuffed, end papers a bit brittle at the edges, the text-block falls open at the center. All in all, a highly ‘original’ binding, well executed and sturdy. A fine and handsomely preserved copy of this rare book, A1 (title), portrait and final page supplied in excellent lithographic facsimile. FIRST AND ONLY EDITION, WITH VERY FINE PROVENANCE, THE BERLAND COPY, AND A VERY RARE BOOK. Interpretations of this, the most famous of Tudor poems, abound. Heywood himself, who took twenty years to finish the Spider and the Flie, didn’t know quite what to make of it when it was finally completed. Whomever (or whatever) the spiders and the flies were supposed to represent (the prevailing critical interpretation has the spiders as the Protestant monarchy and the flies as the persecuted Catholics, Heywood clearly has the flies as underdogs, and heoots r for them throughout. Since the political weather in England during the period of Heywood’s composition was arguably the stormiest in the nation’s history, it isn’t surprising that the poem is difficult to interpret. He may have simply kept adjusting his loyalties, depending on whomever was being oppressed. One thing is certain, though—Heywood was forever loyal to Mary (who is represented by the maid with the broom in the last series of woodcuts). When Elizabeth accessed, Heywood fled to the Bra- bant, where he died in the 1580s. Aside from The Spider and the Flie, Heywood’s literary legacy includes books of epigrams and proverbs, a half-dozen plays, and a volume of collected works (which does not include the present poem), all of which were popular and often reprinted. Heywood was a distant cousin to Thomas More, and grandfather of John Donne. “...the illustrations and decorations as well as the general typographical excellence make this book outstanding among English work of the time,” —William A. Jackson; Catalogue of the Pforzheimer Collection, 1940. Only a very few records showing the sale of a first edition of the work in many years. Abel Berland, along with Robert Hoe, and J. R. Abbey, was a foremost collector of English literature in the 20th century, the sale of his library realized over $14 million. SIC 13308. Pforzheimer 472. $28,500. Dard Hunter - Papermaking by Hand in America First Edition - Limited and Signed - Amazingly Ambitious A Superb Copy of this Masterwork of His Press

50 Hunter, Dard. PAPERMAKING BY HAND IN AMERICA (Chilli- cothe, Ohio: Mountain House Press, 1950) First Edition, one of 210 copies signed by Dard Hunter. With a hand-coloured frontispiece, numerous illustrations, tipped-in samples and labels. Folio (18 by 12.5 inches), in the original linen backed decorative paper-covered boards, the spine with a paper label lettered and decorated in black and red. Housed in a morocco backed buckram covered box with gilt lettering. 326 pp. An especially fine and handsome copy, the textblock pristine, the binding equally well preserved, the original prospectus for the book, and an invitation to the event with Dard Hunter honouring the publication are affixed to front endleaves. Some age evidence to the protective box. A VERY FINE COPY OF THIS IMPORTANT WORK BY DARD HUNTER, THE LAST AND MOST AMBITIOUS WORK TO COME FROM HUNTER’S PRESS. The colophon states 210 copies were produced, but in his book, MY LIFE WITH PAPER, Hunter says it had only been possible to produce 180 of them. The book took several years of work to produce. It has a hand-coloured frontispiece, 96 facsimiles on specially made paper, 27 reproductions of early American watermarks made in exacting imitation of the originals and 42 full-size reproductions of old paper labels specially printed on paper made to emulate the original labels in the Paper Museum. $11,500.

An Unusually Handsome Set - With Fine Provenance Travels in Arabia Deserta - Ch. Doughty and T.E. Lawrence ‘A Bible, A Classic, Its Completeness is Devastating’

51 [Lawrence, T. E.] Doughty, Charles M. TRAVELS IN ARABIA DESERTA, With a New Preface by the Author, In- troduction by T. E. Lawrence, Fellow of All Souls, and All Original Maps, Plans and Cuts (London: Philip Lee Warner, for the Medici Society Ltd. and Jonathan Cape, 1921) 2 volumes. First edition with the introduction by T. E. Lawrence and the First book published by Jona- than Cape. Of the edition there were only 300 copies offered for sale, 100 in the United States and 200 in the United Kingdom, of 500 printed. Portrait frontispiece in the first volume, maps, plans, and collotype plates from the original 1888 edition, including some of which are folding. There is the large, cloth- backed folding map originally slipped into a pocket at the inside of the rear cover of Volume I and now bound in at the rear. This map is rare and is generally missing as most copies of the map were sold separately. 8vo, in very fine contemporary full burgundy crushed morocco, the spines with raised bands and lettering in gilt, gilt tooled turn-in featuring both a frame of gilt vines and gilt dentelles in Greek key, board edges gilt ruled, marbled endpapers and t.e.g. The endpapers with the manuscript ownership notation of Capt. C. Evelyn Benson, director of Lloyd’s Bank, Burgh House. Burgh House indicates these gentleman’s bindings to have been accomplished between 1925 and 1933. Later engraved ex-libris of Francis J. Hammond. xxxv, 623; xiv, 690 pp. Includes appendix in Volume I and index and glossary in Volume II. A fine and truly handsome set, just the very lightest evidence of age to the binding edges, the text appearing nearly pristine and mint as most of Volume II remains unopened. RARE, AND THE COPY OF AN IMPORTANT GENTLEMAN. THE HIGHLY IMPORTANT FIRST EDITION WITH T.E. LAWRENCE’S INTRODUCTION. Published in the same format as the first edition, this important printing is the first with T. E. Lawrence’s introduction. ARABIA DESERTA is perhaps one of the best-known, but least-read, classics of exploration and travel, due to what some have considered the opacity of Doughty’s prose; but one man’s opacity is another man’s magnificence, and few writers of any genre have worked such magic or mischief on the English language as Doughty. He disapproved of Victorian style, and mingled his own with Chaucerian and Elizabethan English and Arabic. But whatever the style, the result is perhaps the finest book on Arabia ever written. We will let another Arabist, Law- rence, speak on Doughty’s behalf: “I have talked the book over with many travelers, and we are agreed that here you have all the desert, its hills and plains, the lava fields, the villages, the tents, the men and animals. They are told of the life, with words and phrases fitted to them so perfectly that one cannot dissociate them in memory. It is the true Arabia, the land with its smells and dirt, as well as its nobility and freedom. There is no sentiment, nothing merely picturesque, that most common failing of oriental travel-books. Doughtly’s completeness is devastating. There is nothing we would take away, little we could add. He took all Arabia for his province, and has left to his successors only the poor part of specialists. We may write books on parts of the desert or some of the history of it; but there can never be another picture of the whole, in our time, because here it is all said...” (-from the Introduction). Lawrence studied the book for ten years and grew to consider it ‘a book not like other books, but something particular, a bible of its kind...The more one learns of Arabia the more one finds in ARABIA DESERTA. The more one travels there, the greater respect one has for the insight, judgement and artistry of the author. The book is called ‘Doughty’ pure and simple, for it is a classic’. O’Brien A013 (p. 20) $2850.

A First Edition of Great Rarity in the African Genre John Petherick’s Travels in Central Africa - 1869 Early Exploration of the Western Nile Tributaries

52 Petherick, Mr. and Mrs. [John]. TRAV- ELS IN CENTRAL AFRICA, AND EXPLO- RATIONS OF THE WESTERN NILE TRIBU- TARIES (London: Tinsley Brothers, 1869) 2 volumes. First Edition. VERY RARE. Pro- fusely illustrated in each volume with many engraved illustrations within the text plus a frontispiece plate to each volume and 8 additional full-page plates and two maps on fold- out plates. 8vo, in handsome contemporary bindings of three quarter dark green calf and green green cloth. Upper covers with gilt crest of the Library of Parliament, spine with gilt decorated raised bands and lines in both gilt and blind, one compartment lettered in gilt and one with gilt crest of the Library of Parliament, also with red morocco labels lettered in gilt in one upper compartment on each volume, marbled endpapers and edges. xx, 331, folding map; [xv], [272], folding map. A handsome set in very good condition. The bindings are sound and sturdy and internally the paper is fresh and remarkably clean with the typically found foxing being present only on the prelims and much less so than would be commonly found. Bindings with some minor expected age wear to the calf but withal still very well presented. EXCEPTIONALLY RARE AND IMPORTANT WORK. Very few sets of this work are ever encountered for sale or in extant collections. ‘Petherick was a well known Welsh traveler in East Central Africa where he had adopted the profession of mining engineer. In 1845 he entered the service of Mehemet Ali, and was employed in examining Upper Egypt, Nubia, the Red Sea coast and Kordofan in an unsuccessful search for coal. In 1848 he left the Egyptian service and established himself at El Obeid as a trader and was, at the same time made British Consul for the Sudan. In 1853 he removed to Khartoum and became an ivory trader. He traveled extensively in the Bahr-el-Ghazal region, then almost unknown, exploring the Jur, Yalo and other affluents of the Ghazal and in 1858 he penetrated the Niam-Niam country. Petherick’s additions to the knowledge of natural history were considerable, being responsible for the discovery of a number of new species. In 1859 he returned to England where he became acquainted with John Speke, then arranging for an expedition to discover the source of the Nile. He returned to Sudan as consul in 1861 with his new wife by his side and was entrusted with a mission by the Royal Geographic Society to convey to Gondokoro relief stores for Captains Speke and Grant. He beat them to the meeting point and so dispatched a native force to proceed south to be in touch with the absentees. With Mrs. Petherick, he undertook another journey in the Bahr-el-Ghazal, making important collections of plants and fishes and returned in February 1863, four days after the arrival of Speke and Grant. These rare volumes describe their important expedition exploring the Nile Tributaries and describe in detail the details of the Speke controversy.’ Copies of the work are of great rarity and almost never encountered by the collector. $6500.

The Wood Engravings of Eric Ravilious Handsomely Produced For the Lion and Unicorn Press A Fine Press Gem and A Superb Catalogue Raisonné

53 Ravilious, Eric. THE WOOD ENGRAVINGS OF ERIC RAVILIOUS [Introduction by J. M. Richards] (Kensington: The Lion and Unicorn Press, Royal Col- lege of Art, 1972) First edition, LIMITED, number 80 of the second issue, which was limited to 500 copies. With 113 leaves displaying over 400 of Eric Ravilious’ engravings, each leaf printed one side only, with fold- out index leaves. The title-page, front free-fly and colophon page also decorated with Ravilious engravings. Tall folio, in the original binding by Henry Brooks Ltd. of course gray cloth with a large woodcut block on the upper cover in black, the spine lettered in gilt, decorated endpapers. 19pp., 113 ff., 4 ff. index, 2ff. pp. A fine copy, the boards very slightly bowed and with trivial aging, internally very fine and as new. FIRST EDITION AND AN IMPORTANT CATA- LOGUE RAISONNÉ OF ENGRAVER ERIC RAVIL- IOUS AND ARGUABLY THE MOST IMPORTANT WORK OF THE PRESS. Six of the over 420 engravings here were reproduced from Ravilious’ original blocks, the others (for which the blocks likely no longer existed) were painstakingly reproduced from other sources, all are in their original size and the collection comprises all of his engraved works which could be found and should be considered as complete as could be made possible. The print work was beautifully done by the Curwen Press on Grosvenor Chat- er’s Basingwerk parchment. Ravilious engraved most of these illustrations for books and other publications. His first commission, in 1926, was to illustrate a novel for Jonathan Cape. He went on to produce work both for large companies such as the Lanston Corpora- tion and the smaller, less commercial “Fine Presses”, such as the Golden Cockerel, the Curwen Press and the Cresset Press. A handful of the engravings included here were never previously published. Ravilious’ career was cut tragically short when, while working as a War Artist, the RAF patrol he was flying on failed to return. After four days of searching, he and the plane’s four crewmen were declared lost in action. $1195. The First History of the World Werner Rolewinck - Utrecht - 14 February 1480 Fasciculus Temporum - A Unique Handcoloured Copy

54 Rolewinck, Wer- ner. FASCICULUS TEMPORUM [Text in Dutch] (Utrecht: Jo- hann Veldener, 14 Feb- ruary 1480) UNIQUE HAND-COLOURED COPY of this, the First Dutch edition of Rolewinck’s great 15th century Encyclo- pedia of History. With fine hand-colouring to the more then 30 impressive woodcuts as well as numerous hand-coloured diagrams, coats of arms, etc. Two leaves within broad ornate hand- coloured boarders, opening leaf and colophon leaf also hand- coloured with decorative borders, rubricating all throughout in red and blue. Folio, in contemporary diced calf covered boards, the corners with brass pieces on the board edges, leather straps with brass clasps. 388 ff. leaves A unique hand-coloured copy in excellent state of preservation, the text quite fresh with only occasional and very minor marginal old flaws from use, some with neat repair, a very few leaves with repaired flaws affecting a few lines of text, some old mellowing or staining throughout, all quite minor. Occasional antique and neat manuscript notations as one would expect with a book of this scholarly importance. Werner Rolevinck’s Fasciculus Temporum - the first history of the world. The Fasciculus Temporum was first printed in Cologne in 1474. It passed through more than thirty editions in its author’s lifetime, and was apparently an indispensable work of reference until after 1532, when it was superseded by others more up-to-date. It was translated into Flemish, Ger- man, and French, and an edition appeared in Seville in 1480. THIS FIRST EDITION IN DUTCH has extensive supplements oriented to a Dutch public, relating to the history of the dukes of Brabant, bishops of Utrecht, and counts of Holland, Zeeland and Hainaut, as well as the kings of France and England. Veldener had already printed a Latin edition of the Fasciculus Temporum, the first printed chronological history of the world, at Louvain in 1475. For that edition he reprinted Hoernen’s first edition of 1474, adding one further woodcut and bringing the chronicle up to date with an entry for 19 December 1475, only ten days before printing was completed. For his Dutch-language edition Veldener worked from a manuscript; its translator remains anonymous. Twelve woodcuts, strongly based on cuts in the Rudimentum novitiorum (Lübeck 1475), and the set of coats-of-arms are original to the Utrecht edition; they are the work of the “Utrecht woodcutter” Werner Rolevinck was a German monk and historian who created over 50 titles during his lifetime, with the Fasciculus Temporum standing as his most triumphant work. As if an entire history of the world wasn’t a big enough feat in the 15th century, Rolevinck created the book with dual parallel timelines, one running from creation, the other from the birth of Jesus Christ. The work was an instant hit upon its release. It also stands as only the second book ever published by any living author, with only Robertus Valturius’ 1472 work, De re militaria, published earlier. Goff R-278; HC 6946; Oates 3323; BMC IX 12. $26,500. South - A Core Work in Antarctic Literature The Scarce First American Issue Shackleton’s Expedition of 1914-1917

55 Shackleton, Ernest. SOUTH: The Story of Shackleton’s Last Expedi- tion 1914-1917 (New York: Macmillan Company, 1920) First Ameri- can Edition. With a color frontispiece, 87 illustrations from photos and drawings, and a folding map at the rear. Tall 8vo, original ribbed green cloth lettered in gilt on spine and cover. xxi, 380 including index. An unusually bright and fine copy, the green cloth unfaded and fresh, the text fine indeed. ONE OF THE GREATEST BOOKS IN THE SOUTH POLAR OEU- VRE. THIS IS ONE OF THE GREATEST EPICS IN THE HISTORY OF ANTARCTIC TRAVEL AND ONE OF THE MOST HARROWING TALES EVER PENNED OF RESCUE AND HUMAN TRIUMPH. SOUTH is the story of Shackleton’s failed attempt, after learning of Amundsen’s attainment of the South Pole, to be the first to cross the last continent from sea to sea. The first editions of this book have truly become quite scarce and are rarely found in as nice condition as seen here. “The story of our attempt is the subject for the following pages, and I think that though failure in the actual accomplishment must be recorded, there are chapters in this book of high adventure, strenuous days, lonely nights, unique experiences, and above all, records of unflinching determination, supreme loyalty, and generous self-sacrifice on the part of my men which, even in these days that have witnessed the sacrifices of nations and regardlessness of self on the part of individuals, still will be of interest to readers who now turn gladly from the red horror of war and the strain of the last five years to read, perhaps with more understanding minds, the tale of the White Warfare of the South. The struggles, the disappointments, and the endurance of this small party of British- ers, hidden away for nearly two years in the fastnesses of the Polar ice, striving to carry out the ordained task and ignorant of the crises through which the world was passing, make a story which is unique in the history of Antarctic exploration.” - Shackleton from the Preface. $2250.

The Sonnets of William Shakespeare Beautifully Bound and Especially Printed for Riviere & Son

56 Shakespeare, William. THE SONNETS OF WILLIAM SHAKE- SPEARE (London: Printed at the Chiswick Press for Robt. Riviere and Son, Ltd., 1928) First edition. Decorated throughout with capital letters printed in blue and with a colour frontispiece of Shakespeare. Square 8vo, handsomely bound by Riviere in full crushed blue morocco, gilt tooled multi-fillet borders and frames to both covers with large gilt motif in the center of the upper cover, gilt tooled panel designs to the compartments of the spine, raised bands gilt decorated, lettered in gilt in one compartment, gilt turnovers, marbled end- leaves, t.e.g. [6], 154, [1, colophon], [1] pp. A very fine and very handsome copy, a beautiful book, beautifully printed. A FINELY PRINTED AND BEAUTIFULLY BOUND AND PRE- SENTED FIRST EDITION. A SPLENDID RIVIERE BINDING FOR THIS VERY SCARCE CHISWICK PRESS / RIVIERE PRINTING. A beautiful production and as finely produced a twentieth century Shakespeare SONNETS as one might wish to find. The fine handmade papers used for this production are of great quality and show no effects of aging whatsoever. The design, type and paper selection is very pleasing to the senses. A scarce item and one of a very few printed and bound especially for Riviere and Son. Robert Rivière founded his bindery in Bath in 1829, and George Bayntun followed his example in 1894. In 1939, Bayntun bought Rivière and merged the two firms. Bayntun-Rivière is now the last of the great Victorian trade binderies still in family ownership and prides itself on continuing to bind entirely by hand. The Chiswick Press was founded by Charles Whittingham I (1867-1840). The management of the Press was taken oer in 1840 by the founder’s nephew Charles Whittingham II (1795-1876). The name was first used in 1811, and the Press continued to operate until 1962. The Press had becme very influential in English printing and typography under Charles Whittingham II who, most notably, published some of the early designs of William Morris. The Chiswick Press deserves conspicuous credit for the reintroduction of quality printing into the trade in England when in 1844 it produced The Diary of Lady Willoughby set in the reign of Charles I. $1850.

Strange Papers - One of Only 20 Special Copies Fred Siegenthaler’s Masterpiece Collection of Rare Papers

57 Siegenthaler, Fred. STRANGE PAPERS A Collection of the World’s Rarest Handmade Papers (Muttenz: By the Author, 1987) 2 volumes and the samples in original folders. FIRST AND LIMITED EDITION, #5 OF ONLY 20 SPECIAL EDITION COPIES CONTAINING 19 ADDI- TIONAL SAMPLES, of a total printing of only 200 copies. SIGNED by the author. With 120 samples of rare papers from around the world, the normal edition contained only 101 samples. The samples not included in the normal edition are described in their own text volume also not included in the normal edition. 4to, very handsomely boxed in a special case, with the paper samples protected in captioned and numbered paper folders. The bindings for the volumes and the papers specifically for the 20 Special Edition copies, the box and 1st book in brown Amate and the book for the additional samples in light Amate, the papers are handmade from the inner bark of the mulberry tree, upper covers stamped and decorated in black, as is the box, featuring the author’s watermark design printed as vignette. The box and both bindings executed by Rene Freiburghaus AG. 128 pp; 40 pp; samples. A superb and pristine set, as mint. The case still in remarkably fine condition. RARE FIRST EDITION AND ONE OF ONLY 20 SPECIAL COPIES. This Collection of the World’s Rarest Hand- made Papers features a selection of papers that Siegenthaler sought out and commissioned from around the world. He produced two editions for a total of only 200 copies. Siegenthaler wrote letters (by hand, sent with stamps) requesting sample papers from over 500 papermakers and manufacturers in the early 1980’s. He then chose 101 papers from 50 papermakers and purchased 200 sheets from each. 19 further and even more exotic papers were produced exclusively for the Special Edi- tion. Siegenthaler once remarked that he spent over 100,000 Swiss francs to procure all these papers. The edition sold out quickly. The wondrous papers from far-flung reaches of the globe include papers made from various parts of plants (bast, leaves, bark, etc.) including bamboo, corn, papyrus, New Zealand flax, hemp, potato sprouts, moss, narcissus, linden trees, stinging nettles and several kinds of straw; vegetables, including carrots, eggplant, winter squash and asparagus rinds; and miscel- laneous substances, including wasps’ nests, leather, silk, blue jeans, synthetic wood pulp, polyethylene, peat, steel fibers, glass fibers, U.S. dollar bills, other recycled papers and cloth and “wood 30 million years old.” “Feather paper” incorporates whole feathers in cotton rag pulp base. “Shifu” and “Men-shifu” are samples of cloth made from paper. Some of these are present only in this Special Edition. $7500. The Greatest Book of the Ashendene Press Hornby’s Magnum Opus - The Dante Tutte le Opere One of the Finest Printed Books of the Century - Very Rare “No Greater Tribute Has Been Laid at the Feet of the Florentine Poet”

58 [Ashendene Press] Dante Alighieri Fiorentino, (1265-1321). TUTTE LE OPERE. (Chelsea: The Ashendene Press, 1909) First Edi- tion. One of 105 copies only, on paper of a total edition of 111 (6 on vellum). Subiaco type on specially-made Batchelor handmade paper with the watermark of a bugle and arrow above the printer’s initials. Full-page frontispiece and woodcuts throughout by Charles M. Gere, cut by W. H. Hooper. Large red initials by Graily He- witt; headings and shoulder- notes in red; printed in double column (except for the Prefaces and the Index). Folio, 41.1 x 28.6 cm., original W. H. Smith binding of reddish brown niger morocco backed oak boards with metal clasps, leather richly braided with interlacing blind rules, solid gilt dots at the intersections, and a continuous vertical band at the outer side, made up of blind-tooled small dots and leaves. Inner side of both covers also decorated with leather as the outer sides, but without rules and dots. Spine in six compartments by five blind ruled raised bands (with raised head and tail-caps), title gilt in upper compartment, imprint at tail. Signed (monogram) in blind on the leather at the inner side of the front cover. Douglas Cockerell managed the W. H. Smith & Son bindery from 1905 to 1914. He later stated that all of the bindings signed with the ‘WHS’ stamp during those years were specially designed by him. xvi + 396. A very attractive copy. With the bookplate of James Curle, noted contributor to the Society of Antiquities of Scotland. Tutte le Opere stands as Ashendene’s crowning achievement, and one of the two or three greatest books of the fine-press movement (along with the Kelmscott Chaucer and the Doves Bible). Its quality was immediately apparent to one reviewer for the Times Literary Supplement, who raved, “Not perhaps since Boccaccio made with his own hand a copy of the ‘Divina Comedia,’ as a present for Petrarch, has such a labour of love been lavished on the works of Dante as in the sumptuous edition... which has just been issued from the Ashendene Press.... No other country, not even his own Italy, has laid a more splendid tribute at the feet of the Florentine poet.” The Ashendene Press was among of the most distinguished of the private presses which arose at the turn of the century, inspired by William Morris’ efforts to revive the moribund art of printing. Founded by C. H. St. John Hornby, managing director for a large British book distributor, the press was a highly personal project that produced works of great elegance and painstaking craftsmanship. Even more care than usual was lavished on this fine edition of Dante. As Hornby wrote in his bibliography of Ashendene, “ This book was by far the most ambitious effort of the Press and took three years to complete. It was the first book for which a professional compositor was employed for setting up the type.” Hornby’s dedication paid off handsomely. Hornby XXIV, Sotheby’s 5927, Printed Book, Art of the Printed Book. $145,000. The Exquisite Kelmscott Chaucer - A Copy With Provenance The Most Beautiful Printed Book in the English Language Magnificently Created by William Morris With Superb Designs by Sir Edward Burne-Jones

59 [Kelmscott Press] Chaucer, Geoffrey. THE WORKS OF GEOFFREY CHAU- CER. From the Ellesmere manuscript of The Canterbury Tales and Professor W. Walter Skeat’s editions of the other works [edited by F.S. Ellis, printed on the colophon leaf] (Hammersmith: Kelmscott Press, 1896) One of 425 copies of a total edition of 438. With FINE PROVENANCE, having been owned by George Abrams, “Master of Typefaces”, an artist and type designer whose distinctive logotypes spelled out household names like B. Altman and Godiva Chocolates. With 87 wood-engravings designed by Sir Edward Burne-Jones, cut by W.H. Hooper after drawings by Robert Catterson-Smith, superb wood- engraved title page, fourteen very fine large borders, eighteen different woodcut frames around the illustrations, twenty-six nineteen line woodcut initial letters, and numerous initials, decorative woodcut printer’s device all designed by William Morris and cut by C.E. Keates, Hooper and W. Spelmeyer, with shoulder and side titles. Printed in red and black in Chaucer type, double column, headings to the longer poems in Troy type. Folio (424 x 289 mm), original Holand linen-backed blue paper boards, paper label on the spine, housed in a cloth case. iv, 556pp. A very handsome copy, the text is especially clean, crisp, fresh and bright, the binding with some professional and expert refurbishment. A VERY SPECIAL COPY, WITH PROVENANCE, OF THE FIRST EDITION AND A HANDSOME COPY OF WHAT IS CONSIDERED TO BE THE MOST BEAUTIFUL PRINTED BOOK IN THE ENGLISH LANGUAGE. The Kelmscott Chaucer is “the most famous book of the modern private press movement, and the culmination of William Mor- ris’s endeavor” (The Artist and the Book). “[F]rom first appearance, the Chaucer gained a name as the finest book since Gutenberg. It has held its place near the head of the polls ever since... The terms which critics used in the eighteen-nineties to welcome it simply show us what an impression Morris’s printing made upon late Victorian bookmen” (Colin Franklin, The Private Presses, p. 43). Evidence of the esteem in which the book has been held lies in the fact that after the Second World War, during the rebuilding of Japan and its libraries, a copy of the Kelmscott Chaucer was the first book presented to the Japanese people by the British Government on behalf of the English nation. This is George Abrams’ copy, with his bookplate on the front pastedown. Mr. Abrams and his company, Alphabets Inc., worked with many of the largest advertising and printing agencies. Among his type designs are three known as Abrams Venetian, Abrams Augereau and Abrams Caslon. He created the cover logos for a number of popular magazines, notably the original one for Sports Illustrated in 1954. Others he designed included those for Newsweek (1968), The Saturday Evening Post (1965) and House Beautiful (1949). He was a bibliophile with a large collection of rare books and manuscripts, ranging from incunabula to the Russian avant-garde. He was active in the Grolier Club and the New York Typophiles, and was a fellow of the Pierpont Morgan Library and an honorary fellow of the London Society of Typographic Design. His brother was Harry N. Abrams, founder of the art books publisher by that name. There is earlier provenance of Robert Heysham Sayre, who was vice president and chief engineer of the Lehigh Valley Railroad. He was also vice president and general manager of Bethlehem Iron Company, precursor of Bethlehem Steel Corpo- ration. The town of Sayre, Pennsylvania is named in his honor. Abbey/Hobson 119; The Artist and the Book, 45; Sparling 40; Peterson A40. $105,000. The History of Reynard the Foxe - A Kelmscott Masterpiece Caxton’s Translation - Profusely Decorated by Morris One of the Earliest Black Letter Books of the Press

60 [Kelmscott Press] Caxton, William. THE HIS- TORY OF REYNARD THE FOXE. Translated out of the Dutch by William Caxton. (Hammer- smith: William Morris at the Kelmscott Press, 1892) The famous Kelmscott Press edition limited to 300 copies only. Profusely illustrated and decorated throughout from the designs of William Morris. 4to, publisher’s original limp vellum with ties. (vi),163 (including table and colophon). A fine and handsome copy, the paper very fresh with only a few meager traces of the spotting to which Kelmscott books are so tragically prone and that nearly all confined to the edges or endpapers, the vellum fine with the silk ties intact. HIGHLY IMPORTANT FIRST EDITION OF THIS GREAT WORK and one of the first black-letter works to be issued at the Kelmscott Press. The book is printed in Chaucer type and is replete with beautiful engraved initials, border decorations and magnificently illustrated and decorated opening leaves. Three hundred copies only were issued. This is one of the finest and most beautiful of the big Kelmscott books. “Reynard The Fox hero of several medieval European cycles of versified animal tales that satirize contemporary human society. Though Reynard is sly, amoral, cowardly, and self-seeking, he is still a sympathetic hero, whose cunning is a neces- sity for survival. He symbolizes the triumph of craft over brute strength, usually personified by Isengrim, the greedy and dull-witted wolf.” EB EB; Peterson A10. $14,500.

The Kelmscott Press Utopia - One of Only 300 In Original Limp Vellum with Ties

61 [Kelmscott Press] More, Sir Thomas. UTOPIA Written By Sir Thomas More [Now Revised by F. S. Ellis, Forward by Wil- liam Morris] (Hammersmith: By William Morris at the Kelm- scott Press, August 4, 1893) LIMITED EDITION, one of only 300 copies printed on handmade paper of a total edition of only 308 copies. Printed in black and red in the Chaucer type, the title in Troy type, with a fine and elaborate woodcut frame in grape vine motif to the first leaf of More’s text, a second fine woodcut page frame in the motif of floral vines, woodcut decorated initials throughout, many as large as ten lines, Kelmscott device on colophon page. 8vo, in the original limp vellum with brown silk ties, the spine lettered in gilt. Housed in an attractive cloth-covered slipcase. With bookplates of Percy Withers and J. P. Foster. xiv, 282 pp. A very fine, as pristine and very beautiful copy. THE KELMSCOTT UTOPIA, printed in Morris’ characteristicly beautiful style. Morris printed Thomas More’s UTOPIA because he felt it was the sort of book that belonged in every socialist’s library. Morris’ enthusiastic championing of More as a proto-communist, fighting against the “ugly brutality of ... commercialism” cost him, at least temporarily. An Eton schoolmaster placed an order for forty volumes, to be given to students as prizes. When he saw Morris’ introduction he cancelled the order. Morris nevertheless sold out his entire press run of 300 copies within a year. Morris had intended to include a map of Utopia with this edition, but the illustration was never executed. This copy with the bookplate of Percy Withers. Withers was at the centre of an illustrious circle of friends including many of the foremost British writers and visual artists of the inter-war period. Dr Withers had a rare talent for friendship, and cultivated a distinguished literary and artistic coterie who obviously valued his genuine interest in their work as well as his personal and professional support. Most appear to have had great affection for him – including the famously reserved poet A.E. Housman – and frequently enjoyed the Withers household’s hospitality. Cockerell 16; Peterson A16; Sparling 16. $5950.

The Best and Most Limited Issue William Morris and Edward Burne-Jones The Story of Cupid and Psyche - Rampant Lions Press

62 [Fine Press; Private Press]; Morris, Wiliam and Burne- Jones, Edward (Illustrator) and Dufty, J.R. (Introduction). THE STORY OF CUPID AND PSYCHE [with,] THE BOOK BECOMES. The Making of a Fine Edition (Cambridge [and] London: Rampant Lions Press [and] Clover Hill Editions, 1974 and 1984) 4 volumes including the original volumes, the bound portfolio and the copy of THE BOOK BECOMES. FIRST AND LIMITED EDITION, the BEST AND MOST COM- PLETE ISSUE, being ONE OF ONLY 130 DELUXE COPIES to be comprised of the introductory volume by A.R. Dufty as well as the volume containing the text and engravings and also the accompanying portfolio containing a separate suite of collotype prints of the drawings and a set of proof plates of the wood engravings. This set with original publisher’s prospectus and with a lithographed letter on Rampant Lions stationary from Will Carter (of both Rampant Lions Press and Clover Hill Editions) dated 26 February 1941. ALSO IN- CLUDED IS A COPY of the story which tells of the project and the making of the William Morris, Burne-Jones work. With 44 woodcut illustrations designed by Edward Burne- Jones of which a majority were engraved by William Morris. The introductory volume with 26 plates and other illustrations, The volume of Morris’ text printed in Kelmscott Troy type with the 44 engravings in place, the portfolio with a set of separate unbound folio proof printings of the 44 engravings and 47 collotype printings of the drawings, each volume and the portfolio with an engraved titlepage printed in black and tan. The octavo volume illustrated throughout. Folios and 8vo, the volumes bound in fine full dark blue morocco for the press by Sangorski and Sutcliffe, lettered in gilt on red leather spine labels and housed in a slipcase covered in blue and white paper of a stylized weeping willow pattern. The identically presented clamshell portfolio of matching design and size and the same materials also by Sangorski and Sutcliffe. With the engraved bookplates of David Eccles, the 1st Viscount Eccles who over his political carear was; Member of Parliament, Minister of Works, President of the Board of Trade, Minister of Education, Minister for the Arts and Paymaster General. THE BOOK BECOMES bound in vellum backed, patterned paper covered boards, the spine lettered in gilt. xiv, 36, 26, [1]; [iv], 92, [1]; [v], proofs and Collotypes pp. + 96 pp. (the octavo volume). An exceedingly fine copy, pristine and essentially as mint. The added octavo volume is likewise fine and includes the original glassene protective cover present with light abrasions. SCARCE FIRST EDITION AND THE SCARCE COMPLETION OF AN UNFINISHED WILLIAM MORRIS PROJECT IN ITS FINEST FORMAT, a superlative work reprinting the only wood engravings by William Morris known to exist. These 130 deluxe copies numbered in Roman were the only complete issues, an issue of just the text volumes was released limited to 270 copies and an issue of just the portfolio in 100. “It may seem incredible that a unique series of forty-four wood-blocks engraved after designs by Edward Burne-Jones should have remained unpublished and, indeed, virtually unknown for over a hundred years. In 1864 Wil- liam Morris and Burne-Jones resolved to collaborate in a two-column edition, large quarto, of The Earthly Paradise, the collection of twenty-four stories in verse on which Morris was then engaged. For this edition, Burne-Jones proposed to design between three and four hundred illustrations. They began with The Story of Cupid and Psyche; for this, in addition to many preliminary sketches, Burne-Jones drew a number of finished designs (which he subsequently gave to John Ruskin). Six of these designs were engraved on wood by members of the Morris circle; another thirty-eight were engraved by William Morris himself. These are the only wood-engravings that Morris is known to have worked on. But his consummate craftsmanship and his creative energy were so remarkable that the engravings have the sureness and vitality that are characteristic of his finest work. Meanwhile Morris had been experimenting with the typographical design for The Earthly Paradise; but in 1868 - nearly a quarter of a century before the advent of the Kelmscott Press - he could find no typeface that harmonized with the wood-engravings. So the project was abandoned; and when The Earthly Paradise was subsequently printed at the Kelmscott Press, it contained no illustrations After Jane Morris’s death in 1914, the woodblocks became the property of her younger daughter May. On May’s death in 1938, her residual estate was bequeathed to the Society of Antiquaries of London; but it seems that Sydney Cockerell (as executor) retained the blocks in his possession until the blitz started in the autumn of 1940. They were then taken to Burlington House and safely stowed away in the basement of the Society’s Rooms. Here they remained until, in 1967, when the cataloguing of the Kelmscott library was under consideration, the woodblocks were brought up from the basement, and their importance was realised. In December, 1969, the Society of Antiquaries allowed Mr Colin Franklin to display a set of pulls. The partners in Clover Hill Editions, Will Carter and Douglas Cleverdon, being present on that occasion, were immediately fired with the ambition to print these engravings in a worthy edition of The Story of Cupid and Psyche. They approached the Society of Antiquaries, and were generously granted permission to borrow the woodblocks for this purpose. It happened that Mr A.R.Dufty (formerly the Honorary Secretary of the Society of Antiquaries, and at that time the Mas- ter of the Armouries in Her Majesty’s Tower of London) was already engaged on a monograph concerning Burne-Jones’s illustrations for The Story of Cupid and Psyche. He was persuaded to allow this to be printed in a separate introductory volume of the Clover Hill Edition. Nothing could have been more fortunate, as the monograph (16,000 words in length) is the outcome of several years’ research and covers all aspects of the collaboration between Burne-Jones and Morris... In the typographical designing of this Clover Hill Edition, it seemed at first undesirable to run the risk of producing a Kelmscott pastiche; but once again it became apparent that there was no available type in existence that matched Burne- Jones’s designs more happily than Kelmscott Troy. Fortunately the matrices of the Kelmscott types were deposited in the nineteen-twenties at the Cambridge University Press. Like earlier Clover Hill editions, The Story of Cupid and Psyche [was] printed at the Rampant Lions Press, Cambridge, by Will and Sebastian Carter.” - From the Prospectus THE BOOK BECOMES is an UNCOMMON RAMPANT LION TITLE. This is the story of an unfinished undertaking by William Morris and Edward Burne-Jones and its eventual completion over a century later by the Rampant Lions Press and Clover Hill Editions. The subject is the beautiful edition of Morris’ “The Earthly Paradise” which was started, and abandoned, nearly 25 years before the Kelmscott Press came into being. $3450. The Very Beautiful Nonesuch Press Herodotus The History of Herodotus of Halicarnassus - A Fine Copy Printed in Nonesuch Plantin with Perpetua and Felicity Types

63 [Nonesuch Press], Herodotus. THE HISTORY OF HERODOTUS OF HALI- CARNASSUS. The Translation of G. Rawlinson Revised and Annotated by A. W. Lawrence...To which is added a Life of Herodotus and the Behistun Inscrip- tion (Bloomsbury: The Nonesuch Press, 1935) LIMITED EDITION and FIRST NONESUCH PRESS PRINTING one of only 675 numbered copies. This copy with the RARE PUBLISHER’S PROSPECTUS included. Illustrated with 9 large wood-engravings by V. Le Campion, one colour plate, and 9 double-page maps by T. Poulton. Printed in Nonesuch Plantin with Perpetua and Felicity italic types. Folio, publisher’s original half blue vellum over blue cloth, the spine lettered and elaborately decorated in gilt designs which follow to the turnovers, t.e.g. xxvi, 778 pp. A fine copy, clean and fresh and solid, the binding in beautiful condition with just a hint of the mellowing normally affecting the blue vellum used in binding this title, and without any of the bowing typical to the book. Internally very fresh and clean, a few spots to the end-papers only, the rare prospectus handsome and quite well preserved, with just a little foxing to the cover leaf. LIMITED EDITION, AND ONE OF THE MOST BEAUTIFUL MODERN PRINT- INGS of the Greek historian. This is very pleasing copy: the gilt is brilliant, the boards are not bowed as is usual, and the volume is clean throughout. In all likelihood this particular copy has never been read. Herodotus, the Greek historian was often called the “father of history” due to his sys- tematic collection of sources and his attempt at intellectual rigor. His merits were “...the diligence with which he collected his materials, the candour and impartiality with which he has placed his facts before the reader, the absence of party bias and undue national vanity, and the breadth of his conception of the historian’s office.” His work represents the first significant Greek writing and covers the struggle between Asia and Europe, ending in the Persian invasion of Greece (490 to 479 BC). $1950.

The Nonesuch Century - The First 100 Books of the Press A Fine Copy of this Limited Edition Bibliographic Prize

64 [Fine Press; Nonesuch Press]; Symons, A. J. A.; Flower, Desmond; Meynell, Francis. THE NONESUCH CENTURY: AN APPRAISAL, A PERSONAL NOTE AND A BIBLIOGRAPHY OF THE FIRST HUN- DRED BOOKS ISSUED BY THE PRESS, 1923-1934 [With, the Origi- nal Bound Sales Prospectus and a Copy of the Nonesuch News an- nouncing publication of the book] (London: The Nonesuch Press, 1936) First edition, LIMITED, one of only 750 copies for sale, this copy being number 155. Included with this copy is the publisher’s original sales prospectus which features two tipped in leaf reprints. Also included is a copy of the Autumn 1935 Nonesuch News letter which also announces this work along with other famous Nonesuch printings such as the Nonesuch Herodotus. Wonderfully illustrated, with an engraved portrait of Francis Meynell by Eric Gill, three pages of printer’s devices, six photogravure plates of bindings, 52 pages re- producing text and title pages, and 45 inserts of flawlessly reprinted leaves from the original works tipped on sturdy gray stock, many of which are bifolia. Folio, in the publisher’s original polished green buckram with a black morocco spine label gilt lettered and tooled, and in the rare original dust jacket. xi, 80, [20], [54], [45] pp. A very fine copy, the jacket has done its job properly and the green cloth which is almost always found faded is bright and fresh with only the slightest touch of mellowing only just at the very tips of the spine, very unusual thus, internally very fine, the prospectus and news letter fine as well, the jacket handsome and well preserved with some very minor rubbing or shelf-wear at the edges and folds. FIRST EDITION AND AN UNCOMMONLY BRIGHT AND APPEALING COPY OF THIS IMPORTANT WORK ON THE NONESUCH PRESS. The appraisal is by A. J. A. Symons, publisher, biographer and bibliogapher. The Personal note is byFrance Meynell who co-founded and was the primary printer for the Nonesuch Press. The Bibliography is by Des- mond Flower, noted publisher, book-collector, scholar and writer. The inserted printed leaves from the various publications are of highest interest in the work and are perfect in their execution. The Nonesuch Press was founded in 1922 by Francis Meynell, his second wife Vera Mendel, and their mutual friend David Garnett. Their first book, a volume of John Donne’s Love Poems was issued in May 1923. The press was at its peak throughout the 1920s and 1930s, but would remain operating through the mid-1960s and eventually produced over 140 books. But their finest and now most prized works are within the first 100 covered in this work. $1050.

Bathers and Dancers - John Buckland Wright’s Engravings One of Only 20 Copies Only - A Rare and Perfect Copy A Beautiful Fine Press Production - Signed and Numbered

65 Buckland Wright, John. BATHERS AND DANCERS The White Line and Silhouette Engravings of John Buckland Wright. With an Introduction by Christopher Buckland Wright (Wakefield, West Yorkshire: The Fleece Press, 1993) First Edition, Limited Signed, ONE OF ONLY 20 COPIES bound in full vellum and numbered 1 through 20 in hand and signed by Christopher Buckland Wright. This is copy number 11 and includes additionally, the the pre-publication announcement printed in red and black and the printed note from the publisher in purple and black both laid-in. Including the normal copies, a total of only 206 were produced. Beautifully illustrated with the artist’s 41 white line and silhouette engravings, a 42nd used as frontispiece, 3 tipped-in reproductions of woodcut engravings and a tipped-in photographic portrait of the artist and his wife. Royal octavo, in the original deluxe full vellum binding, lettered on the spine in gilt, in the original slipcase. 25 pp. + 41 leaves of printed engravings + 41 leaves of captions. A perfect and as mint copy, the slipcase also, is without flaw. FIRST EDITION AND ONE OF ONLY 20 VELLUM BOUND COPIES SIGNED. Noted wood engraver and artist John Buckland Wright was born in Dunedin, New Zealand and moved to England with his widowed mother in 1908. He initially studied architecture but decided instead to pursue a career in art. Wright worked primarily as a printmaker, illustrating numerous private press books. His naturally elegant style, coupled with his abiding interest in the female form, created a distinctive and sensuous style for which he was justly famous during his life and ever after. The plates presented here are from a collection of blocks found in his studio shortly after his death. Many of which were never seen or published before, and the others that had been were printed in extremely limited numbers. $1500.

John Buckland Wright - To Beauty - A Unique Copy The Author’s Own Copy - Signed With a Suite of Plates Not Included in the Regular Issue With an Original Signed Engraving from 1934 Additional

66 Buckland Wright, Christopher. TO BEAUTY John Buckland Wright’s Work With Joseph Ishill of the Oriole Press (Huddersfield: The Fleece Press, 2007) VERY RARE. ONE OF ONLY SIX COPIES FOR FAMILY. NOT FOR SALE. A total printing of only 246 copies were printed by hand by Simon Lawrence at the Fleece Press and signed by the author. THIS IS THE AUTHOR’S COPY WITH AN EXTRA SUITE OF WOODBLOCK PRINTS NOT INCLUDED IN THE STANDARD COP- IES. Additionally laid into this copy is an original woodblock print from 1934 signed and captioned in hand by John Buckland Wright. With the publisher’s finely printed card-style prospectus also included. With 16 engravings and 7 tipped in plates within the main body of the text and with the additional suite of 14 tipped in plates from original woodblocks by John Buck- land Wright. 8vo, bound by Smith Settle in beautiful gilt embellished marbled paper made in Venice by Enrico Ricciardi over boards backed in fine burnt-orange cloth, with a single printed paper label, housed in the original Smith Settle clamshell box. [60 pp.] plus plates. A UNIQUE COPY, pristine, perfect and as mint. FIRST EDITION AND A UNIQUE COPY FROM A VERY RARE ISSUE. A BEAUTIFUL TRIBUTE FROM HIS SON TO JOHN BUCKLAND WRIGHT CONTAINING EXQUISITE PRINTS MADE FROM THE ORIGINAL WOODBLOCK ENGRAVINGS AND AN ORIGINAL ENGRAVING SIGNED BY JOHN BUCKLAND WRIGHT. This is the author’s story of his father’s friendship and collaboration with Joseph Ishill and contains prints made from blocks left behind in the artist’s studio and now the property of his son, the author and from blocks graciously loaned for printing from the collection of the University of Florida. $4250.

Surreal Times - John Buckland Wright’s Abstract Engravings One of Only 44 Copies - A Rare and Perfect Copy

67 Buckland Wright, John. SURREAL TIMES The Abstract Engravings and Wartime Letters of John Buckland Wright. Introduced by Christopher Buckland Wright (Huddersfield, West Yorkshire: The Fleece Press, 2000) 2 volumes. Limited Signed First Edition, one of only 44 specially bound copies with an additional un-editioned copper engraved plate and numbered 1 through 44 in hand and signed by Christopher Buckland Wright, this being number 32. Including the normal copies a total of only 266 copies were produced. This copy with the announcement letter from the publisher describing the un-editioned plate laid-in. Beautifully illustrated with the artist’s 16 woodcut engravings printed from the original blocks and 12 tipped-in plates from engravings from copper or wood where the blocks/plates have not survived or from photographs. With the additional tipped-in copper engraving of the un-editioned “Nym- phe Surprise II” which was printed from the original plate by Tony Dyson at the Black Star Press. 4to, in the original deluxe Smith Settle binding of quarter vellum over printed paper boards with a design by Buckland Wright, lettered on the spine in gilt, in the original slipcase. 87, [1] pp. A perfect and as mint copy, even the slipcase is without flaw. FIRST EDITIOIN AND SPECILA LIMITED ISSUE. ONE OF ONLY 44 SPECIAL DELUXE SIGNED COPIES, with with a print pulled from John Buckland Wright’s copper plates entitled “Nymphe Surprise No.II”, engraved during his period at the Atelier 17. This print was previously unpublished and un-editioned and is seen here for the first time. It was not included in the 210 standard copies. Noted wood engraver and artist John Buckland Wright was born in Dunedin, New Zealand and moved to England with his widowed mother in 1908. He initially studied architecture but decided instead to pursue a career in art. Wright worked primarily as a printmaker, illustrating numerous private press books. His naturally elegant style, coupled with his abiding interest in the female form, created a distinctive and sensuous style for which he was justly famous during his life and ever after. Many of the plates presented here are from a collection of blocks found in his studio shortly after his death. Most had never been seen or published before, and the others that had been were printed in extremely limited numbers. Christopher Buckland Smith and printer Simon Lawrence of the Fleece Press also collaborated on works presenting others of those newly found plates. $750.

Endeavours and Experiments - John Buckland Wright One of Only 60 Copies - A Rare and Beautiful Work

68 Buckland Wright, John. ENDEAVOURS AND EXPERIMENTS John Buckland Wright’s Essays in Woodcut and Colour Engraving, To- gether with Other Blocks Remaining in His Studio. [Text by] Christo- pher Buckland Wright (Upper Denby, Huddersfield: The Fleece Press, 2004) Limited Signed First Edition, ONE OF 54 ONLY, THE BEST IS- SUE OTHER THEN THE SIX COPIES RESERVED FOR FAMILY, one of the special limited vellum backed copies with an additional large print “Cafe Dansant No. 2” included and housed in a drop-backed box and one of only 54 (60 including the 6 family copies) in which two tipped- in colour woodblock prints replace the two printed colourplates used in the lesser copies. This is copy 32 numbered in hand and signed by Christopher Buckland Wright. Including the normal copies, there was a total printing of only 300. Included also are a few other items of the printer’s work laid-in with the extra extra engraving. Beautifully illustrated with the artist’s 36 wood-engravings printed from the original blocks, the two special tipped in colour woodblock prints, 12 colour & 4 monochrome plates, tipped in image from a photograph, and the extra print in the separate folder. 4to, in the original deluxe Smith Settle binding of quarter vellum over printed paper boards featuring a design by Buckland Wright, lettered on the spine in gilt, in the original box, the extra plate also housed within the box and in a printed stiff paper wrap with additional materials including an order form for the T.E. Lawrence book and a dinner card with Buckland Wright’s pictorial illustration. 71 pp., blanks and colophon leaf. A perfect and as mint copy, the foldover box also is without flaw. ONE OF ONLY 54 SPECIAL DELUXE SIGNED COPIES, with with a print pulled from John Buckland Wright’s copper plates entitled “Cafe Dansant No.2”, engraved during his period at the Atelier 17. This print was previously unpublished and un-editioned and is seen here for the first time. Noted wood engraver and artist John Buckland Wright was born in Dunedin, New Zealand and moved to England with his widowed mother in 1908. He initially studied architecture but decided instead to pursue a career in art. Wright worked primarily as a printmaker, illustrating numerous private press books. His naturally elegant style, coupled with his abiding interest in the female form, created a distinctive and sensuous style for which he was justly famous during his life and ever after. Many of the plates presented here are from a collection of blocks found in his studio shortly after his death. Many of which were never seen or published before, and the others that had been were printed in extremely limited numbers. Christopher Buckland Smith and printer Simon Lawrence of the Fleece Press also collaborated on works presenting others of those found plates, this was their fourth such endevour. $1050. Baigneuses - John Buckland Wright’s Woodcut Prints One of Only 30 Special Copies - A Rare and Perfect Copy

69 Buckland Wright, John. BAIGNEUSES Introduced by Christo- pher Buckland Wright (Denby Dale: The Fleece Press, 1995) Limited Signed First Edition, ONE OF ONLY 30 SPECALLY BOUND COPIES in full vellum numbered by hand and signed by Christopher Buckland Wright, this being number 27. Including the normal copies, the total edition numbered only 240. Beautifully illustrated with the artist’s 25 woodcut engravings printed from the original blocks found after the artist death, many of which are quite large and one is printed in blue, and with 9 tipped-in illustrations, two being from photographs and the rest being reproductions from engravings or paintings. 4to, in the original deluxe full vellum binding by Smith Settle, lettered on the spine in gilt, in the publisher’s specially designed foldover case. 87, [1] pp. A perfect and as mint copy, the slipcase too is without flaw. FIRST EDITION AND ONE OF ONLY 30 SPECIAL DELUXE SIGNED COPIES of this beautiful production printed on specially made Zerkall paper. Noted wood engraver and artist John Buckland Wright was born in Dune- din, New Zealand and moved to England with his widowed mother in 1908. He initially studied architecture but decided instead to pursue a career in art. Wright worked primarily as a printmaker, illustrating numerous private press books. His naturally elegant style, coupled with his abiding interest in the female form, created a distinctive and sensuous style for which he was justly famous during his life and ever after. This is the second of a series of books published in collaboration between the artist son, Christopher Buckland Smith, and printer Simon Lawrence of the Fleece Press editioning (in many cases for the first time) a collection of blocks found in the artist studio shortly after his death. Many of which were never seen or published before, and the others that had been were printed in extremely limited numbers. This volume contains all of the engravings of bathers or of women in watery landscapes or seascapes, other then those published in white line or silhouette as those were included in the previous publication. $1400.

The Sensual Engravings of John Buckland Wright One of Only 40 Copies - With Original Engraved Plates A Beautiful Catalogue Raisonné of His Intaglio Prints

70 Buckland Wright, John. SENSUOUS LINES ∽ A Catalogue Raisonné of the Intaglio Prints of John Buckland Wright Compiled and Introduced by Christopher Buckland Wright (Upper Denby: The Fleece Press, May, 2014) LIMITED FIRST EDI- TION, THIS THE BEST ISSUE other then six copies reserved for family, this being one of only 40 copies bound specially bound with a tipped in copper- engraved frontispiece and including four original prints housed in an accompanying folder. This copy with manuscript note from printer Simon Lawrence to the original recipient laid in. Beautifully illustrated throughout with Buckland Wright’s sensual engravings, including the special frontispiece, numerous tipped-in plates, full-page plates and prints within the text, all plates printed by Jeremy Blighton and Anthony Dyson at the Black Star Press, and with the extra plates in the folder for this issue. Oblong 4to, in the deluxe binding of quarter vellum with false Sumi- nagashi marbled paper made specifically for the book by Antonio Velex Celemin of Madrid, the spine lettered in gilt, with the stiff handmade paper folder holding the extra plates descortated with a paper label, all contained in the printer’s original buckram-covered slipcase with paper label, and prepared by the Fine Book Bindery of Finedon, Northants. 278, [1] pp. A pristine and perfect copy, flawless in every detail. RARE FIRST EDITION AND A VERY BEAUTIFUL PRODUCTION FROM THE FLEECE PRESS AND ONE OF ONLY 40 COPIES SPECIALLY BOUND AND WITH FOUR ORIGINAL ENGRAVED PLATES. This is the sixth, and as of this printing, final collaboration between Simon Lawrence of the Fleece Press and Christopher Buckland Wright presenting the engravings of John Buckland Wright. It was the winner of the Best British Book award at the 2014 BPIF British Book Design and Production Awards. This volume collects John Buckland Wright’s most sensuous Intaglio prints with over 400 listed and illustrated. The special copper-engraved frontispiece is ‘Venus Calling the Sea Gods’, the four large extra engraved plates, directly from the artist’s original engravings, are; ‘Dionysus III’; a rejected design from the Golden Cockerel’s “Rubaiyat”; ‘Judgement of Paris No. IV’; ‘The Petticoat’. $1850.

Havelock Ellis in Appreciation - 1929 - First Edition One of Only Fifty Copies Printed on Japan Vellum

71 [Ellis, Havelock]; Ishill, Jo- seph, Compiler and Editor. HAVELOCK ELLIS IN APPRE- CIATION... With an Unpub- lished Letter by Thomas Hardy to Havelock Ellis, and a Foreword by Isaac Goldberg... (Berkeley Heights, NJ: Privately Printed by the Oriole Press, 1929) LIMITED FIRST EDITION, One of only 50 copies on Alexandra Japan vellum, this is copy number 28. Of the plain paper issue, 450 copies were printed additionally. Illus- trated with 15 plates from various sources, primarily portraits and facsimiles. Also with embellishments such as initials and headpieces by Louis Moreau throughout. 8vo, in the printer’s deluxe binding created only for this very limited issue, of vellum backed boards over paper handsomely designed and decorated in metallic colours, printed paper label on the spine, t.e.g. xlvi, 299, [1] pp. A well preserved and handsome copy of this rare limited issue, the Japan vellum with the lightest of the toning common to the material, the binding well preserved with only minor expected age mellowing. FIRST EDITION QUITE RARE IN THIS SPECIAL LIMITATION ISSUANCE,.We know of no other copies currently on the market. Havelock Ellis was a noted English physician, writer and social reformer but is best known for his pioneer- ing works on Human Sexuality, which he studied as a science and attempted to bring out of the shadows and away from the period taboo and Victorian prudishness. Ellis viewed sexual activity as the healthy and natural expression of love, and he sought to dissipate the fear and ignorance that characterized many people’s attitudes toward human sexuality. This tribute includes contributions from over forty noteworthy persons including; Bertrand Russell, H. L. Mencken, Clarence Darrow, Horace Traubel and Margaret Sanger. There is also a significant glimpse at Ellis’ life and works by Joseph Ishill, a reprinting of a letter in Ellis’ defense by George Bernard Shaw and more. $1050. The Magnum Opus of Joseph Ishill Free Vistas - The Oriole Press - Very Scarce Limited Printings With Contributions by Noted Authors, Poets and Artists

72 [Oriole Press] Ishill, Joseph, Editor and Printer. FREE VISTAS An Anthology of Life and Letters [and] FREE VISTAS -Vol. II A Libertarian Outlook on Life and Letters (Berkeley Heights, NJ: Published Privately at the Oriole Press, 1933, 1937) 2 volumes. LIMITED FIRST AND ONLY EDITIONS, Volume I being one of only 290 copies, this being a rare out-of-series unnumbered copy. Volume II being one of 205 copies. The first volume beautifully decorated with with woodcuts by John Buckland Wright as well as with prints, drawings, and engravings by, Maurice Duvalet, Bernard Sleigh, Albert Daenes, Frans Masereel, Albert Sterner, Walter Tittle and others. Many of the illustrations are tipped-in. The text is printed in a medley of types and colours and printed on a variety of fine papers in differing shapes and sizes. The second volume as the first with many woodcut decorations by most of the same artists. The text which is set uniformly in Garamond and Goudy Hadriano types and is printed on Arak Ash paper. Small 4to, in the publisher’s red Fabrikoid cloth boards backed in black buckram, the spines each with a single paper label printed in red and black. [ix], 374, [2] pp; 397 pp. Fine copies indeed, and very much so. The boards in each case near pristine, the text-blocks each appearing pristine. The text in Vol. I was printed on various papers. FIRST EDI- TION AND A RARE SET OF WHAT IS LARGELY CON- SIDERED THE M A G N U M OPUS OF THE PRESS. FREE VISTAS is a trea- sure trove of libertarian philosophy, literature, and history, with illustrations by prominent artists. The Oriole Press was a one- man operation. Ishill was typog- rapher, printer, compositor, press- man, and sole proprietor. Apart from his wife’s editorial assistance, he performed all the labors by himself, without outside help, from the most complex and demanding to the simplest of mechanical details. Ishill was always filled with a passion to create, and he derived incalculable pleasure from his work. All of his labors were performed with the same meticulous care. These are the only two issues produced of what Ishill had hoped would be an annual volume, and these were printed a full four years apart. The contents, according to Ishill, give a clear idea of how he interpreted “anarchism and its esthetic value so neglected even by the most sincere precursors of this ideal.” Among the contributors are: Rabindranath Tagore, Holbrook Jackson, Witter Bynner, Elie Reclus, Jacques Mesnil, Emma Goldman, Octave Mirbeau, Havelock Ellis, Romain Rolland, R. Austin Freeman, Stefan Zweig, and a number of other important writers. Also included are excerpts from Tolstoy, Shaw, Mencken, Thoreau,Ruskin, Jefferson, Emerson, etc., etc., etc. $4500. A Rare Issue of Only 50 Copies Signed by Both Artist and Author

73 [Private and Fine Press]; Linklater, Eric. SEALSKIN TROUSERS AND OTHER STORIES (London: Rupert Hart-Davis, 1947) FIRST EDITION AND A VERY LIMITED EDITION of only 50 numbered copies SIGNED by both the author and the illustrator. The illustrations from the artist’s original woodblocks, printed on hand-made paper by Hague and Gill. With handsome woodcuts throughout by Joan Hassall. Tall 8vo, in the original Sangorski & Sutcliffe signed binding of half turquoise morocco over marbled boards, the spine gilt lettered between raised bands ruled in blind, t.e.g., others untrimmed. 127 pp. A fine and lovely copy of this rare issue, the text block is pristine and perfect, the binding attractive and beautifully preserved with only the lightest of age. FIRST EDITION AND A RARE ISSUE OF ONLY 50 COPIES, SIGNED BY BOTH ARTIST AND AUTHOR AND PRINTED ON THE FINEST OF PAPER. Dame Joan Hassell is one of the most celebrated female woodblock engravers of the 20th century. In 1972 she became the first woman to be elected the Master of the Art Workers Guild and in 1987 was awarded the Order of the British Empire by Queen Elizabeth. Unlike the trade issue, this beautifully produced edition was hand printed directly from her original woodblocks. Linklater’s diverse short stories provide her with a medium to display a number of differing styles. $500.

The Hand Press - Hilary Pepler’s Very Scarce Essay - 1934 Limited to Only 250 Signed Copies Ever Produced A Copy With Fine Provenance

74 Pepler, H.D.C. THE HAND PRESS An Essay Written and Printed by Hand for the Society of Typographic Arts, Chicago, by. H.D.C. Pepler, Printer, Founder of St. Dominic’s Press (Ditchling Common, Sussex: St. Dominic’s Press, 1934) LIMITED FIRST EDI- TION SIGNED AND HAND NUMBERED BY PEPLER, number 80 of only 250 copies hand-printed. Laid into this copy is also a schedule of Hilary Pepler’s lecture schedule and a notice of the press. A copy with pleasing provenance. Illustrated with six facsimile pages and labels from earlier St. Dominic’s Press books, and with woodblock engravings and drawings. 8vo, in the printer’s binding of dark blue coarse-wove cloth covered boards with white band across both covers and spine lettered in black on the upper cover and spine. (iv), 79, (1) pp. A fine copy, internally essentially flawless and pristine, the cloth with no wear and only slight mellowing to the spine, the white band nicely aged to ivory. FIRST EDITION WITH ADDED MATERIALS LAID IN AND WITH FINE PROVENANCE. VERY SCARCE, ONE OF ONLY 250 COPIES PRINTED BY HAND, NO TRADE ISSUE WAS DONE. The work is an address given to the Society of Typographic Arts in Chicago by Pepler, arranged by R. Hunter Middleton. The work was printed on a Stanhope hand press by Mark and H.D.C. Pepler on paper by Joseph Batchelor. Pepler was an associate of both Eric Gill and G. K. Chester- ton. He founded, circa 1915, the St. Dominic’s Press. It published, among other books, important editions for the Ulysses Bookshop in High Holborn, London, owned by Jacob Schwartz, to 1937. These included works of James Joyce and also George Bernard Shaw, John Drinkwater, Augustus John, Chesterton and John Collier. Laid into this copy is a schedule of Pepler’s lectures for 1933 and a press notice for THE HAND PRESS. There is a small neat bookplate on the front endpaper of Albert Sperisen (1908-1999), longtime librarian of the Book Club of California (whose library is now called the Albert Sperisen Library) and a much sought-after consultant in the fields of graphic design, fine printing, and typography. There is a neat pencil notation that this book was from the library of noted San Francisco collector Ted Lienthal and was purchased from David Magee, who in the annals of antiquarian bookselling looms large indeed. During his half-century as an antiquarian bookseller in San Francisco, he produced catalogues that are still used as references (and as models) by book dealers, collectors, and librarians. Taylor and Sewell A233. $1450.

Copy Number 1 - Limited and Signed - With 15 Engravings A Rare Laboureur Illustrated Work in English The Beaux Stratagem - Printed by Douglas Claverdon - 1929

75 Farquhar, George [Laboureur, Illus]. THE BEAUX STRATAGEM. A comedy With Seven Engravings on Copper by J. E. Laboureur and an Introduction by Bonamy Dobree (Bristol: Douglas Cleverdon, 1929) COPY NUMBER 1 of the this LIMITED FIRST EDI- TION, SIGNED by the Illustrator, J. E. Laboureur. With, an extra set of the engravings in final state housed in a foldover sleeve at the end of the book. This copy signed and with a special design by La- boureur on the upper cover. Printed on Batchelor hand-made paper. Including the normal copies a total printing of only 527 copies was accomplished. With a total of 15 engravings, the 7 called for engraved illustrations on plates by J. E. Laboureur bound in with tissue guards, a second set of the plates in final state housed in a sleeve at the rear and with an additional plate of the engraved title-page vignette added to this copy and not called for in the records. 8vo, in the original vellum over green cloth boards, the spine gilt lettered and with the special design by Laboureur stamped in gilt on the upper cover. xxviii +128 pp. A very fine copy, essentially as pristine. FIRST EDITION, COPY NUMBER 1 OF THIS LIM- ITED SIGNED EDITION WITH THE ADDITION OF LABOUREUR’S FINE LYRICAL PLATES. The Beaux’ Stratagem, a comedy, was first produced at the Theatre Royal in the Haymarket, London, on March 8, 1707. In the play, Archer and Aimwell, two young gentlemen who have fallen on hard times, plan to travel through small towns, entrap young heiresses, steal their money and move on. In the first town, Lichfield, they set their sights on Dorinda, but Aimwell falls truly in love, and the comedy ensues. A master draftsman, engraver, etcher, and lithographer, the French Cubist, Jean-Emile Laboureur illustrated books by such authors as Andre Maurois, Jean Giraudoux, Colette, Andre Gide, Paul-Jean Toulet, Maurice Maeterlinck and François Mauriac. This is one of the few titles in English to be graced with his workmanship. $1250. 1914 - Kay Nielsen - East of the Sun and West of the Moon An Excellent Copy of the Signed, Limited First Edition Bound in Beautiful Vellum Decorated in Gilt and Blue

76 [Nielsen, Kay, illus.]. EAST OF THE SUN AND WEST OF THE MOON: Old Tales From the North (London: Hodder and Stroughton, [1914]) First Edition. The Limited Edition, one of only 500 numbered copies signed by Kay Nielsen and bound in white vellum gilt. Illustrated with 25 beautiful tipped-in color plates by Kay Nielsen as well as numerous detailed black and whites throughout the text. 4to, original full white vellum with gilt lettering and pictorial decorations in blue and gilt on the spine and upper cover, and with decorative endpapers printed in black and gilt. 206 pp. + plates A lovely bright and clean copy of this rare book with only a bit of old shelf wear at the foot of the spine and, the color plates are truly fine impressions. A WONDERFUL BOOK AND KAY NIELSEN’S BEST. The signed, limited first edition is extremely scarce and in a larger and more decorative format then the more common American edition. This copy is particularly nice. These old-wives’ fables “are the romances of the childhood of Nations: they are the never-failing springs of sentiment, of sensation, of heroic example, from which primeval peoples drank their fill at will” (- from the Introduction). This is one of only five books that Nielsen illustrated before going to work as an animator for Disney. $18,500.

An Extremely Rare Inscribed Presentation Copy - First Edition Kay Nielsen - East of the Sun and West of the Moon An Excellent Copy of the Best Edition - First Printing His Greatest and Most Famous Book - 1914

77 [Nielsen, Kay, illus.]. EAST OF THE SUN AND WEST OF THE MOON: Old Tales From the North (London: Hodder and Strough- ton, [1914]) AN EXTREMELY RARE ARTIST INSCRIBED COPY OF THE FIRST EDITION, DATED AND SIGNED BY KAY NIELS- EN. The best of the various issues of the first trade edition printings. Illustrated with 25 beautiful tipped-in color plates by Kay Nielsen as well as numerous detailed black and whites throughout the text. 4to, publisher’s original navy blue cloth with gilt lettering and elaborate pictorial decorations on the spine and upper cover, and with decorative illustrated endleaves printed in black and gilt. 206 pp. A very bright copy, the paper with just a hint of the usual mellowing at the margins, the cloth bright and unfaded with fresh gilt, a little minor bumping. AN EXTREMELY RARE INSCRIBED FIRST EDITION COPY OF THIS RENOWNED ILLUSTRATED CLASSIC, ONE OF THE 20TH CENTURY’S GREATEST EDITIONS OF FAIRY TALES. WITH IN- SCRIBED PRESENTATION BY KAY NIELSEN on the verso of the titlepage, “Helen Nestorig / with kindest regards / Kay Nielsen / June 2 39.” Even without the inscription this edition, the best of the firsts, is quite scarce. It is a larger and more decorative format then the more common American edition. Fifteen old Norwegian folk-tales from Asbjornsen and Moe’s ‘Norske Folkeeventyr’, have been selected and magnificently portrayed by Nielson. Only his second book commission, this collection of paintings earned him enormous public recognition and equal standing with Dulac and Rackham as a leading children’s book illustrator. Here, in its larger format, we are offered the luxury of viewing all 25 illustrations with utter clarity. “In these elegant paintings, he combined qualities of Oriental design with those unique features of his native Scandinavia: The melancholic mystery of a bleak Nordic twilight seemed to cast a magical spell on the images themselves. If it were not for the outbreak of war that year, there is no doubt that Nielsen would have continued to produce many more of these remarkable paintings for children, to establish him as a great master of the Northern fairy tale.” - Susan Meyer. The best of the first editions is quite scarce and in a larger and more decorative format then the more common American edition. This copy is handsome and bright and quite a nice copy indeed. $12,500.

Peter Pan in Kensington Gardens - 1906 The De Luxe Limited Issue Signed by Arthur Rackham A Superior Copy of What is Considered His Greatest Work

78 [Rackham, Arthur, Illus.] Barrie, J. M. PETER PAN IN KENSINGTON GARDENS (London: Hodder and Stoughton, 1906) The Limited and Signed De Luxe First Edition, one of only 500 numbered copies. With 50 tipped-in color plates with captioned tissue-guards, and except for the frontispiece, bound in rear as issued. And with a number of additional line drawings by Arthur Rackham. 4to, publisher’s original de luxe vellum, with lettering on the spine in gilt, the upper cover with the fine decorative designs in gilt and additional elaborate designed gilt lettering, front endpaper with the map of Kensington Gardens, t.e.g., original silk ties of gold. 126 pp. + plates pp. A superior copy in the original vellum, very fine inside and out. A VERY HANDSOME AND FINE FIRST EDITION. FIRST ISSUE OF THE LIMITED AND SIGNED PETER PAN IN KENSINGTON GARDENS. AN OUTSTANDING DE LUXE COPY of what is widely considered Rackham’s best work of illustration, and is certainly one of the most popular. PETER PAN is now quite scarce in even the trade issue of the first edition. PETER PAN is Rackham’s most famous book. Within, we find many of the artist’s best loved and most easily recognized paintings. Perhaps the Pall Mall Gazette summed it best when they said, “Mr. Rackham seems to have dropped out of some cloud in Mr. Barrie’s fairyland, sent by a special providence to make pictures in tune with his whimsical genius.” $8500.

One of the Best Illustrated Books of the Period Limited to 525 De Luxe Copies, Signed by Arthur Rackham Full Vellum - His Wonderfully Illustrated A Christmas Carol

79 [Rackham, Arthur, Illus.] Dickens, Charles. A CHRISTMAS CAROL (London and Philadelphia: William Heinemann and J. B. Lippincott Co., 1915) LIMITED DE LUXE EDITION SIGNED BY ARTHUR RACKHAM, one of only 525 hand-numbered copies. This limited edition is printed on significantly larger paper then the trade issue. With 12 tipped-in haunting colour plates, 18 black and white illustrations and line drawings by Arthur Rackham, endpapers designed and illustrated by the artist. 4to, publisher’s de luxe full vellum, beautifully decorated and lettered in gilt on on both the spine and the upper cover in Christ- mas motif, t.e.g. xv, 147 pp. A very bright, fine and desirable copy of this limited edition, the text very fine indeed without spot or flaw, the plates all pristine with tissue-guards intact, the vellum fresh and bright, without ties as often, some spotting to the end-leaves as often. The elusive limited signed edition of an extraordinary piece of literature, surely one of both Charles Dickens’ and Arthur Rackham’s best books. ONE OF THE GREATEST COMBINATIONS OF AUTHOR AND IL- LUSTRATOR YET PUBLISHED. The artist successfully incorporated the ‘Phiz’ and Cruikshank styles into his own to create striking renditions of Victorian London with ample room to uniquely evoke ghostly fantasy images as well. His almost characterized depictions of Scrooge, features chiseled and grotesque, are as bone-chilling as his fantastic entourages of moaning ghouls. The muted, shadowed atmospheric tones so characteristically Rackham, support Dickens’ eerie tale wonderfully. Some examples of Rackham’s emerging special talent for silhouette are also included. $6500.

With an Original Drawing - A Rare Signed Presentation Copy Arthur Rackham - The Romance of King Arthur - 1917

80 [Rackham, Arthur, illus.]. THE ROMANCE OF KING ARTHUR AND HIS KNIGHTS OF THE ROUND TABLE, Abridged From Malory’s Morte D’Arthur by Alfred W. Pollard (New York: The Macmillan Company, 1917) AN IN- SCRIBED PRESENTATION COPY, SIGNED BY ARTHUR RACKHAM AND WITH AN ORIGI- NAL DRAWING BY THE ARTIST DATED 1917 IN THE YEAR OF PUBLICATION. FIRST EDI- TION, American Issue. Beautifully illustrated with 16 colour plates with tissue guard captions, 7 full page line drawings, and 63 in-text illustrations by Arthur Rackham. Thick 8vo, publisher’s original green-black cloth attractively lettered and pictorially decorated in gilt on the upper cover and the spine. In the scarce white paper dustjacket, colour illustrated and lettered in black. Now housed in a very fine velvet lined clamshell box with brick morocco backing and corner-pieces, the spine with raised bands gilt and blind ruled and stippled, and with gilt lettering and gilt floral devices in the compartments. xxiv, 517, [vi] pp. A wonderful copy, the text spotless and plates all pristine, the dark cloth with no wear or fading, a little shaking to the upper inner hinge, the rare dustjacket complete and fresh with only light expected mellowing to the white cloth and a bit of edge rubbing with very small corner chips. A HIGHLY IMPORTANT COPY, WITH A VERY NEAT, SPONTANEOUS, AND YET CAREFULLY EXECUTED ORIGINAL PEN AND INK DRAWING BY ARTHUR RACKHAM. He has penned here a highly bemused appearing court jester standing beside his presentation inscription - “To THE Framptons / with kindest regards / & best wishes / Ar- thur Rackham / Christmas 1917” The text is Alfred Pollard’s abridgment, an extremely well-written and highly entertaining rendition of Sir Thomas Malory’s the Morte d’Arthur. Pollard points out in his introduction that Mallory himself was the first to abridge the original Arthurian romances. Pollard in turn attempted to cull further the many repetitions found in Mallory. The result is this readable edition of the classic tales of King Arthur. Rackham’s colour and black and white illustrations bring to life the gallantry and excitement of the Arthurian romances. He portrays Sir Launcelot fighting the evil dragon, Tristam and Isoud drinking the love drink together, Arthur in the heat of battle drawing his sword Excalibur for the first time, and Queen Guenever riding on her horse through the groves of West- minster. The well-known stories of magic, danger, and heroism are magnificently depicted in Rackham’s illustrations. The Romance of King Arthur was one of Rackham’s war-time commissions. He turned to Beardsley’s Morte Darthur for inspiration in commencing his illustrations and many similarities in style and layout can be found. “Rackham’s work became balm for wounded soldiers, as one mother wrote: ‘I am urged to write to you by my son who is wildly fond of your work: and when he was getting better from very bad wounds received near Ypres, your illustrations of Books were his great joy and delight.’”-Hamilton. $6500.

Beautifully Bound by Zaehnsdorf in Full Rich Morocco Gilt Kay Nielsen’s Best and Most Famous Book - 1914 East of the Sun and West of the Moon The Most Handsome of the First Edition Formats

81 [Nielsen, Kay, illus.]. EAST OF THE SUN AND WEST OF THE MOON: Old Tales From the North (London: Hodder and Stroughton, [1914]) First Edition. The best of the various issues of the first editions. Illustrated with 25 beautiful tipped-in color plates by Kay Nielsen as well as numerous detailed black and white drawings throughout the text. 4to, very handsomely bound in a deluxe custom full crushed black morocco binding by Zaehnsdorf, the spine with fine raised bands and gilt lettering, the upper cover with a tall gilt pictorial decoration derived from Nielsen’s illustrations, the endpapers designed from Nielsen’s “North Wind” plate, a.e.g., with a custom clamshell box of maroon cloth with matching chemise. 206 pp. + plates A fine copy, richly bound, the colour plates are truly fine impressions, in superb condition and clearly superior to any of the later reprints in quality, the book is unusually fresh without so much as a single spot of foxing. FIRST EDITION AND AN IMPORTANT AND UNIQUE COPY OF NIELSEN’S BEST BOOK. Fifteen old Norwegian folk-tales from Peter Christen Asbjornsen and Jorgen Moe’s ‘Norske Folkeeventyr’, have been selected and magnificently portrayed by Nielson. Only his second book commission, this collection of paintings earned him enormous public recognition and equal standing with Dulac and Rackham as a leading children’s book illustrator. Here, in its larger format, we are offered the luxury of viewing all 25 illustrations with utter clarity. “In these elegant paintings, he combined qualities of Oriental design with those unique features of his native Scandinavia: The melancholic mystery of a bleak Nordic twilight seemed to cast a magical spell on the images themselves. If it were not for the outbreak of war that year, there is no doubt that Nielsen would have continued to produce many more of these remarkable paintings for children, to establish him as a great master of the Northern fairy tale.”-Susan Meyer. These captivating old tales at once exotic and somehow familiar, of princes and princesses, giants and mythic goats, all combine to give us a glimpse into the Norwegian imagination. And we cannot help but agree that: “The quaintness, the tenderness, the grotesque yet realistic intermingling of actuality with supernaturalism, by which the original Norske folkeeventyr are characterized, will make an appeal to all, as represented in the pictures of Kay Nielsen. And these imperish- able traditions, whose bases are among the very roots of all antiquity, are here reincarnated in line and colour, to the delight of all who ever knew or now shall know them.”-Preface. [Surely,] these old-wives’ fables “are the romances of the childhood of Nations: they are the never-failing springs of sentiment, of sensation, of heroic example, from which primeval peoples drank their fill at will” (- from the Introduction). This is one of only five books that Nielsen illustrated before going to work as an animator for Disney. The best of the first editions is quite scarce and in a larger and more decorative format then the more common American edition. This copy is handsome and bright and quite fine. $6250.

Kay Nielsen’s Fairy Tales of Hans Andersen Superb in the Deluxe Vellum Gilt - Signed by the Illustrator With the Very Scarce Original Cloth Dustjacket

82 [Nielsen, Kay, illus.] Andersen, Hans. FAIRY TALES OF HANS ANDERSEN (London: Hodder and Stough- ton, [1924]) The Beautiful First Edition, De Luxe, Limited and Numbered Issue, one of only 500 copies. SIGNED BY THE ILLUSTRATOR, KAY NIELSEN. With 12 exceptional tipped-in colour plates with captioned guards and full- page black & white illustrations as frontispieces to each tale, page headlines, numerous tale pieces and decorated initials all by Kay Nielsen. 4to, the publisher’s original deluxe vellum binding with beautiful and elaborate gilt pictorial designs on the upper cover and the spine, t.e.g. This exceptional copy retains the extremely scarce original paper backed cloth dustjacket lettered on the spine in gilt. 197 pp. + plates. A very handsome copy, the rare jacket complete, the fine gilt decorated vellum in excellent condition, the plates perfect, the text -block very fresh with only an occasional hint of the spotting normally seen, the jacket with some evidence of shelving or use having served its purpose well. FIRST EDITION DE LUXE, LIMITED TO 500 COPIES AND SIGNED BY THE ARTIST KAY NIELSEN, IN ITS VERY RARE ORIGINAL DUSTJACKET. This collection of sixteen tales was initiated by Nielsen in 1912, though it was not published until 1924. Hodder & Stoughton, in an effort to promote sales after the war, began publishing gift books again with beautiful illustrations and bindings. This is one of there very best and in the scarcest and most desirable de Luxe format. Nielsen is regarded along with Rackham and Dulac as one of the triumvirate of masters of the illustrated gift book. This is no small achievement considering he only produced four such books in comparison to the dozens of titles produced by the other two gentlemen. Had he more time to enlarge his reputation he may well be considered the greatest master of the genre today. Although frequently compared to Rackham and Dulac his style is very different and altogether unique. Danish born and Parisian trained he was far more influenced by the Art Nouveau. His greatest influences as a student were the Japanese woodcuts of Hokusai and Utamaro and the black and white decorative line work of Aubrey Beardsley. Nielsen was among the most highly regarded illustrators of his day but produced only five books in total. He was lured away from the profession by Walt Disney, for whom he became an animator. These five books are more then enough however to secure his reputation for generations to come. Of the lasting appeal of Hans Andersen’s ‘Tales’ nothing more needs to be said. $5500. Kay Nielsen’s First and Arguably Finest Work - 1913 In Powder and Crinoline - Full Dark Green Vellum Gilt The De Luxe Issue of Only 500 Copies Signed by Him With Two Colourplates Not Included in the Trade Issue

83 [Nielsen, Kay, illus.]. IN POWDER AND CRINO- LINE. Old Fairy Tales Retold by Sir Arthur Quiller- Couch (London: Hodder and Stoughton, (1913)) DE LUXE FIRST EDITION LIMITED, AND SIGNED BY THE ARTIST, KAY NIELSEN, number 11 of only 500 numbered copies. With 26 beautiful colour plates tipped onto highly decorated printed borders and behind captioned tissue-guards, decorated title-page in red and gray on gray stock, decorated headlines to every page and numerous drawings within the text by Kay Nielsen. Large 4to, in the publisher’s de luxe dark green full vellum, the upper cover and spine with elaborate gilt lettering and pictorial decorations designed by Nielsen, decorated endpapers from Nielsen’s designs, t.e.g., others untrimmed as issued. xii, 164 pp. + plates. A very handsome copy of this scarce issue, the green vellum very well preserved, bright and fresh with vivid gilt. The plates all very fine, the text in excellent state, the free-flies with some of the usual offsetting caused by the adhesive used under the pastedown. FIRST EDITION DE LUXE. THE SCARCE SIGNED LIMITED EDITION OF ONE OF THE GREAT BOOKS OF THE GOLDEN ERA. This wonderfully produced De Luxe issue also has two colourplates that were not included in the trade issue. This was Nielsen’s first book, commissioned by Hodder and Stoughton in 1911 upon Nielsen’s moving to England from his native Denmark. It was published in the heady and decorative days before the First World War. It represents perhaps the peak of his illustrative powers (though some would argue in favor of “East of the Sun West of the Moon”). The illustrations were reproduced by a 4-colour process, in contrast to many of the illustrations prepared by his contemporaries that characteristically utilized a traditional 3-colour process. In the United States the book was issued under the title “The Twelve Dancing Princesses.” Whichever title you prefer the book is the first of only five titles Nielsen would illustrate in total. He was lured away from book illustration by theatri- cal work in Copenhagen, and then later by Walt Disney. At the Disney Studios his work was used in the “Ave Maria” and “Night on Bald Mountain” sequences of Fantasia. Nielsen was renowned at the Disney studio for his concept art and he contributed artwork for many Disney films. $4950.

The Rare Limited Signed First Edition De Luxe Mother Goose - Many of Rackham’s Liveliest Illustrations One of His Most Elusive Titles in Limited Format - 1913

84 [Rackham, Arthur, illus.]. MOTHER GOOSE: The Old Nursery Rhymes (London: William Heinemann, [1913]) DE LUXE LARGE-PAPER ISSUE SIGNED BY ARTHUR RACKHAM AND LIMITED to 1100 hand-numbered copies for sale. Laid in is the printed announcement for the 1913 Arthur Rackham Exhibition at the Leicester Galleries in London which featured many of the original paintings for this work. With 13 very fine colour plates tipped to heavy stock with captioned tissue guards, silhouette illustrated title-page and with 85 black and white illustrations, initials and other decorations throughout all by Arthur Rackham. 4to, publisher’s original de luxe white cloth, the upper cover lettered and with pictorial image of Mother Goose in gilt, the spine gilt lettered and florally decorated, t.e.g. Now protected in a custom morocco backed slipcase backed featuring raised bands and fine gilt lettering and tooling. xi, 160 pp. A beautifully preserved, very fine copy indeed, internally pristine, the text still largely unopened, the plates all perfect, the white cloth brilliantly preserved and extremely unusual thus. About as fine a copy as one could ever expect to see. SCARCE DE LUXE SIGNED EDITION OF ONE OF THE MOST ELUSIVE RACKHAM TITLES IN LIMITED EDI- TION, SPECIALLY BOUND FORMAT. Perhaps the most iconic of children’s rhymes are given the wonderful addition of 98 of Arthur Rackham’s colour paintings and line drawings. A stunning book, and this an exceptionally beautiful copy. MOTHER GOOSE was an especially fond undertaking for Rackham, who’s intent to please children with this offering was extremely successful. He chose each of the poems which would be included in the work, and featured himself in the opening initial to the first rhyme with a whimsical self-portrait. The drawing of ‘the house that Jack built’ was modeled from his own home in Chalcot Gardens. The colourplate ‘As I was going to St. Ives’ features another self-portrait, with Rackham being terrified by seven witches, black cats and vast multitude of kittens! $4500.

Edgar Allan Poe - De Luxe, Limited and Signed Arthur Rackham’s Wonderful Work in Very Rare Slipcase Tales of Mystery and Imagination - Twelve Plates in Colour

85 [Rackham, Arthur, Illus] Poe, Edgar Allan. POE’S TALES OF MYSTERY AND IMAGINATION (London: George C. Harrap & Co., Ltd., 1935) LIMITED SIGNED FIRST EDITION, one of 460 numbered copies SIGNED BY ARTHUR RACKHAM. With 12 very impressive colourplates, each with a captioned guard, pictorial titlepage printed in black and green and 17 full-page line drawings and several drawings within the text all by Arthur Rackham. 4to, in a publisher’s De Luxe issue binding of white parchment, lettered and pictorially decorated in gilt on the spine and upper cover with delightfully ghoulish Rackham designs, and with striking back and white skeletal endpapers, t.e.g.,others untrimmed in the RARE ORIGINAL SLIPCASE with printed label. 318 pp. A very fine and a very bright copy, the book pristine and very beautiful, the slipcase only with toning and wear but complete and present which is quite rare. AN OUTSTANDING COPY OF THIS LIMITED DE LUXE SIGNED FIRST EDITION WITH ARTHUR RACKHAM’S VERY IM- PRESSIVE ILLUSTRATIONS. There are twenty-five tales including “The Pit and the Pendulum”, “The Murders in the Rue Morgue”, “The Fall of the House of Usher”, and “The Descent into the Maelstrom.” The superb drawings evoke the dense spiritual qualities reflected within Poe’s exquisite and impassioned writing. A wonderful marriage of artist and writer: Rackham’s illustrations, both horrific and fanciful, bring Poe’s imagination to life, the artist said in illustrating this book that he was beginning to frighten himself. One of our favorite illustrated books. $3950. The Beautiful Arthur Rackham Edition of The Tempest An Exceptional Copy of the Signed Limited De Luxe Issue

86 [Rackham, Arthur, Illus.] Shakespeare, William. THE TEM- PEST (London: William Heinemann, 1926) FIRST EDITION, LIM- ITED EDITION DE LUXE, one of 520 numbered copies SIGNED BY ARTHUR RACKHAM. This limited edition is also printed on significantly larger paper then the trade issue. With 21 tipped-in color plates and several black and white line drawings by Arthur Rackham. Includes the extra plate of Sea-Nymphs playing which was not included in the trade issue 4to, in the original de luxe binding of vellum backed parchment boards, lettered and with Rackham’s pictorial vignette in gilt on the upper cover, the spine gilt decorated and lettered, t.e.g. IN THE VERY SCARCE ORIGI- NAL DUSTJACKET decorated as the binding in red on tan paper. x,185 pp. A beautiful copy, the text and plates pristine and perfect, the binding clean and solid with only a light hint of the effects of age on parchment and vellum, the rare dustjacket solid and complete with a little light rubbing and a few small chips. AN EXCEPTIONAL COPY OF THE DE LUXE LIMITED EDI- TION SIGNED BY ARTIST ARTHUR RACKHAM, ALL THE MORE SCARCE IN THE ORIGINAL DUST-JACKET. Shakespeare’s romantic drama, expertly illustrated by Arthur Rackham. Entering the artist’s world of fantasy, we experience the story of the exiled magician Prospero and his daughter Miranda cast upon a desolate island. We encounter Shakespeare’s graceful nymphs and a marvelous assortment of goblins and fairies, all imaginatively depicted by Rackham. Though not one of Rackham’s most popular books in its day, The Tempest has wonderfully found its place with the passage of time. The images are full of dynamic movement, good humor, and subtle atmosphere. Together they tell Shakespeare’s tale with the artist’s characteristic imagination and charm. $3500.

A Perfect Copy of the Signed De Luxe Limited Issue Some British Ballads - An Arthur Rackham Treat Very Rare in Such Fine Condition and Elusive Always

87 [Rackham, Arthur, illus.]. SOME BRITISH BALLADS (Lon- don: Constable and Co. LTD., [1919]) First Edition, LIMITED EDITION DE LUXE, one of 575 numbered copies SIGNED BY ARTHUR RACKHAM, this being a very early signed copy, signi- fied number 5. This limited edition is also printed on significantly larger paper then the trade issue. With 16 very fine tipped-in color plates with captioned tissue-guards, andhead and tail pieces throughout by Arthur Rackham. 4to, in the original de luxe binding of vellum backed parchment boards, lettered and with Rackham pictorial vignette in gilt on the upper cover, the spine gilt decorated and lettered, t.e.g. Now protected in a custom designed morocco backed slipcase backed featuring raised bands and fine gilt lettering and tooling. 170 pp. A pristine and perfect copy, a joy to behold inside and out, one of the best we have seen, both the parchment and vellum in unusually fine condition. AN EXCEPTIONAL COPY OF THE DE LUXE LIMITED FIRST EDITION SIGNED BY ARTIST ARTHUR RACKHAM. The work is a collection of early English ballads, perhaps inspired by wartime pa- triotism. Here we find a generous sampling of Rackham’s famous styles, subjects and atmospheres. We encounter mythic gnomes and lithe damsels, brooding dark birds perched and overlooking stark plains, slender maidens greeting their princes, and sinister scenes lit by dim starlight. The graceful line drawings introducing each ballad conjure fanciful creatures and lively human encounters. The color plates vividly depict the subject of the ballads and act to translate the now archaic verse into the timeless language of Rackham’s articulate illustration. We find Rackham’s eloquent brush again and again creating irresistible sentiment and emotional texture. This sentimental rendering of traditional English Ballads is sure to be a treasured addition to any serious Arthur Rackham collection. $3500.

Cinderella - Signed and Illustrated by Arthur Rackham The Scarce Limited and Numbered Edition - 1919 Beautifully Preserved and With the Rare Dustjacket

88 [Rackham, Arthur, Illus.]. CINDERELLA, Retold by C. S. Evans (London: William Heinemann, 1919) First edition, LIMITED EDI- TION DE LUXE, one of 525 numbered copies SIGNED BY ARTHUR RACKHAM and printed on English handmade paper. This limited edition is also printed on significantly larger paper then the trade issue. THIS COPY WITH THE VERY RARE DUSTJACKET, SELDOM IF EVER ENCOUNTERED. THE LIMITED ISSUE CONTAINS A COLOUR SILHOUETTE NOT INCLUDED IN THE TRADE EDI- TION, and with the tipped-in colour frontispiece on decorated mounting, decorated titlepage, 3 coloured double-page silhouettes, 14 single page silhouettes, and over 30 silhouette drawings throughout the text, all by Arthur Rackham. 4to, publisher’s original pictorially decorated paper-covered boards backed in tan buckram, the spine lettered and decorated in black, with green endpapers decorated in white by Rackham. In the very RARE original green paper dustjacket lettered and decorated in black. Now protected in a fine morocco backed custom slipcase backed featuring raised bands and fine gilt lettering and tooling. ix, 110 pp. A very fine copy of this elusive title in the limited format, internally uncommonly bright with only very mild hints of the offsetting of which the title was unfor- tunately prone, the foxing to which the handmade paper was prone is thankfully nonexistent in this copy, the binding near pristine with just a little shelving along the bottom edge, even the rare jacket clean and fresh with only a few tiny chips. LIMITED FIRST EDITION AND ONE OF THE MORE ELUSIVE TITLES IN RACKHAM’S OEUVRE, SIGNED AND NUMBERED BY THE ARTIST AND WITH A COLOUR ILLUSTRATION WHICH WAS NOT INCLUDED IN THE TRADE ISSUE. THIS COPY WITH THE RARE DUSTJACKET PRESERVED. The classic tale of Cinderella is here retold with fascinating detail and elaboration by Arthur Rackham artwork. For this title Rackham employees delightful silhouette pictures that are quite a departure from the colourplate style of his more familiar works such as PETER PAN or RIP VAN WINKLE. CINDERELLA is especially difficult to find in nice condition, and this copy is especially well-preserved. $3500.

Arthur Rackham’s Illustrated Tour de Force - 1909 Gulliver’s Travels - The Limited and Signed First Edition

89 [Rackham, Arthur, illus.] Swift, Johnathan. GULLIVER’S TRAVELS Into Several Remote Nations of the World (London: J.M. Dent and Co., 1909) LIMITED SIGNED LARGE-PAPER ISSUE OF THE FIRST EDITION, one of only 750 numbered copies SIGNED by Arthur Rackham. This being copy 21 a very early number of the 600 copies for sale in England. With 13 impressive colour plates, two black and white illustrations and several line drawings as chapter heading or tail pieces, all by Arthur Rackham 4to, publisher’s original ivory buckram decoratively stamped and lettered in gilt on the front cover and the spine, t.e.g., others untrimmed, pictorially decorated endpapers with Rackham illustrations printed in gold, original rose silk ties. xv, 291pp. A fine copy, very bright and extremely well preserved, internally near as pristine and with perfect plates, the ivory cloth ever so slightly mellowed on the spine panel. Engraved armorial bookplate on front blank free-fly of George Kitchin, possibly George William Kitchin, first Chancellor of the University of Durham and the last Dean of Durham Cathedral to govern the university. A BEAUTIFUL COPY OF THE SCARCE SIGNED LIMITED FIRST EDI- TION, this being one of the copies reserved for sale in Great Britain. This fine deluxe issue included one additional colourplate not included in the trade issues. Rackham has created a very special printing of Jonathan Swift’s 18th century satire. In 1899 an edition of this book had been issued with Rackham’s early drawings and no colour plates. As his reputation grew, the publisher asked for additional drawings and paintings and issued this new version. Rackham created a fresh set of illustrations which employed high-contrast linear designs tinged with washes of subtle color. The result was a collection of powerful images with striking emotional contrasts, well-suited to the spectacular travels of Gulliver. Rackham was able to graphically depict Gulliver kneeling on the floor with the Lilliputian tailors gazing up at him while measuring him for a new suit. And in his painting, ‘Gulliver’s Combat With The Wasps’, he dramatically portrays a handful of huge wasps swirling menacingly around Gulliver’s teetering form. The trials, tribula- tions, and exploits of Gulliver’s travels are magnificently portrayed here by the master illustrator. $3250.

Signed by Arthur Rackham Charles Dickens - The Chimes - A Fine Copy Limited Edition of a Beloved Holiday Classic

90 [Rackham, Arthur, Illus.] Dickens, Charles. THE CHIMES. Introduction by Edward Wagenknecht (Lon- don: by George W. Jones for the Limited Editions Club, 1931) First Edition of the Rackham illustrated printing LIMITED EDITION, one of only 1500 numbered copies AND SIGNED BY ARTHUR RACKHAM. With numerous illustrations, both full page and within the text and other decorations in black and white by Arthur Rackham, Rack- ham decorated titlepage printed in black and gold. 4to, publisher’s original tan polished linen, gilt lettered on the spine and with a Rackham designed pictorial decoration in black and gilt on the upper cover, pictorial endpapers printed in gold, in the publisher’s original pictorially decorated slipcase printed in red and gold on tan paper, both now housed in a custom made morocco backed slipcase featuring raised bands and fine gilt lettering and tooling. [xxxv], 130 pp. A very fine copy, the book is pristine. The original slipcase neatly bordered with tan cloth, the spine paper laid onto the cloth as a label. The handsome custom slipcase very fine. FIRST EDITION AND LIMITED EDITION SIGNED BY ILLUSTRATOR ARTHUR RACKHAM. This was Dickens’ second installment in the “Christmas Books” series and his labors in creating THE CHIMES were “very arduous” in order to make it a worthy successor to A CHRISTMAS CAROL. It is also the second Christmas installment to receive Rackham’s masterly touch. Rackham has very graceful adapted his 20th century style to wonderfully compliment that of the 1845 original. A fine copy of a delightfully illustrated book. $1250.

Aristotle - Aristotelis Opera - In the Original Greek Produced by Erasmus in Collaboration with Simon Grynaeus The First Basel Printing and Only the Second Overall Very Rare and Important - 1531

103 Aristotle, [Aristotelis; Greek Philosophy]. [ARISTOTELIS OPERA] ARISTOTELOUS HAPANTA [in Greek], Aristotelis summi semper uiri, et in quem unum uim suam uniuersam contulisse natura reru[m], opera, quæcunq[ue] impressa hactenus extiterunt omnia, summa cum uigilantia excusa (Basileae [Basel]: Apud Io. Beb. [Johann Bebel], 1531) 2 volumes in one. RARE FIRST BASEL EDITION AND ONLY THE SECOND PRINTING of Aristotle’s Opera in Greek, preceded by the very rare, and very expensive incunable edition from the Aldine press. Edited by Desiderius Erasmus and Simon Grynaeus. Printed in Greek, with title-pages in Latin with some Greek. Bebel’s smaller “Palma Beb.” device on volume titles; larger device on final verso of each volume. Folio, 33.7 x 21 cm (13 ¼ x 8 ¼”), bound in period blind- stamped pigskin over wooden boards, the spine with raised bands. 8], 336; 118, 121-253, [1] leaves. Signatures: v. 1. [alpha]8, a-2t8; v. 2. A-O8, P6, Q-2H8, 2I6 pp. A fine and handsome copy of an important early edition of Aristotle, rarely seen in such condition. The original pigskin binding is sound and solid with some expected rubbing or light age wear, the clasps are no longer present, a few preliminary leaves with a bit of edge-wear and a few instances of light typical evidence of damp to the outer margins. RARE AND HIGHLY IMPORTANT. The second printing of Aristotle’s Opera in Greek, preceded only by the very rare, and very expensive, incunable edition printed at the Aldine press between 1495 and 1498. This issue was produced by Erasmus in collaboration with Simon Grynaeus. Erasmus dedicates the work to John More, son of his good friend Thomas More. The work of Aristotle (384 -322 B.C.) is the cornerstone of any collection of classical literature. His writings spanned philosophy, history, politics and natural and physical science. “Aristotle is not only one of the great classical philosophers, the master of every branch of ancient knowledge: his method still underlies all modern thinking.” The Nichomachean Eth- ics is one of his later finished works and represents thinking that is more independent of Plato than before. Aristotle believed that all things are substances and separate, although related. He held that some things are attributes having “existence only as being some substance affected in some way” and that “without substances there is nothing, and nothing is universal apart from individual substances.” Thus, it is this philosophy of substantial things that is distinct from Plato’s philosophy. Plato argued that universal values such as beauty and truth were “real” and ephemeral, material things were “unreal.” In contrast, “to Aristotle the answer is that all things are substances, not all supernatural, not all in the mind; some are natural substances, and these, and the relations between them, form the subject matter of all Aristotle’s works.” “Unlike other classical writers Aristotle retained his fame throughout the Middle Ages, largely through the works of Thomas Aquinas, Albertus Magnus and Averroes...” [PMM] He serves as one of the foundations of modern thought, his monumental importance to our societal consciousness virtually indescribable. Adams A-1730; Brunet I,458; Graesse VIII, 210 $13,750. This book is not yet on our website, please contact us directly if interested.

A Highly Important Autograph Letter by Charles Darwin Directly Dealing with Core Concerns of the Theory of Evolution Also, Inheritance, Natural Selection, the Struggle for Existence

104 Darwin, Charles. A HIGHLY IMPORTANT AUTOGRAPH LETTER SIGNED (“Ch. Darwin”) [to Thomas Rivers]. Directly Dealing with Core Concerns of the Theory of Evolution: Inheritance, Natural Selection, the Struggle for Existence. (Down, Bromley, Kent: Saturday [14 Feb 1863]) A fine autograph letter signed by Charles Darwin, Dealing with Core Concerns of the Theory of Evolution: Inheritance, Natural Selection, the Struggle for Existence, on his personalized stationery. 8vo (8” x 5”), 3 pages A finely preserved letter without damage or condition problems. “IT IS CAPITAL FOR MY PURPOSE!” AN EXCELLENT AND HIGHLY IMPORTANT AUTOGRAPH LETTER SIGNED BY CHARLES DARWIN, Di- rectly Dealing with Core Concerns of the Theory of Evolution: Inheritance, Natural Selection, the Struggle for Existence. Thomas Rivers (1798-1877) ran a large tree and flower nursery in Hertfordshire. Rivers wrote several noted books on horticulture and published frequently in garden journals. He corresponded with Darwin and sent him specimens in 1862- 63 (?); and later on performed several breeding experiments on Darwin’s behalf. Darwin references Rivers frequently in his Variation of Animals and Plants under Domestication – calling him “a great authority.” In the present letter, Darwin responds to the “capital facts” in Rivers’ letter of 3 Feb 1863. Rivers’ letter, which is only partially extant, references Darwin’s Origin and provides observations on “selection” in the growth of seedlings. In the extant portion of his 4 Feb. letter, River makes the general observation of how a patch of seedling trees begin all equal, but in succeeding years some grow taller or root more deeply, thus outstripping the others – to which Darwin here responds: “What you say of seedlings conquering each other well illustrates the ‘struggle for existence’ and ‘natural selection’. I have often & often looked at a crowd of natural seedlings with just such feelings & reflexions as yours.” The non-extant portion of Rivers letter is only to be inferred from Darwin’s own letter, but it appears that Rivers has trans- mitted more specific information on inheritance in Ash and Thorn trees – to which Darwin responds: “You could not by any possibility have given me a more curious case of inheritance than that of the Ash, which produced weeping seedlings & itself lost the weeping peculiarity! It is capital for my purpose. I am also very glad to hear of the Thorn…. I wish I could get authentic information on the weeping Elm.” Darwin also tells Rivers that he has kept note of Rivers’ 1838 published report that of “20,000 or 30,000 seedlings from the common weeping ash,” none of them inherited the weeping characteristic. In December 1859, Charles Darwin had introduced to the world a radical theory of evolution and how and why species adapt to their environment in his groundbreaking document The Origin of Species. Two descriptive terms embody Darwin’s entire thesis: natural selection and struggle for life. Both describe the natural tendency for species to adapt to their environment, with the premise that those which can better adapt have a better chance of survival, thanks to genetic modi- fications in their DNA for such environmental adaptation. The concept of an incremental progression of living species to improve and modify to their surroundings was termed “natural selection.” His other fundamental phrase was “struggle to survive.” Both have become synonymous with The Origin of Species and its pertinent evolutionary theory. Amongst Darwin’s 15,000 letters now being published, researched, documented and analyzed by the scholars of the Darwin Corre- spondence Project in Cambridge, United Kingdom, the combination of both terms in the author’s hand is exceedingly rare, with only 14 documented occurrences [www.darwinproject.ac.uk/advanced-search]. However, these terms presented in the same sentences is 4/14. Of these four, only one has the prophetic words within quotation marks, expressing Darwin’s intense attachment and dedication to this premise and theory. Our letter is amongst the latter [http://www.darwinproject.ac.uk/editors-blog/2014/08/12/featured-correspondent-thomas-rivers/]. There are no letters written in Darwin’s hand which combine all three of the following: struggle for life, natural selection, and survival of the fittest. By comparison, only two letters addressed to Darwin include this content, one each from Alfred R. Wallace (1866) and the other from Charles Lyell (1869) [darwinproject.ac.uk]. Darwin initiated the correspondence Rivers in 1862 in a typically modest and apologetic manner: “My name may possibly be known to you ….” “Several times I thought I would write…but did not know whether you would think me too intrusive” (23 and 28 December 1862). Darwin was always conscious of the pressure of time upon his correspondents who were in trades or professions, and who lacked the independent means that he possessed as a wealthy gentleman. He was grateful for the contact, remarking that he had read “every scrap” that Rivers had written. Darwin quickly grew bolder with his inquiries:

I have little compunction for being so troublesome, —not more than a grand Inquisitor has in torturing a Heretic—for am I not doing a real good public service in screwing crumbs of knowledge out of your wealth of information? (11 January 1863)

Rivers and Darwin eventually exchanged around 30 letters, most falling in 1863, when Darwin was hard at work on the manuscript of Variation of Plants and Animals under Domestication, the lengthy and detailed sequel to The Origin of Species. Rivers, an experienced plant breeder and hybridist, supplied Darwin with detailed information about bud variation in fruit trees, strawberries, roses, and laburnum, and the effects of grafts upon root stock. When he first read The Origin of Species, Rivers was led to consider the growth of trees over several years and how patches of young seedlings began equally, but in successive years were dominated by a few that grew taller or rooted more deeply, outstripping the others. “You should live near a large nursery and your mind would find abundance of food,” Rivers wrote (3 February 1863). Darwin thought the example illustrated his evolutionary principles perfectly:

What you say of seedlings conquering each other well illustrates the ‘struggle for existence’ and ‘natural selection.’ I have often looked at a crowd of natural seedlings with just such feelings and reflections as yours. (14 February 1863)

At the time of this letter, Darwin was actively at work writing, and gathering data for, his hard-evidence sequel to the Origin – The Variation of Animals and Plants under Domestication. Rivers is referenced in multiple places in the book. Rivers’ particular report on the “20,000 or 30,000” ash seedlings, which Darwin mentions in this letter, is in fact cited in Ch. XII. And subsequent to this letter, Rivers also provided Darwin with the information he so sought about the weeping Elm (by custom raising seedling at Darwin’s request) – the which again is also cited in Ch. XII. Darwin letters so strongly linked to the central Ideas of Evolution are Rare in commerce. $85,000.

Charles Darwin to His Publisher A Fine Signed and Dated Autograph Letter Regarding Sending Core Works to an American Colleague

105 Darwin, Charles. A FINE AUTOGRAPH LETTER, SIGNED, FROM CHARLES DARWIN TO HIS PUB- LISHER [with, copies of the two articles referenced in the letter]. (Bromley, Kent: dated by Darwin June 29, postmarked July 1, 1843) Letter in manuscript, folded and addressed to Mr. Smith (George Murray Smith) of Smith & Elder at No. 65 Cornhill, London (His publisher at the time). Stamped and postmarked. With, reprints of the two articles referenced in Mr. Darwin’s letter. Single sheet, approximately 18 x 23 cm, now handsomely presented with a photograph of Darwin in a fine 42 x 50 cm frame, glazed. A fine letter, beautifully preserved. A VERY EARLY AND SIGNIFICANT AUTOGRAPH LETTER FROM CHARLES DARWIN, THE FATHER OF EVOLUTIONARY THEORY. The letter is sent from Down House, at the time, Darwin’s new home. He would live there the remainder of his life. Professionally this was the time in his career when Darwin was expanding his 1842 “pencil sketch” of his theory of natural selection into the 230-page 1844 “Essay”, to be expanded with his research results if he died prematurely. He was seriously engaged at the time on his work and writing related to the voyage taken on the ‘Beagle’. In the letter, Darwin inquires of his publisher about having papers sent to a professor in Massachusetts in the United States. The professor in Massachusetts is most probably Edward Hitchcock. Edward Hitchcock was professor at Amherst College. In his “Parallel Roads of Glen Roy” published in 1839, Darwin notes “in Massachusetts, in North America, they [erratic blocks] are found, according to Professor HITCHCOCK, at 3000 [feet]” (p. 72). Darwin is almost certainly referring to Hitchcock’’s 1833 “Report on the geology, mineralogy, botany, and zoology of Massachusetts” in which on page 161 Hitchcock wrote “On the top of Wachusett mountain, 3000 feet above the ocean, a few rods northwest from the prospect house, these furrows may be seen; though less distinct than in many other places. The rock generally on that side of the mountain, appears distinctly water-worn.” In his 1842 “First anniversary address before the Association of American Geologists” Hitchcock wrote about glacial geology. “A Catalogue of the Darwin Reprint Collection at the Botany School Library, Cambridge (Vorzimmer 1963) item 24 is this address showing Darwin owned a copy. Hitchcock had also noted in an 1844 lecture about “unexplained patches of angular fragments on the Falk- land Islands, described by Darwin” in the 1839 “Journal of the Voyage”. (Lesley 1866). The extant correspondence between Darwin and Hitchcock is Darwin’s 1845 letter to Hitch- cock in which he thanks Hitch- cock for sending his 1841 “Final Report on the Geology of Mas- sachusetts”. Darwin indicates he will send Hitchcock a copy of his “Geology of South America” (1846) to be published the next year. Combined, this circumstan- tial evidence suggests the Mas- sachusetts professor to whom Darwin refers in his 1843 letter to Smith & Elder was most probably Professor Hitchcock of Amherst College. And the most likely candidate for one of the two quarto pamphlets Darwin sent was his 1839 “Parallel Roads of Glen Roy”. The second pamphlet referred to in Darwin’s letter is most probably the 1842 “On the Distribution of the Erratic Boul- ders an on the Contemporaneous Unstratified Deposits of South America” in “Transactions of the Geological Society”. This too is a quarto size volume One might conjecture that it was Asa Gray to whom Darwin was referencing in his letter. But this is highly unlikely. Harvard University Professor of Botany Asa Gray and Darwin had met in 1839, apparently introduced by Joseph Dalton Hooker. It is known now, according to the records extant, that Darwin first wrote to Gray in 1855, and in that letter re- minded Gray of their meeting in 1851. So it is very unlikely that Gray is the Massachusetts professor referred to by Darwin in his letter to his publisher, in spite of the fact that both Darwin and Gray had a similar empirical approach to life sciences and had a relationship and a continuum of correspondence that lasted for decades, and in spite of the fact that Gray was considered the most important American botanist of the 19th century. The relationship seems to have taken root well after the 1843 correspondence in our letter. Gray published the collection of essays which he named DARWINIANA. The articles defended the theory of evolution from the standpoint of botany and sought reconciliation with theology by arguing theistic evolution, that natural selection is not inconsistent with Natural Theology. The only other professor to whom Darwin could have made reference to in his letter is Louis Agassiz of Harvard Univer- sity, but this too seems utterly unlikely as Agassiz did not come to the United States until 1846/1847, so he could not have been the American professor Darwin was referring to in his letter. Concerning his work and the papers possibly sent, one might consider that some early parts of the “Zoology of the Beagle “ cannot be ruled out though they seem less likely given both Hitchcock’s and Darwin’s interest in glacial geology. It is true that ‘Darwin’s first published book is undoubtedly the most often read and stands second only to ‘On the Origin of Species’ as the most often printed. It is an important travel book in its own right and its relation to the background of his evolutionary ideas has often been stressed....(Freeman). ‘The five years of the voyage were the most important event in Darwin’s intellectual life and in the history of biological science. Darwin sailed with no formal scientific training. He returned a hard-headed man of science, knowing the importance of evidence, almost convinced that species had not always been as they were since the creation but had undergone change... The experiences of his five years...and what they led to, built up into a process of epoch-making importance in the history of thought’ (DSB) Of the great exploratory voyages, ‘a most important place is taken by the voyage of the ‘Beagle’ in 1831-1834....Darwin’s name is so associated with the evolutionary idea through which he profoundly influenced scientific, philosophical, political, religious, and ethical thought, that certain of his other claims are often forgotten. To appreciate his distinction, it is necessary to recall that, had he never written on evolution, he would still stand in the front rank among naturalists, and would have to be included in any history of science. Thus even during the voyage in the ‘Beagle’ he reached conclusions that modi- fied and extended the fundamental working principles of geology and geophysics. In Darwin’s record of experience in the ‘Beagle’ in the famous ‘Journal of Researches’ (1839) a special interest attaches to his observations on the highly peculiar animals and plants connected with oceanic islands. The Galapagos and St. Helena are good examples. Their extraordinary wealth of peculiar forms and the difference of these from those of the nearest neigh- bouring land---either continental or insular---are among the most striking phenomena in the distribution of living things. They, more perhaps than any other, suggested to Darwin his solution of the problem of the origin of species.’ (Singer) $18,500.

In a Wonderful State of Preservation - A Classic Work Editio Princeps of Diogenes - Fine Contemporary Binding The Lives of the Famous Philosophers - Basel - 1533

106 Diogenes Laertius, [Greek Philosophy]. [THE LIVES OF THE FAMOUS PHILOSOPHERS.] Διογένους Λαερτίου Περὶ βίων δογμάτων καὶ ποφθεγμάτων τν ν φιλοσοφί εδοκιμησάντων βιβλία δέκα... Diogenis Laertij De vitis, decretis, & responsis celebrium philosophorum Libri decem, nunc primum excusi. (Basel: Hieronymus Froben e Nikolaus Episcopius, 1533) The Editio Princeps, the first printing of the work in the original Greek. Greek and roman type. Woodcut printer’s device of Johann Froben by Hans Holbein der Jünger [The Younger] on the title-page and on fol. CC4v (Heitz-Bernoulli 50). Woodcut decorated headpieces, decorated and animated initials on black ground, from different alphabets designed by Holbein; on fol. a1r 8-line initial, showing Heraclitus and Democritus, from the capital Latin alphabet of May 1520 drawn by Holbein and by Jacob Faber (cfr. Hollstein’s German, xivB, n. 119). 4to (210x146 mm). Collation: 1, 2, 3, 4, a-z4, A-Z4, aa-zz4, AA-CC4 (fols. 1v, CC4r blank). [8], 573, [3] pp. In a very rarely encountered contemporary binding of Dutch blind-tooled leather over wooden boards. The covers are framed by two borders of blind tooled fillets, a floral tool at each corner; the central panel is divided into diamond designs with rosettes on the upper cover and fleur-de-lys on the rear. Turn–ins and cords fixed at the inner boards. Antique spine and clasps renewed at a somewhat later date and accomplished with the greatest skill. The guard leaves are composed of two bifolia from a 14th-century manuscript breviary. [8], 573, [3] pp. A beautiful and fine broad-margined copy in a wonderful contemporary binding, faint waterstaining to the inner corner of the first quires, a minor repair to the gutter of the first leaves, two tiny wormholes in the last three quires. Provenance: John Alfred Spranger (1889-1968; book-plate on front pastedown and stamp on title-page). EXTREMELY RARE FIRST PRINTING OF THE EDITIO PRINCEPS OF THIS REMARKABLY IMPORTANT BOOK AND A COPY WHICH IS OF THE VERY FINEST STATE AND CONDITION. The editio princeps of Diogenes Laertius’ Lives of the Famous Philosophers, is the most important source of our knowledge in the history of Greek philosophy, from Thales to Pyrrho. The text was known only in the Latin translation by Ambrogio Traversari (1386-1439), which made its first appearance in print in Rome around 1472 and which was widely reprinted during the fourteenth and the first decades of the sixteenth century. This is the first printing of the book in its original language. The edition is dedicated by the typographers Froben and Episcopius to the scholars, and in their epistle they declare their publishing plan: to print at least a work per year able to combine usefulness and pleasure. The text follows a manuscript provided by the professor of Greek and Hebrew at the University of Wittenberg Matthaeus Goldhahn (1480-1553), called Aurigallus, probably a copy of the codex Raudnitzianus Lobkowicensis vi.F.c.38, at the time preserved in Komotau (Bohemie), in the house of the politician Bohuslav Lobkowitz von Hassenstein (c. 1460-1510), and presently in the Library Národní Knihovna of Prague. $19,500. Albert Einstein as “The Old One of Physics” A Most Impressive Photographic Portrait - Museum Quality Signed and Inscribed By Einstein - 1946

107 Einstein, Albert. AN EXCEPTIONAL PHOTO- GRAPHIC PORTRAIT SIGNED AND INSCRIBED BY ALBERT EINSTEIN (1946) Original Large Format Silver Print Photograph by Trude Fleischmann. An exceptionally large image of Einstein, 13 1/4” x 10 3/8”., Mounted. Very fine and handsomely presented. Such large photos in museum format are very rare. AN EXCEPTIONAL PHOTOGRAPHIC PORTRAIT SIGNED AND INSCRIBED BY EINSTEIN. This is a superb portrait of Einstein, taken by “the photographer of the famous” (as Fleischmann was called in her native Vienna). The presentation is to Peter Foges, son of the English publisher Wolfgang Foges, who published Carl Jung’s MAN AND HIS SYMBOLS. This poignant image is very much in keepng with Einstein’s self-conception of himself as “The Old One [of Physics].” A Very Rare Photo, this is the only example we have seen in such Museum sized Large Format. $17,500. This book is not yet on our website, please contact us directly if interested.

A Very Rare Einstein Scientific Letter in English To Kenneth Heuer on Issues in Earth Sciences Thoughts - Does Life on Earth Have Extraterrestrial Origin

108 Einstein, Albert. IMPORTANT TYPED LETTER SIGNED, TO KENNETH HEUER. (: n.p., October 20, 1952) A very rare scientific letter In English. Such letters are very rare indeed. 4to, 8 1/2” x 11”, 1 page. A fine example, very well preserved. A VERY FINE AND RARE LETTER on Einstein’s involvement with Earth Sciences in which Einstein expresses his doubt that life on earth has an extra-terrestrial origin. Kenneth Heuer wrote a number of speculative books on the origin and fate of the earth, and Einstein corresponded with him on several occasions – Einstein even endorsing one of Heuer’s books (The End of the World) in a public ad campaign. Heuer appears to have written Einstein asking about the contribution of meteors to the shaping of our planet, with specific questions about heavy metals and the origin of life. Einstein responds in saying that he thinks the uneven distribution of heavy metals around the globe cannot be explained by meteor bombardment, but suggests that it is a question best answered by an experienced geologist. With regard to the interstellar origins of life on earth -- “Arhennius’ hypothesis” -- Einstein answers that it “seems to me very improbable.” Though of course renowned as a physicist, Einstein wrote about geodynamic topics on several occasions. He authored a scientific article on the flowing of rivers; he wrote a Foreword for Hapgood’s book on the shifting of the earth’s crust; and he corresponded at length with Immanuel Velikovsky regarding his meteor catastrophe theory. The present letter highlights yet another little-known facet of Einstein’s engagement with earth sciences. Scientific letters in English by Einstein are Rare. $14,500. This book is not yet on our website, please contact us directly if interested. Important Huygens First Edition in Contemporary Vellum Opera Reliqua - Printed in Amsterdam - 1728 Writings on the Telescope, Gravity, Light, Dioptrics etc.

109 Huygens, Christian. OPERA RELIQUA (Am- sterdam: Jansson-Waesberg, 1728) 2 volumes. First Edition. With 58 fine folding engraved plates, titles in red and black. Large 4to, bound in full contemporary vellum over boards. [xxxiv], 313; [xxvi], 226, [4], 3-180. A fine copy of this book with some of the browning which is completely normal for this first edition printing. SCARCE AND IMPORTANT FIRST EDITION BY ONE OF THE GREAT SCIENTIFIC MINDS OF THE SEVENTEENTH CENTURY. The two volumes contain Huygens’ writings on dioptrics, impact, per- cussion, centrifugal force, gravity, light and the telescope, as well as a great deal more. Christian Huygens was considered in his time to be one of the leading scientific minds in the world. A contemporary of Isaac Newton, Robert Hooke, Anton van Leeuwenhoek and Jan Vermeer he was respected by all of them, particularly Newton who called him, “the most elegant mathematician” of their time. He studied any and all areas in science that interested him and is especially well remembered for his contributions in mathematics and astronomy. He developed a major improvement to the telescope with the creation of a new type of lens which bears his name and is still in use to this day. With his improved lens he discovered the Orion Nebula and Saturn’s largest moon, Titan. He fairly accurately measured the size of Mars and identified surface features on it, and using these features, determined the length of the Martian day. He was also the first to suggest that the surface of Venus was covered with clouds. Galileo had earlier identified “strange lobes, like ears, about the planet Saturn,” but it was Huygens who first recognized that in fact, Sat- urn was surrounded by a system of several distinct rings which did not actually touch the planet. While working on the problem of longitude he developed the pendulum clock, one of the most significant of all improvements in time keeping, and built one of the world’s first precision watches. He developed a theory that light behaved like a wave. It has been said that Huygens was the last of the great scientists to be truly comfortable in all areas of mathematics and science. This edition complements the earlier “Opera Varia” (1724), and like that work was edited by W.J. ‘s Gravesande. The first volume gives Huygens’ ‘Traité de la lumière’, with the ‘Discourse sur la cause de la pesanteur’, in a Latin translation by Herman Oosterdijk Schacht (professor of philosophy at the Franeker university). This is supplemented by a demonstration of a theorem on logarithms which Huygens had included in his work, but left unproven. This demonstration had been published by the Italian mathematician Guido Grandi at Florence in 1701. The first volume contains the following works: ‘Tractatus de lumine’, by Huygens, the ‘Dissertatio de causa gravitatis’, by Huygens, and the ‘Geometrica demonstratio theorematum Hugenianorum circa logisticam, seu logarithmicam lineam [...] Addita epistola geometrica ad P. Thomam Cevam’ by Guido Grandi. The second volume contains Huygens posthumously published works, none of which had been included in the ‘Opera Varia’. Universiteit Utrecht. $11,500. Two of Johannes Kepler’s Very Rare and Important Writings Ecologae Chronicae and Ad Epistolam - 1615 and 1614 First Edition of Each Work - Bound Together in One Volume

110 Kepler, Joannes. ECOLOGAE CHRONICAE EX EPISTOLIS DOCTISSIMORUM ALIQUOT VIRORUM, & SUIS MUTUIS. [Bound With,] AD EPISTOLAM SETHI CALUISII CHRONLOGI RESPONSIO (Frankfurt: Godefridi Tampachii and Godofredum Tampachium, 1615 and 1614) Two independent works bound together in one volume. Very Rare, the First Edition of each of these highly important works. First titlepage with early handwritten words Auctoris damnatus (“condemned author”) and both texts show a slight degree of censor- ship. 4to; 7 3/4” x 6”, Handsomely bound in later vellum. [4], 215; [1], 19 pp. A fine work beautifully preserved, a clean well-margined copy. VERY RARE AND HIGHLY IMPORTANT FIRST EDITION OF EACH WORK. In the course of tracking the 1603 conjunction of Jupiter, Saturn and Mars, Kepler observed the 1604 supernova (described in his 1606 Stella Nova.) Postulating that such a triple conjunction could cause a nova to appear, and calculating the periodicity of such a triple planetary conjunction backwards in time, Kepler was led to conjecture that the “Star of Bethlehem” heralding the birth of Christ was in fact a nova caused by the triple planetary conjunction of 7 BC. Kepler published two books on this thesis: one in 1606 (the same year he announced his discovery of the 1604 nova) and a second in 1614. These books had both supporters and detractors, and the present texts represent the epistolary correspon- dences resulting from the publication of these controversial texts. “As a result of his Copernican view much of Kepler’s most important work was placed on the Index, thereby joining Copernicus’ De Revolutionibus which had been placed on the Index a few years earlier in 1616. Both of these texts are Very Rare in Commerce. Johannes Kepler Quadricentennial Celebration, University of Texas, Austin 1971,17. Casper, 87; Carli & Favaro, 150; Cinti, 97; Lalande, p. 205. $16,500. This book is not yet on our website, please contact us directly if interested.

The First English Translation of Newton’s “Principia” “The Greatest Work in the History of Science” An Unusually Handsome and Well Preserved Copy

111 Newton, Isaac. [PRINCIPIA MATHEMATICA]. MATHEMATICAL PRINCIPLES OF NATURAL PHILOSOPHY...[Translated into English by Andrew Motte] (London: H.D. Symonds, 1803) 3 volumes. FIRST EDI- TION IN ENGLISH OF THE COMPLETE TEXT OF ISAAC NEWTON’S GREAT WORK and a superbly revised edition of the first translation into English by Andrew Motte. Collated complete with a profusion of engraved plates and tables. Illustrated with a frontispiece, 52 folding plates, a folding table. (plates are not part of page count, and are distrib- uted over the 3 vols). Large 8vo, 8 3/4” x 5 1/2”, a quite extraordinary copy, preserved in the original printer’s boards, untrimmed and completely as issued from its primary printing source. Vol I -- [frontis], lx, 211 pp. [NB most of prelims are a Life of Newton; final two leaves of prelims accidentally bound with index at rear of vol II.]; Vol II -- 321 pp, 14 pp index; Vol III -- tp, 4 pp (= signature A), 231 pp [NB this vol contains book III of The Principia Mathematica (=System of World); Emerson’s commentary on the Principia; Machin’s Laws of the Moon’s Motion (which was also printed in 1729 ed)] A superb copy. Wonderfully presented and maintained, front board of Vol. I detached at the join. EXTREMELY RARE. THE FIRST COMPLETE TEXT OF THE FIRST TRANSLATION INTO ENGLISH OF NEWTON’S PRINCIPIA MATH- EMATICA, in splendid contemporary unsophisticated state. This is the finest copy that we have seen. Motte published his original English edition the same year as the third Latin edition--the last lifetime edition of the PRINCIPIA--which incorporated all of Newton’s final revisions. But that first edition presented only the first two books of the PRINCIPIA and a third book was published separately to complete the text at another date. This then is the first edition in English of the complete text of the great work. The PRINCIPIA has been called “the greatest work on exact science that the human mind has ever conceived” (Zeitlinger, ap. Babson/Macomber) and “generally described as the greatest work in the history of science. Copernicus, Galileo, and Kepler had certainly shown the way; but where they described the phenomena they observed, Newton explained the underly- ing universal laws. The Principia provided the great synthesis of the cosmos, proving finally its physical unity. Newton showed that the important and dramatic aspects of nature that were subject to the universal law of gravitation could be explained in mathematical terms within a single physical theory...The same laws of gravitation and motion ruled everywhere... It was this grand conception that produced a general revolution in human thought, equalled perhaps only by that following Darwin’s Origin of Species...” (Printing and the Mind of Man). “The foundation of gravitation and general dynamics, Newton’s Principia explained a system of the universe that, once established, was unchallenged until the twentieth century ushered in the theory of relativity. The difficulty of its subject and the influence of earlier theories, however, somewhat delayed general acceptance of Newton’s systems, although his mathematical explanations of gravity and motion would eventually change man’s understanding of the universe.” Newton, in the PRINCIPIA, stated the three laws of motion that establish the relationship of mass, force, and direction; he also discussed the movement of bodies through gases and liquids, and defined mass and force and the corpuscular theory of light. But most importantly, he established the principal of universal gravitation and the motion of the planets. “Co- pernicus, Newton, and Einstein are the three corner-stones of our conception of the universe. Few could grasp Newton’s reasoning at the time, and his fame was spread on the Continent by Voltaire’s ELEMENS DE LA PHILOSOPHIE DE NEUTON, 1738” (PMM). This book is not yet on our website, please contact us directly if interested. $18,500.

Sir Isaac Newton’s Invention of the Calculus “Fluxions and Infinite Series”--The Important First Edition In Contemporary Calf Gilt - Crisp and Clean and Well Preserved A Copy With Fine Provenance - The Norman Copy

112 Newton, Sir Isaac. THE METHOD OF FLUXIONS AND INFINITE SERIES; With its Application to the Geometry of Curve-Lines. [With:] John Colson. ...A PERPETUAL COMMENT UPON THE FOREGOING TREA- TISE. (London: John Colson, 1736) First Edition. A copy with fine provenance, The Norman Copy. With engraved frontispiece illustration and a profusion of diagrams throughout the body of the text. 4to (9 5/8” X 7 1/2”; 245 X190 mm), bound in contemporary polished calf, the spine with gilt ruled raised bands, the compartments decorated with elaborate gilt panel tooling, the lettering label gilt ruled. Protective fold-over case with black morocco lettering label gilt. xxiv,1 - 339,[141-142 “...A Perpetual Comment upon the foregoing Treatise., 143-144 “Contents of the Following Comment.], errata (recto), advertisement (on the verso) pp.. A superb copy, one of the very best ever, extremely well preserved and an unusually handsome copy, The Haskell Norman Copy, hinges at some point expertly strengthened retaining all original materials. EXTREMELY RARE FIRST EDITION AND A MAGNIFICENT COPY. THE INVENTION OF THE CALCU- LUS. NEWTON’S MOST IMPORTANT MATHEMATICAL PUBLICATION. THE GREATEST MATHEMATICAL ACHIEVEMENTS OF THE 17TH CENTURY, A PLEASING COPY IN RARE CONTEMPORARY BINDING. New- ton’s invention of the Calculus stands together with his Principia and Opticks as the third of Newton’s great scientific contributions. Colson’s COMMENT here included is especially important as he was the translator of Newton’s METHO- DUS FLUXIORUM which was originally prepared in 1671, but which had remained unpublished until Colson’s English translation was completed and published here. The Latin work was not published until 1779. Interestingly enough, Newton’s work on the calculus comes extremely early in his career. There is a manuscript of his, dated May 28, 1665, written in the same year as that in which he took is B.A. degree, which is the earliest documentary proof of his invention of fluxions. It was about the same time that he discovered the binomial theorem. He also worked out the fluxional calculus tolerably completely: this in a manuscript dated November 13, 1665, he used fluxions to find the tangent and the radius of curvature at any point on a curve, and in October 1666 he applied them to several problems in the theory of equations. Newton communicated these results to his friends and pupils from and after 1669, but they were not published in print till many years later. THE METHOD OF FLUXIONS is Newton’s fullest exposition of the calculus. Written in 1671, two years before Leib- nitz is known to have even begun his own investigations into the topic (and a full 15 years before Leibnitz actually published the results of his studies) -- Newton’s Method of Fluxions is a mature work of thought in which Newton’s characteristic conception and notation of the Calculus first appears. Though intended to be Newtonís first published statement on the subject, it was in point of time actually his last. Newton’s invention of the calculus is co-terminus in date with Newton’s discovery of gravity (in his Annus Mirabilis, or “Miracle Year,” 1665). Newton began his mathematical studies as a novice in 1664, and his singular genius enabled him to make spectacular leaps of insight within a space of two years: leaps of such scope, that Newton would himself spend the rest of his life working out the consequences. In 1665, Newton discovered the binomial theorem and made other significant advances in the study of infinite series. His work on the Calculus was well afoot by May 1665, at which time he invented a true and adequate symbolism for partial derivatives in the Calculus. His work in the two fields of infinite series and calculus increasingly began to merge in his own thinking, and by 1669 Newton firmly saw that the derivatives and integrals of func- tions could be expressed as expansions of infinite series (and, specifically, of power series). As with everything else he did, Newton released details of his work in calculus in his own time and ‘following his own wish’ 1669 saw his first ‘public’ statement in the tract De analysi per aequationes infinitas, a work written in response to Mercator’s treatise on logarithms (Logarithmotechinica) which seemed to Newton to threaten his claim to priority for the binomial theorem. Though submitted to Barrow and a select few others for review and publication, Newton was ultimately unwilling to commit the tract to print, and much of its content was subsequently incorporated into his work on Fluxions. The Method of Fluxions is a marked advance over De analysi not only in its size and scope, but even more significantly in its conception and notation. De analysi was conceptually based in his mentor’s (Barrow’s) analytical concept of the “in- finitely small” discrete increment ñ a foundation for the calculus which Newton quickly rejected and soon replaced with his own notion of the “fluxion” of a variable: i.e. a finite instantaneous speed of “flow” ñ dx/dt -- defined with respect to an independent conventional dimension of time (on the geometrical model of the line-segment). In his introduction to the work, Newton’s translator, John Colson, explains the notion of a fluxion thusly: “The chief Principle, upon which the Method of Fluxions is here built, is this very simple one, taken from the Rational mechanicks; which is, That Mathematical Quantity, particularly Extension, may be conceived as generated by continued local Motion; and that all Quantities whatever, at least by analogy and accommodation, may be conceived as generated after a like manner. Consequently there must be comparative Velocities of increase and decrease, during such generations, whose Relations are fixed and determinable problematically) be proposed to be found.” Newton tackled and solved a variety of problems in his Method of Fluxions: the differentiation of any algebraic function f(x); the “method of quadratures”, or the integration of any such algebraic function by the inverse method; the inverse method of tangents or the solution of a first-order differential equation; the determination of maxima and minima points for a function; and the drawing of tangents to curves at any point. In an addendum to the work, Newton developed an alternative geometrical theory of ‘first and last’ ratios of lines and curves, which was partially subsumed into the Principia and into the Opticks. After 1671, Newton shifted from his loosely justified conceptual model of the velocity of a moving body to the postula- tion of uniformly fluent variable of time as a measure of the fluxioning of dependent variables which continuously alter their magnitude. This concept of a uniformly flowing time became a favorite notion of Newton, and it appears again in his Principia as the famous definition of mathematical time which of itself, and from its own nature, flows equably without relation to anything external. In 1712, Newton gave a fuller statement of his view, in writing: “I consider time as flowing or increasing by continual flux & other quantities as increasing continually in time & from the fluxion of time I give the name of fluxions to the velocitys with which all other quantities increase.” Though Newton’s calculus of fluxions does not explicitly figure in the Principia-- which instead uses an older mode of geometrical analysis, it is of course a theoretical underpinning of the work. The connection of fluxions with infinite series was first publicly stated in De quadratura curvarum, which Newton appended to the 1704 Opticks. Newton left much unpublished manuscript on fluxions and calculus, which is only now beginning to be printed for the first time. Babson 171; Wallis 232; $67,500.

The Works of Plato - 1534 - Platonis Opera - Original Greek Superbly Bound - The Greatest of all Western Philosophers The Earliest Greek Printing Outside of Italy - Joannes Valderum With an Original “Old Master” Drawing in Sepia of Socrates

113 Plato, (427–347 BC). [PLATONIS OPERA]. OMNIA OPERA CUM COMMENTARIIS PROCLI IN TIMAEUM & POLITICA (Basel: Joannes Valderum, 1534) THE VERY RARE AND VERY EARLY PRINTING OF PLATO’S WORKS IN THE ORIGINAL GREEK, ONLY THE SECOND EVER AND THE EARLIEST PRINTING OUTSIDE OF ITALY. THIS IS ALSO THE FIRST EDITION OF PROCLUS’ COM- MENTARIES ON THE TIMAEUS AND THE REPUBLIC. With an original “old-master” sepia drawing by Hess of Socrates mounted to front endpaper; bibliographical notes on front flyleaf; some neat scholarly annotations in pencil to the dialogues Laws and Gorgias Folio, 13-1/4” x 8-1/2”, Contemporary blind-stamped pigskin, with clasps. A Su- perb Copy, the finest we have ever seen. VERY RARE. A STUNNING COPY OF THIS HIGHLY IMPORTANT PRINTING OF PLATO IN THE ORIGINAL GREEK. This distinguished edition, edited by Grynaeus and handsomely printed is highly important for containing the First Edition of Proclus’ commentary on the Timaeus – the greatest of the ancient commentaries on Plato’s dialogues. Though these commentaries by Proclus are integral to the edition, they are not always present with the book. (At 433 pages in length, these commentaries comprise a veritable volume in their own right.) The drawing of Socrates is by Hess and appears to date from the 17th century. $24,500. This book is not yet on our website, please contact us directly if interested. Early English Work on Spirits, Apparitions and Magic John Beaumont - Printed in London - 1705 A Finely Preserved Copy in Original Calf

114 Beaumont, John. AN HIS- TORICAL, PHYSIOLOGICAL AND THEOLOGICAL TREA- TISE OF SPIRITS, APPARI- TIONS, WITCHCRAFTS, AND OTHER MAGICAL PRACTIC- ES. Containing An Account of the Genii or Familiar Spirtis... Also of Appearances of Spir- its after Death...Likewise the Power of Wiches, and the reality of other Magical Operations, clearly asserted. With a Refu- tation of Dr. Bekker’s World Bewitch’d; and other Authors that have opposed the Belief of them. (London: Printed for D. Browne, J. Taylor, R. Smith, F. Coggan and T. Browne, 1705) First Edition. Illustrated with an engraved frontispiece by Van der Gucht, illustrating ‘An Evil Genius, ‘Two Good Genii’, and ‘Jews going out in t he Moonshine to know thier Fortune’ 8vo (190 x 116 mm.), handsomely bound in contemporary polished calf with blind paneling and corner-pieces, central and outer panels mottled, spine divided into six compartments gilt decorated, one with red morocco lettering label gilt, red speckled edges. [xvi], 400 pp. A very good and pleasing copy in a fine state of preservation. There is a bit of the occasional browning typical to the book, but far less than might be normally encountered, the front hinge starting. A fine survival of a scarce book. Armorial bookplate on the paste-down, head and tail of spine with some very expert refurbishment. SCARCE ENGLISH WORK ON SPIRITS AND WITCHCRAFT. Beaumont was an accomplished physician and scien- tist, respected by the likes of Robert Hooke, but he was also a firm believer in the supernatural based on his own experiences. He was, by his own telling, tormented by no fewer then five spirits for over three months. His book brims like a cauldron with graphic stories, his own and those of others, of experiences with witchcraft, spirits, apparitions and more. The text was intended to refute the growing scientific dismissal of such things, in particular the writings of Balthasar Bekker, a firm dis-believer who was especially critical of all superstition. $3250.

The Rare Wayland Printing of Boccaccio’s Tragedies - 1554-5 Retaining the Suppressed Leaf Which is Typically Lacking Handsomely Bound in Full Red Morocco With Provenance

115 [Boccaccio, Giovanni]; [Early English Printing]. THE TRAGEDIES, Gathered by Jhon Bochas, of All Such Princes as Fell From Theyr Estates Throughe the Mutability of Fortune Since the Creation of Adam, Until His Time: Wherein May Be Seen What Vices Bring Menne to Destruction, wyth Notable Warninges Howe the Like May Be Avoyded. Translated into Englysh by John Lidgate, Monke of Burye. (London: by John Wayland, [n.d., ca. 1554-1555]) AN EXTREMELY RARE AND EARLY PRINTING of Boccaccio’s tragedies into English, the third or fourth issuance only. Titlepage and leaf Gg4 (bound after title) with architectural woodcut borders(McKerrow 76a) and with woodcuts on leaf A4 illustrating events in the Garden of Eden, woodcut initials throughout. Fo- lio [299 x 203 mm], in very fine and handsome nineteenth-century red hard-grain morocco by F.P. Hathaway of Boston, the boards elaborately framed in extensive gilt, the upper board with central gilt crest of John W. De Kay, the spine beautifully lettered and decorated with central tools in gilt in compartments between gilt ruled raised bands, elaborate gilt tooled board edges and turn-ins, all edges gilt, marbled endpapers. De Kay’s armorial bookplates on front pastedown and verso of front free endpaper. (10], ctxiii, xxvii [i.e., xxxix] leaves. A very handsome and well preserved copy of this rare printing. The binding very handsome indeed, with only the most minimal wear to extremities, joints expertly and near-invisibly restored. The title- page and Gg3 laid down and reattached, the title with small ink notations at top, not affecting text or woodcut border. The inner margin of leaf Gg4 (which is bound in after the title-page in this copy, and *2 repaired, with some loss to woodcut border and a few words of text. Other minor paper repairs to several leaves, in a few cases affecting a few letters of text, evidence of old damp throughout last half of book which is fairly inoffensive. VERY RARE AND VERY EARLY PRINTING, WITH THE LEAF GG4 WHICH IS USUALLY LACKING. This is only the third or fourth printing in English of Boccaccio’s De Casibus Virorurn ILlustrium, following Pynson’s earlier printings of 1494 and 1527, Richard Tottell reissued the work in 1554 and it has not been clearly determined whether Tottell’s edition or Wayland’s was completed first. This especially handsome copy retains the final leaf Gg4, which is usually lacking according to STC. It is bound after the titlepage and comprises the rare title for A Memorial of Such Princes, as since the Tyme of King Richard the Seconds, Have Been Unfortunate in the Realme of England (SIC 1246), and was apparently intended for a work to be issued along with De Casibus which was suppressed for religious and political reasons during Mary’s reign. John Lydgate’s translation of Boccaccio’s moralistic tales of the misfortunes of famous people was made from the 1476 French version by Laurence de Premierfait. The Latin original text was first printed circa 1474-75. De casibus is an en- cyclopedia of historical biographies dealing with the calamities of famous people starting with the biblical Adam, going to mythological and ancient people, then to people of Boccaccio’s own time in the fourteenth century. The work was so successful it spawned what has been referred to as the ‘De casibus tradition’, it influenced many other famous authors, such as Geoffrey Chaucer. This copy with the provenance of John Wesley De Kay, self-made millionaire, American entrepreneur, playwright, author, and eccentric socialite. Born in Iowa to Dutch immigrants in 1872, De Kay apprenticed as a printer and eventually owned several newspapers and a sizable cattle ranch. In 1899, De Kay moved to Mexico and with the money he had made in his businesses purchased a concession for operating meatpacking plants. By 1909 De Kay’s company, Popo, was one of the largest slaughtering and meat-distribution operations in North America, with a book value of over US $22 million ($500 billion in today’s value). A published author and known socialite, his first produced play, “Judas”, managed to get itself banned in New York, Boston and Philadelphia. STC 3178; Pforzheimer 73. $20,000. The Workes of Geoffrey Chaucer A Handsome Copy of the Rare 1602 Speght Edition

116 Chaucer, Geoffrey. THE WORKES OF OUR ANCIENT AND LEARNED ENGLISH POET, JEFFREY CHAUCER ...newly Printed. To that which was done in the former Impression, thus much is now added. 1. In the life of Chaucer many things inserted. 2. The whole worke by old Copies reformed. 3. Sentences and Proverbes noted. 4. The Signification of the old and obscure words prooved: also Caracters shewing from what Tongue or Dialect they be derived. 5. The Latine and French, not Englished by Chaucer, translated. 6. The Treatise called Jacke Upland, against Friers : and Chaucers A.B.C. (London: Printed by Adam Islip, 1602) The Second Speght edition and A VERY EARLY PRINTING OF CHAUCER. Title within a woodcut border (Mck & F.232), woodcut Progenie of Chaucer with the Gower portrait of Chaucer, woodcut coat of arms on c4r, fine woodcut of the Knight riding a steed and with lance drawn with borders at head of text, very beautiful historiated and decorated multi-line woodcut initials, some quite large, throughout the text. The text printed double column Black Letter, some roman, foliated. Folio, in very proper antique binding, most probably of the 1700’s, of marbled paper over stiff boards backed in calf and with calf corner- pieces, the spine long ago expertly restored in correct period style with tall, thick unadorned raised bands and a red morocco label lettered and with tooled frame in gilt. [a]-c6, A-Z, Aa-Zz, Aaa-Nnn6, Ooo4, Ppp-Ttt6, Uuu8, as called for. An excellent copy with an uncommonly well preserved and large text-block, the paper unpressed and without refurbishment or intrusion, very clean and fresh with only minor and occasion evidence of use or age, marginal paper flaw on leaves Kk4 - Ll1 not effecting text, minor paper flaws at lower corner of leaves Ddd6 and Hhh3 not effecting text, short closed tear at Iii6, the paper expertly restored without loss, the “Authors” leaf and the errata leaf present and well preserved without loss and with only light edgewear. Very neat antique manuscript marginal markers at specific lines of text drawn in the form of pointing hands as would be proper, the binding with some wear at the corners. A VERY WELL PRESERVED AND PROPER COPY OF THIS HIGHLY IMPORTANT PRINTING OF CHAU- CER. THE FIRST IN WHICH THOROUGH PUNCTUATION WAS ATTEMPTED. THE BOOK REMAINS IN AN ANTIQUE BINDING WITH LARGE AND BEAUTIFULLY PRESERVED TEXT-BLOCK, THE OFTEN MISSING PORTRAIT OF CHAUCER INCLUDED, AS WELL AS THE “AUTHORS” AND ERRATA LEAVES. This is only the second edition edited by Speght, the first having been issued four years earlier in 1598. There is no priority as regards the setting of George Bishop’s name in the imprint. “This edition was considerably revised mainly with the aid of Francis Thynne. It is the earliest in which thorough punctuation was attempted, and in many ways was a distinct improvement upon Speght’s first edition.” Pforzheimer catalogue Chaucer’s work is the cornerstone of English poetry. Next to Shakespeare’s folio, it is probably the most influential work in English. The importance of Chaucer’s role in the development of vernacular English would take (and has taken) volumes to describe. Chaucer’s classic tale of a band of pilgrims en route to Canterbury was written in about 1387 and consisted of 17,000 lines in prose and verse of various metres, although the rhyming couplet is predominate. The importance of Chau- cer’s tale to English literary history is paramount, its themes, characters and style would be to English nearly what Homer is to Greek. Pforzheimer 178; STC 5080; Lowndes II, 425; not in Grolier $14,500. The Very Rare First Edition in English - A Classical Work A Chronicle, The Lives of Ten Emperours of Rome - 1577 Sir Antonie of Guevara - Published in London

117 [Early Classical Works in English]; Guevara, Syr Antonie of. A CHRONICLE, CONTEYNING THE LIVES OF TENNE EMPEROURS OF ROME. Wherin Are Discouered, Their Beginnings, Pro- ceedings, and Endings, Worthie to Be Read, Marked, and Remembered Wherein Are Also Con- teyned Lawes of Speciall Profite and Policie, Sen- tences of Singular Shortnesse and Sweetenesse, Orations of Great Gravitie and Wisedome, Letters of Rare Learning and Eloquence, Examples of Vices Carefully to be Avoyded, and Notable Paternes of Vertue Fruitfull to be Followed.... Translated Out of the Spanish into English by Edward Hellowes... Hereunto is also annexed a table, recapitulating such particularities, as are in this booke mentioned (London: Ralphe Newberrie, 1577) Very Rare, the first and presumed only edition in Eng- lish. Title-page within elaborate woodcut border, very large woodcut initial and woodcut headpiece on the first leaf of the dedication, smaller woodcut initials throughout. Small 4to, in 18th century mottled calf, sometime rebacked to perfect period style featuring simple gilt ruled raised bands and a single morocco lettering label gilt lettered and tooled, endpapers marbled, with the 1724 armorial bookplate of George Baillie, Lord of the Trea- sury, Lord of the Admiralty, and MP of both the Parliaments of Scotland and Great Britain. Later provenance of Brent Gration-Maxfield with his characteristic manuscript ex-libris and notes on the front blanks. [8], 484, [10] pp., collated as complete but for the final blank. A very handsome and proper copy of the rare book. The text quite solid and fresh with only occasional and light evidence of soiling or stain, extremely minor worming through the first quarter or so in the inner bottom margin and not effecting any text whatsoever. A copy with excellent provenance throughout the 18th and 20th centuries. VERY SCARCE, THIS COPY THE ONLY ONE IN PUBLIC AUCTION GOING BACK AS FAR AS 1972, this being the Gration-Maxfield copy, Sotheby’s, London, February 9, 1981. Fewer than 20 copies are listed in institutional holdings by OCLC, and we know of no other copy currently available. THE FIRST AND ONLY EDITION IN ENGLISH. Guevara was an important Spanish court preacher and served as historian to the Holy Roman Emperor and King of Spain, Charles V. This work, published in Spain in 1539 as Decada de los Césares, was written in imitation of the manner of Plutarch and Suetonius; and also the Epistolas Familiares. It is a collection of formal essays designed primarily to use classical examples to promote virtuous living in his own century. Like his MARCUS AURELIUS, it also served largely to argue the importance of modern sovereigns. Guevara’s influence upon the Spanish prose of the 16th century was considerable, but also of great literary controversy. Many of the characters and events depicted in both this work and the Aurelius have too-close-to-be-coincidence counterparts in the court of which he was part of, yet he claimed these works as historically accurate, referring to a “manuscript in Flor- ence” which was almost certainly imaginary. STC 12426. $12,500. Saducismus Triumphatus - On Witches & Apparitions A Handsome Copy of this Important Work Published London - 1682

118 Glanvil, Joseph. SADUCISMUS TRIUMPHATUS: OR, FULL AND PLAIN EVIDENCE CONCERNING WITCHES AND APPARITIONS. In Two Parts. The First treating of their Possibility, The Second of their Real Ex- istence (London: Thom Newcomb, 1682, 1681) Second edition and with the translation, with additional material. Engraved frontispiece of Saul and Samuel, and a second full page engraving introducing the book which contains engraved vignettes of magical devils and extraordinary occurrences, also with a few small textual illustrations. 8vo, in a pleasing binding of full contemporary calf, restored at the back, incorporating raised bands, and gilt lettering. [16], 52, 162, [6], 78, [12], 273, 67, 45, 24, errata pp. A handsome and pleasing copy. Well preserved and with the text-block, clean, unpressed and unwashed. The first important work in English pertaining to Witchcraft and “the most influential English philosophical treatise on the subject of witches and witchcraft”. ‘The intention here was to prove by intellectual reasoning that the supernatural was an absolute reality. Glanvill and his contemporary the Cambrige Platonist Henry More, attacked the extreme skepticism in these matters espoused by Descartes and Hobbes. Their defense of witchcraft, made after extensive enquiry into the many contemporary reported incidents of it, ‘was the natural result of an attempt to find an empirical ground for a belief in the supernatural’ (DNB) and was intended to combat what they believed to be an implied atheism in the thinking of Descartes and Hobbes.’ see also Croft. DNB. $3250.

A Rare and Highly Important English Chronicle Grafton’s “Chronicle” - The First Edition - 1569-1568 With One of the Earliest Accounts of Robin Hood

119 Grafton, [Richard]. A CHRONICLE AT LARGE, AND MEERE HISTORY OF THE AFFAYRES OF ENG- LANDE AND KYNGES OF THE SAME, Deduced From the Creation of the World Unto the First First Habita- tion of Thys Islande.... [and] The Second Volume, Beginning at William the Con- querour, Endeth Wyth Our Moste Dread and Soverauigne Lady Queene Elizabeth ([London: H. Denham for R. Tottle and H. Toy, 1569, 1568]) Two Volumes bound as one. The Rare First Edition of Grafton’s Chronicle, with the two first issue points on pages 1282 and 1324. Printed in Black Letter, first title within woodcut border containing eleven portraits, the second within ornamental woodcut border, seven large woodcuts by Virgil Solis and many woodcut historiated initials throughout text. Large, thick 4to, bound in fine antique style in full calf paneled on the boards in blind and featuring large corner-pieces, the spine with thick, blind ruled raised bands. [x], 192, [1], [7 table]; [2], 1369, [31 table] pp. A large sound and handsome copy, the text of the Chronicle complete. Lacking only two preliminary leaves and the five leaves of index to the second volume. Title to Volume I with backing to an edge at the verso, A1 with expert repair to the top outside corner, some mild, light, typical staining, NNN2 with a 4 inch tear without loss, a few small paper repairs or occasional wear at the corners here or there, some marginal notations in a 17th century hand. RARE FIRST EDITION OF THIS CLASSIC TEXT AND ENGLISH CHRONICLE. Richard Grafton, chronicler and printer was a prosperous London merchant who is well known for his arrangement of the printing of the Bible in English from the very famous translation by Coverdale. One of the most important printing events ever conceived saw the introduction of the 1538 edition which he caused to be printed in Paris and which is the earliest book to bear his name. At the last moment before publication, the presses were seized by the French government and the work was labeled as heretical. Grafton just barely escaped to England with his life. In subsequent years he went on to print the Great Bible and a number of editions of the Coverdale Bible. He printed many editions of the New Testament and the first Book of Common Prayer in 1549 along with numerous primers and important government tracts. Before 1550 he was already known as one of the most important people in the history of English printing. His reputation stands to this day. Grafton’s career as a chronicler began in 1543 with the printing of Hardyng’s ‘Chronicle. His own chronicle, printed many times beginning in the late 1560’s was reproduced continuously up to the early 19th century. The Chronicle chiefly adapted works of his predecessors, which he credits, but also gives detailed accounts of more contemporary events. His account of Robin Hood is among the earliest and most formative. [McKerrow & Ferguson 110.; DNB; STC 12147; ESTC s121210; Luborsky & Ingram 1,409; Lowndes 924. $9750

One of the Greatest Works of Political Philosophy “The Federalist Papers” - With Important Constitutional Works The Most Articulate Arguments for the American Constitution

120 Hamilton, Alexander; Madison, James and Jay, John; [Americana; Con- stitutional History]. THE FEDERALIST, On The New Constitution. By Pub- lius. Written in 1788. To Which is Added, Pacificus, On the Proclomation of Neutrality. Written in 1793. Likewise, The Federal Constitution, With all the Amendments. Revised and Corrected. (New York: by George F. Hopkins, 1802) 2 volumes. A Rare and Very Important Edition. Only the second printing of the great work. 8vo, handsomely bound in the original tree calf, the respined to style with gilt bands, small gilt tools, and red lettering labels, quite expertly and skillfully accomplished. viii, 317; v, 351, [1] ad. A unusually fine and very handsome set withal. This is an exceptional copy in that it remains essentially entirely free of the browning and foxing that is normal to the printing of this edition. It is then very rare thus, and in a most desirable contemporary state, fresh, clean and crisp, unpressed and with the backs handsomely restored to style. ONE OF THE GREATEST WORKS IN THE HISTORY OF AMERICAN PO- LITICAL, LEGAL AND PHILOSOPHIC THOUGHT. AN ESPECIALLY IMPOR- TANT AND VERY EARLY PRINTING, ONLY THE SECOND, AND WITH AD- DITIONS INCLUDING THE CONSTITUTION AND THE AMENDMENTS, HERE PRESENTED WITH THE FOUNDING PAPERS OF OUR NATIONAL GOVERNMENT. “The Federalist is the most important work in political science that has ever been written, or is likely ever to be written in the United States. It is...the one product of the American mind that is rightly counted among the classics of political theory.” The Federalist stands beside the Declaration of Independence and the Constitution itself among all the sacred writings of American political history. It has a quality of legitimacy, of authority, and authenticity that caused Thomas Jefferson to say of it, “appeal is habitually made by all, and rarely declined or denied by any” as to the “genuine meaning” of the Con- stitution. George Washington, writing to Alexander Hamilton in the summer of 1788, said: “When the transient circumstances and fugitive performances which attended this crisis shall have disappeared, that work will merit the notice of posterity, because in it are candidly and ably discussed the principles of freedom and the topics of government--which will be always interesting to mankind so long as they shall be connected in a civil society.” “Its fame derives from the whole course of American history. It is a sign, as it were, of the prodigious success of the Con- stitution, which as it has endured and evolved over the generations, has called attention ever more insistently to the men who, having helped write it, first explained it. In bursts of brilliance it is not only an analysis and defense of our Constitu- tion but an exposition of certain enduring truths that provide an understanding of both the dangers and the delights of free government. It mixes candor and hope, realism and idealism in a message to all friends of liberty. No happiness without liberty, no liberty without self-government...” (Rossiter 1961). One of the most important pieces of early American writing. Alexander Hamilton, James Madison, and John Jay originally published these articles to explain the principle of, and to argue the propriety of adopting, the recently devised Con- stitution. This edition was the last issued during Hamilton’s lifetime, and the last with which any of the three authors had any involvement.. Sabin 23981. $15,750.

“You Are All A Lost Generation” Hemingway’s First Novel - First Issue English Printing Fiesta - [The Sun Also Rises] - First Edition - 1927

121 Hemingway, Ernest. FIESTA [THE SUN ALSO RISES] (London: Jonathan Cape, 1927) The First Printing of the First U.K. edition of Hemingway’s first novel, published in America as THE SUN ALSO RISES. 8vo, publisher’s original medium blue cloth, lettered in gilt on the spine, now with a perfect jacket in facsimile of the original added, and housed in folding blue cloth clamshell box, the back gilt lettered. 286. A very pleasing copy, the text clean and fresh, the cloth with some mellowing at the spine panel and edges but all in all, a copy with very little wear, hinges strong and tight. Hemingway’s first novel, published in America the year before as THE SUN ALSO RISES but this IS the Very scarce FIRST UK edition. An early and enduring modernist novel, Heming- way biographer Jeffrey Meyers writes that it is “recognized as Hemingway’s greatest work” and Hemingway scholar Linda Wagner-Martin calls it his most important novel. The story of a group of American and British expats who travel from Paris to Pamplona for the running of the bulls. Hemingway describes “a Lost Generation”, considered irretrievably damaged by World War I, as resilient and strong. While doing so he also investigates the themes of love, death, renewal in nature, and the meaning of masculinity. $1250.

Ernest Hemingway - First Edition - 1952 A Fine and Fresh Copy - The Old Man and The Sea

122 Hemingway, Ernest. THE OLD MAN AND THE SEA (New York: Charles Scribner’s Sons, 1952) First edition first issue with the Scribner’s seal and the “A” on the copyright page. 8vo, publisher’s original pale blue cloth in the first issue illustrated dust-jacket with portrait of Hem- ingway on the back panel tinted in blue. 140 pp. A fine, clean, tight, handsome and well preserved copy. A very clean and crisp copy with fine dustjacket showing only a miniscule paper chip, unobtrusive and nearly imperceptible at the spine panel. FIRST EDITION, FIRST ISSUE OF WHAT IS ARGUABLY, THE AU- THOR’S MOST GREATEST WORK. Hemingway’s Nobel Prize winning novel and one of the most perfect works penned in the 20th century. Eric Lin- klater for the Broadsheet states, “Hemingway has written nothing so beautiful as this brief tale, and nowhere, I think has his vision of heroic scars of live been so surely realized... It is a little book in space but read it three times and it grows in the mind like an old story of one’s childhood: so certain it is, so satisfying are its pains and valiancy.” Hanneman A24.a. $3750. An Outstanding Ernest Hemingway Offering Seven Lines of Verse Written in His Own Hand From His Scathing Poetic Response to the Critics

123 [Hemingway, Ernest]. AN AN AUTOGRAPH MANU- SCRIPT POEM WRITTEN IN THE HAND OF ERNEST HEM- INGWAY [Lines From ‘VALEN- TINE For a Mr. Lee Wilson Dodd and Any of His Friends Who Want It’] ([Paris]: 1928) Seven manuscript lines from Heming- way’s poem written in response to criticism of MEN WITHOUT WOMEN. Approx. 9.5 by 6 inches, now handsomely mounted and framed behind glass. The frame is glazed on both sides to allow both the recto and verso to be viewed. 1 page. A fine and very evocative item, beautifully presented. HEMINGWAY MANUSCRIPT POETRY IS VERY SCARCE AND THIS IS AN OUTSTANDING EXAMPLE, A POEM THAT WAS FOR HEMINGWAY WHAT GAS FROM A BURNER WAS FOR JAMES JOYCE, an invective against his detractors. This is also a particularly personal and evocative poem, bringing to mind a plethora of images of the great writer react- ing to a harsh critic. The poem also represents aptly a creative period in Hemingway’s life which was probably never again equaled. Indeed, by the 1930’s it is said, Hemingway himself thought that he was ‘over the hill’. Hemingway’s second collection of short stories, MEN WITHOUT WOMEN, was published in October of 1927 and was variously received by critics. Cosmopolitan magazine’s Ray Long praised “Fifty Grand”, calling it, “one of the best short stories that ever came to my hands...the best prize-fight story I ever read...a remarkable piece of realism.” However some critics, and chiefly among them Wilson Lee Dodd, found Hemingway’s subjects lacking. Dodd’s article entitled “Simple Annals of the Callous” appeared in the Saturday Review of Literature. It was harsh in no uncertain terms. Joseph Wood Krutch called the stories in Men Without Women “Sordid little catastrophes”, involving “very vulgar people.” Heming- way responded to these less favorable reviews with a poem, which was first published in the final issue of ‘The Little Review’ in May of 1929. It is probable that these seven lines jotted off on an envelope were forerunner to the completed poem prior to publication; a work in progress. We are left with questions nearly as intriguing as Hemingway’s own words. The records show that only four Hemingway manuscript poems or fragments have been offered at auction in the last forty years, one of which was actually typescript. $12,500.

The First Illustrated Edition of a Cornerstone Work Higden’s Polycronicon - 1527 - The History of the World One of the Supreme Early Printed Books in English

124 Higden, Ranulph; [Early Printing in English]. POLYCRONICON [translated by John de Trevisa] (South- wark: Peter Treveris at ye expences of John Reynes, 1527, the 16th day of May) VERY RARE. THE FIRST ILLUS- TRATED EDITION OF THE POLYCRONICON and only the third issuance of the book after the Caxton printing of 1482 and the Wynken de Worde printing of 1495. With the exception of the woodcut of the musical notation on n5r, which first appeared in the printing of 1495 (and was the earliest printed musical notation in an English book), ALL THE WOODCUT ILLUSTRATIONS APPEAR HERE FOR THE FIRST TIME. Double column, black letter, zylographic title printed in red between two parts of a large woodcut block printed in red and black (Hod- nett 2489, state 2), the upper portion featuring the royal arms, a portrait of Henry VIII, and the arms of London, the larger lower portion showing St. George, this block repeated in its undivided state on the verso of colophon, full page woodcut of a battle on z6v, 9 smaller woodcuts in the text (six blocks, some repeated), woodcut musical notation on n5r, many 10- line and smaller woodcut initials. John Reynes’ printer’s mark, colophon with hunting scenes. Folio (271x 191 mm), bound in correct 16th century style in full calf, the boards paneled in blind, the spine with tall raised bands blind ruled, compartments with central blind tool device but one which is gilt lettered, a.e.g. Fo. CCCxlvi. (aa8, bb-hh6, a-y8, z6, A-S8, T6, U, X8) A very handsome and complete copy of this rare and highly desirable book, interesting and early manuscript notations in two hands, one of which documented as 16th century, censor markings to Catholic references, particularly references to the Pope now faded and the print beneath now legible, faint and occasional evidence of old damp, some other minor occasional staining, a few minor paper repairs in margins or corners, not effecting text. RARE AND IMPORTANT. Only the third printing of one of the most important pieces of early English historical prose. Higden’s POLYCRONICON, a world history from the Creation to 1360 A.D., was translated by Trevisa at the command of Thomas, Earl of Berkeley (d. 1361). The work draws on over 40 sources, and synthesizes a continuous diachronic and multicultural history, beginning with the Biblical account of the Creation and moving through the history of the Semitic, Hellenic, Roman, and medieval-European cultures. It served as a model for innumerable later histories, both universal and localized. The POLYCRONICON was Caxton’s most ambitious printing project. It is his longest book in terms of page count, and the second-longest in terms of word count (after the GOLDEN LEGEND of 20 November 1483). It is also Caxton’s most ambitious work as an editor and a writer; for Caxton significantly revised the extant English translation of the POLY- CRONICON, updating its terminology considerably; and he also authored an original history of England to serve as Book 8 of the text--a writing effort which stands as Caxton’s greatest achievement as an author. This printing is only the third, after Caxton’s original in 1482, it is considered one of the best examples of Treveris’ ability as a printer. Grolier “Langland to Wither” 144; Pforzheimer 490. STC 13440; Clair. A History of Printing in Britain. P. 50. $38,500.

The First and Only Elzevier Homer - 1655-1656 The Complete Iliads and Odyssey - Greek and Latin A Beautiful Set In Fine Red Morocco of the Period

125 Homeri [Homer], [Greek; Classical]. [Ilias & Odyssea Iliad and Odyssey, Greek text with Latin notes] ‘Ομήρού Ίλιάς καί ‘Οδύσσεια, Καί είις αϋτάς σχόλια, ή έξήγησις Διδύμου. Homeri Ilias & Odyssea, Et in easdem scholia, sive interpretatio Didymi. Cum Latina s ersione accuratissima... Accurante Corn. Schrevelio. (Amsterdam- Leiden: Ex Officina Elzeviriana / Eudguni Batavorum, Ex Officina Francisci Hackii, 1655-1656) 2 volumes. The only complete Homer issued from the celebrated Elzevier Press, containing the scholia of Di-dymos Chalcen- terus (Scholia D), and the Latin translation by the philologian Hubert van Giffen (1534-1604). For the first time the Greek text, the scholia and the Latin translation are printed on the same page. Greek, Roman and Italic types. Volume I with an engraved title-page; title within a broad architectural border, surmounted by a portrait of Homer, woodcut decorated initials. Volume II with title-page printer’s device of Francois Hackius (Dutch Printer’s Devices 883), three decorated initials on fol. a2r and a large cul-de-lampe on verso of the last leaf. 4to (230 x 170 mm), in beautiful antique red morocco. The covers framed by double gilt fillet. The spines are decorated with flat band fillets creating compartments decorated with thistle tools, corner leaves and stippled circles, all in gilt. The title and volume numbers gilt in the second compartments. Gilt tooled turn-ins, marbled pastedowns and endpapers and board edges, a.e.g. Provenance: from the library of the Irish family O’Byrne, castle of St. Gery, near Toulouse, the 19th-century engraved bookplate on front pastedowns. Collation: *4, **4, A-Z4, Aa-Zz4, Aaa-Zzzz4, Aaaa-Vvvv4, Xxxx2 (fol. *1v blank):[16], 716 pp; a-z4, aa-zz4, aaa-xxx4, aaaa-eeee4, ffff2 (foL a lv blank). 536, [44] pp. A very handsome and proper set, the antique morocco with just some light evidence of age is firm, strong and very handsome and especially attractive. Internally with just some very light evidence of age or paper mellowing as would be expected. AN IMPORTANT PRINTING OF THESE CLASSICAL WORKS. THE FIRST AND ONLY COMPLETE ELZEVIER HOMER, and the first time the Greek text, the scholia and the Latin translation are printed on the same page. The text was edited by Cornelius Schrevelius (1608-1681), who followed closely the reading established in 1566 by Henri Estienne for his “Poetae Graeci Principes”. The text uses the fine ‘Garmont Grieks’ created by Christoffel van Dyck (1601- 1670). There are two recorded issues of the text. One, like this copy here, has the imprint Amstelodami, Ex Officinci Elzevirianii on the titlepage to Volume I and the imprint Eudguni Batavorum, Ex Officina Francisci Hackii ‘ on the the title-page of the second volume. The other issue has the imprint Amstelodami, Ex Officinci Elzevirianii in both volumes. Pieters, Annales, p. 211,n. 9; Berghman, Elzevier, 833; Copinger Elzevier, 2341; Willems 1, 1202; ii, 1228 $6500.

Samuel Johnson - “Rasselas” - The Prince of Abissinia Rare First Edition and First State in Contemporary Calf One of the Most Famous English Novels of All Time - 1759

126 [Johnson, Samuel]. THE PRINCE OF ABISSINIA. A TALE [RASSELAS] (London: Printed for R. and J. Dodsley and W. Johnston, 1759) 2 volumes. First edition, the first state with A2r of Vol. II reading “Contents,/ Vol. II.” The first edition consisted of 1500 copies in total, this being the most rare state. Small 8vo, bound in the original contemporary full calf, the covers with double-fillet gilt ruled frame, long ago expertly restored at the hinges in correct sympathy to the covers and spines, raised bands ruled in gilt and with gilt volume numbers, blanks present as called for, original end-leaves. Housed in a fine solander case of brown calf, the spine with raised bands and three red morocco labels gilt lettered and numbered. viii, 159pp; viii, 165 pp. Very scarce in full period calf in its earliest state, the text solid and quite fresh, very clean but for some minor expected age toning. The calf with some minor age-wear at the corners and normal evidence of age or use, sturdy and attractive and a pleasing and well-preserved and honest copy. RARE FIRST EDITION AND FIRST STATE ORIGINAL CONTEMPORARY BINDINGS. ESPECIALLY ELUSIVE THUS. This would eventually become Dr. Johnson’s best selling and most popular work and it has never been out of print. The book was written in a single week to pay for the costs incurred in caring for Johnson’s mother during her sickness and for her eventual fu- neral. It is also Johnson’s only novel. Universally and immediately known as “Rasselas”, the name was not actually given to the work until after the author’s death. All of the editions published in John- son’s lifetime were done anonymously. Fleeman states that, “Johnson told Reynolds he wrote the work in the evenings of a single week, which implies a commencement at least on Monday 15 January, the date on which he learned of his mother’s illness and on which he first sent her money.” Both Hawkins and Boswell agree the work was written in order to help his mother during her illness. It is said that Johnson was able to finish the work in such short time because he had already been pondering the tale for his entire life. One of the most popular works in the language, ‘Rasselas’ is an tale about happiness influenced by Lobo’s A Voyage to Abyssinia which Johnson had translated in 1735. A “philosophical romance”, early readers considered it a work of practical importance while critics remarked on the difficulty of classifying it as a novel. While the story is thematically similar to Candide by Voltaire, also published early in 1759, as both concern young men traveling in the company of honoured teach- ers, encountering and examining human suffering in an attempt to determine the root of happiness, their root concerns are distinctly different. Though philosophically complex, the plot of ‘Rasselas’ is simple in the extreme. An interesting legacy of the work, and testament to its popularity, is that Rasselas became a name frequently adopted by emancipated slaves. Johnson was a staunch opponent of slavery and was revered by abolitionists. Fleeman, I, 785-8; Courtney & Nichol Smith, p. 87; Chapman & Hazen, pp. 142-3; Rothschild 1242. $9500.

The Rare First Edition in English - 1595 Machiavelli - The Florentine Historie Significant in Political, Diplomatic, and Intellectual Thought

127 Machiavelli, Nicholo. THE FLORENTINE HISTORIE. Written in the Italian Tongue by Nicholo Machiavelli Citizen and Secretarie of and Translated Into English by T. B. Esquire (London: by Thomas Creede for William Ponsonby, 1595) RARE FIRST EDITION in English of this important work. With an elaborate wood-engraved historiated border on the title-page and with handsome woodcut initials and head- and tail-pieces throughout. Folio in sixes, in later full dark paneled calf designed to period style, the spine with tall raised bands ruled in blind, with a single red morocco label gilt lettered and ruled, the original front black retained. xii, 222 pp. A fine, handsome, tight, clean and very well preserved copy of the very rare first printing in English. The text-block fine, with only very minor mellowing or evidence age, the paper crisp, unpressed and unwashed, the binding in excellent condition. FIRST EDITION IN ENGLISH OF MACHIAVELLI’S GREAT CHRON- ICLE OF FLORENTINE AFFAIRS, THE “FIRST EXAMPLE OF A NA- TIONAL BIOGRAPHY” - Britannica. The work is significant in the history of political, diplomatic, philosophical and intellectual thought. This printing precedes the first English edition of “The Prince” by 45 years. THE HISTORY OF FLORENCE was Machiavelli’s last work. Though written at the command of the Pope, who, as the head of the Medici family, was also ruler of Florence, the book treats the characters of that illustrious house with fairness and impartiality. And although it is primarily an historical work, Machiavelli was writing from a political perspective and “this gives the work its special character.” [E.B.] The history is not a straight account of historical facts but rather a critique of the way Florentine history had been told up until that time. This is the “first example in Italian literature of a national biography, the first attempt in any literature to trace the vicissitudes of a people ‘s life in their logical sequence, deducing each successive phase from passions or necessities inherent in preceding circumstances, reasoning upon them from general principles and inferring corollaries from the conduct of the future.” [E.B.] The history contains speeches related in the classical style but generally, Machiavelli’s style breaks away from the formal exercise of the times and reveals concise, direct and energetic prose. Machiavelli intended to continue the work beyond Lorenzo de Medici, but his death left that task to Guicciardini. STC 17162. Britannica $18,500. A Beautiful Copy of the Rare and Important First Edition The Workes of Thomas More, Knyght - 1557 With Fine Provenance - The Chatsworth Copy

128 More, Thomas. THE WORKES OF SIR THOMAS MORE KNYGHT, sometyme Lorde Chauncellour of Eng- land, wrytten by him in the englysh tonge. (London: At the costes and charges of Iohn Cawod, Iohn Waly, and Richarde Tottell, 1557) First Edition, A COPY WITH FINE PROV- ENANCE. THE CHATSWORTH COPY. Black letter, double columns. Title within woodcut border (McKerrow and Ferguson 81), decorative and historiated woodcut initials. Folio (10 3/4 x 7 1/2 inches; 274 x 191 mm.), finely bound in 18th century antique contrasting sprinkled calf, the tan covers with double gilt fillet borders and gilt tooled floral pieces at the corners. The rich dark spine with six raised bands handsomely gilt tooled and separating compartments filled with highly accomplished gilt bordered panels enclosing floral devices at the centers, corners and borders of the panels, one compartment handsomely lettered in gilt, one compartment with royal crown in gilt, the head and foot of the spine richly gilt tooled, marbled end-leaves, Chatsworth ownership label and coat of arms at the pastedown. [36], 88 pp., cols. 89-104, pp. 105-1138-1458. A wonderful copy; clean and wide-margined. An exceptionally handsome and impressive copy of a scarce book, especially well preserved, the hinges sometime expertly and attractively strengthened and restored. VERY RARE. Thomas More’s English works were collected from his manuscripts by his nephew William Rastell, and were first published together in the present edition of 1557, dedicated by Rastell to Queen Mary. The collection includes his most controversial works (such as “A dyalogue of Syr Thomas More, knt.”) directed against Tyndale, Luther, and their followers, together with previously unpublished works written while More was imprisoned in the Tower prior to his execution. The “Dyalogue” was first controversial book in English and is presented as a dialogue taking place in More’s library at Chelsea, between him and a young university student who was attracted to Lutheran doctrine as expounded by Tyndale. “It is in four books. The first two defend the theory and practice of catholicism, the third denounces Tindal’s translation of the New Testament as heretical, the fourth is a personal attack on Luther” (DNB). Also included here is More’s most moving Eng- lish work “Adyalogue of comforte agaynste tribulacyon”. This was one of the works written in the earliest days of More’s imprisonment, following his refusal to condone Henry VIII’s divorce from Queen Catherine or to take any oath that should be to the detriment of papal authority. It is a highly ascetic work, written for the comfort of More’s own family, advocat- ing prayer and faith in times of persecution and with its authorship wisely obscured by the claim that it was “made by an Hungarien in laten, and translated out of laten into frenche, and out of frenche in English.” “The work of gathering, arranging in chronological order, and of adding the valuable marginal notes was all done by [William] Rastell, More’s nephew, while an exile in Louvain during Edward’s reign” (Pforzheimer). The collection is described by R.W. Chambers in his study of Sir Thomas More as “this magnificent folio.” Chambers notes that this edition preserves for us a great deal which would otherwise have been lost, including a number of English poems written by More in his youth; a correct text of “The history of King Richard the thirde,” from a copy in More s own hand (the version “in Har- dynges Cronicle, and in Hallys Cronicle,” as Rastell complained, being “very muche corrupte in many places..and altered in wordes and whole sentences”); an unfinished Treatise “uppon these words of Holy Scripture, Memorare novissima et in eternum non peccabis, “ dated in 1522, and dealing with reflections on death; and several devotional works written by More while imprisoned in the Tower. Rastell also preserved the letters written just before More s death to his family and friends. The work was published during the reign of Catholic Queen Mary and dedicated to her by Rastell. The table of contents precedes an index by Thomas Paynell. STC 18076; Pforzheimer 743. Gibson, More 73. $45,000. The Four Books of Architecture of Andrea Palladio The Great Master of Western Architecture A Wonderful English Folio - 1732-1735 - Inigo Jones Inclusions The Engravings Properly Rendered for the First Time A New Translation Directly from the Italian The Hoppus and Cole Issue of the Italian Masterwork

129 Palladio, Andrea. ANDREA PALLADIO’S ARCHITEC- TURE, IN FOUR BOOKS Containing a Dissertation on the Five Orders & ye Most Necessary Observations Relating to all Kinds of Building, as also The Different Constructions of Public and Private-Houses, Highways, Bridges, Market-Places, Xystes, & Temples, wth their Plans, Sections, & Elevations, The Whole Containing 226 Folio Copper-Plates Carefully Revis’d and Re- delineated by Edward Hoppus Surveyor to ye Corporation of London Assurance and Embellish’d wth. a Large Variety of Chimney Pieces Collected from the Works of Inigo Jones & others. (London: Printed for & Sold by the Proprietor, & Engraver, Benj: Cole at the Corner of Kings-Head-Court near Fetter Lane Holborn And by ye Booksellers of London and Westminster, 17(32)-35,The General Title Dated 1735 as it was issued when Book 4 was released in 1735.) Four parts in one volume. First Hoppus Edition, First Complete English Edition Translated Directly from the Italian, First in English with the Engravings Complete and as from the Original 1570 Edition. Engravings by Paul Fourdrinier, Benjamin Cole and Isaac Ware and with the Inigo Jones designs added. Engraved frontispiece title-page, engraved dedication, very finely engraved head and tail pieces throughout, a profusion of large finely engraved architectural renderings within the entire text, the full complement of 222 finely engraved full page plates on 209 sheets, (14 double page or multi-folding) as correct. And with the additional engravings of the chimney pieces by Inigo Jones. Folio, In an antique binding of three-quarter crushed dark-green morocco over marbled boards, the spine with raised bands ruled in gilt, one compartment lettered in gilt. Engraved title as from Book 1 of the original 1570 first edition in Italian and with the London imprint at the foot of the page, General Title (bound after the engraved title), the finely engraved dedication, Book 1: 70p. including Author to the Reader, 35 engraved plates; Book 2: [3], 74-121, [1]p., 61 engraved plates numbered I -LXI; Book 3: [3], 126-177, [1]p., 20 engraved plates = XXII [i.e. 20] engraved plates; Book 4: [3], 182-251, [11 p., including the Table which is bound after the plates], 93 engraved plates = CIV [i.e. 93] engraved plates. Published in parts between November 1732 and early 1735. The four books are paginated and signed continuously. The title is taken from the general title-plate in Book I. Pages 34, 35, 243-246 and 250 are misnumbered ‘38’, ‘33’, ‘245’-’248’ and ‘248’ as issued and respectively and the whole collated correct and as called for. A wonderful survival of this very great book; the textblock and plates are clean, crisp, unpressed and unwashed and still in original state. The binding is in excellent condition. RARE EARLY AND COMPLETE ENGLISH EDITION OF PALLADIO’S GREAT BOOK OF ARCHITECTURE IN FINE FOLIO FORMAT PROFUSELY ILLUSTRATED WITH ENGRAVINGS. THE ENGRAVINGS, FOR THE FIRST TIME COMPLETE AND AS FROM THE ITALIAN FIRST EDITION OF 1570. Palladio’s designs and work to this day remain the central pillar of classical architecture and all architecture which followed. Sixteenth century editions are truly scarce and retain the original sophistication and in this case, the exact replication of the prior issue. ‘Palladio’s lasting influence on architectural style in many parts of the world was exercised less through his actual buildings than through this, his textbook. The book is divided into four sections: orders and elementary problems, domestic building, public building and own planning and temples. Palladio’s style was directly inspired by Roman classical models through the writings of Vitruvius and Alberti. Its characteristics are those of classicism: symmetry, order, fixed mathematical relations of the parts to each other and to the whole, logic and monumentality. Palladio followed the rules of classical Roman architecture more closely than any other architect...In spite of the vogue for the baroque and the fact that Palladio left no immediate successors, his book exerted a powerful influence on contemporary architecture and classical ideals until the end of the eighteenth century. As a practising architect Palladio worked mainly in Vicenza, Venice and the Venetian countryside, especially along the Brenta River. His Villa Capra (known as La Rotonda) near Vicenza became virtually a prototype of the Palladian style, and it was widely and faithfully copied. At the end of his life he left plans for the tour de force of trompe l’oeil, the Teatro Olimpico in Vicenza, which was finished by his pupil Vincenzo Scamozzi.’ PMM 92 PMM 92 (First Edition), Fowler 187 (2nd Edition). $9750.

The Rare First English Translation of Thucydides Original Black Letter - 1550 - Bound in Full Antique Calf The Hystory of the Peloponnesian Warre

130 Thucydides. (Niccolls, Thomas). THE HYSTORY WRITTONE BY THUCIDIDES the Athenyan of the warre, which was betwene the Peloponesians and the Athenyans, translated oute of Frenche into the Englysh language by Thomas Nicolls Citizeine and Gold- esmyth of London. (London: Imprinted the XXV day of July in the Yeare of our Lorde God a Thousande fyve hundredde and fif- tye, [1550]) First Edition of the First Translation of Thucydides into English. Printed in Black Letter. Title within a woodcut border and with a profusion of illustrated or historiated initials. Folio, near contemporary calf, the spine decorated in gilt with period tools within compartments and with a brown morocco label lettered in gilt. Now housed in a very fine morocco backed fold-over box. CCxxiii + Errata. A fine unpressed and unwashed copy, some old and early marginalia, some very occasional and very small chips to edges of a few leaves, the binding with some expert and highly sympathetic restoration to the back but preserving the original spine panel. THE FIRST ENGLISH TRANSLATION OF THUCYDIDES. ‘Thucy- dides stands alone among the men of his own age and has no superior of any age, in the width of mental grasp which could seize the general sig- nificance of particular events. The political education of mankind began in Greece, and in the time of Thucydides their political life was still young. Thucydides knew only the small city-commonwealthe on the one hand, and on the other the vast barbaric kingdom; and yet, as has been well said of him, “there is hardly a problem in the science of government which the statesman will not find, if not solved, at any rate handled, in the pages of this universal master.”’ In an address to the great Greek scholar “Mayster John Cheke,” Nic- colls asks him “not onelye with fououre to accepte this the furste my fruict in translatyon, but also conferringe it with the Greke, so to amende and correct it, in those places and sentences, whiche youre exacte lernynge and knolaige shall Iudge mete to be altered and refourmed, that thereby thys sayd translation may triumphantly resist and wythstande the ma- lycyous and deadly stynge of the generall and most ennemyes of all good exercyse.” This translation alone held the field until Thomas Hobbes published his in 1629, nearly a century later. STC 24056. $22,500. Walt Whitman’s Leaves of Grass - The Author’s Own Copy In the Original First Issue Binding of Green Cloth Gilt Signed by the Author in Block Letters A Defining Moment in a Young Nation’s Consciousness The Complete Lover of the Universe - America’s Future Present

131 Whitman, Walt. LEAVES OF GRASS (Brooklyn: [for the author], 1855) First edition. First Issue and State “A” of the Binding. AUTOGRAPHED by Walt Whitman in block letters on the titlepage and HIS OWN WORKING COPY. The Whitman-Linton-Skiff-Doheny Copy. With a portrait frontispiece on the heaviest of the papers used for the portrait page. 4to, original green cloth gilt, a.e.g. xii, 95. A copy with wear to the binding, now refurbished, some old stains, presum- ably from Whitman’s workbench and constant use, title-page inscription torn away. AN EXTRAORDINARY COPY, WHITMAN’S OWN WORK- ING COPY OF HIS MASTERWORK GIVEN AS A GIFT AND AN EXTREMELY RARE AUTOGRAPHED COPY OF THE FIRST EDITION, FIRST ISSUE of what is arguably the greatest work in all of American literature. Signed copies of the 1855 Leaves are a VERY GREAT RARITY. The present copy is unique among known signed copies both for its method of signature and for being in the first state (“A”) of the binding. Unknown to scholarship, and untraced for over 140 years, it is accompanied by the signed statement of a previous owner, F.W.Skiff (the noted collector of Americana who authored two books on the subject), explaining this copy’s history and provenance. Stating that he knew William Fowles Hapson, a pupil of William J. Linton (the great English wood engraver and author of the definitive His- tory of Wood Engraving in America), Skiff then proceeds to relate: “At one time Mr. Hapson invited me to go with him to Mr. Linton’s. While there Mr. Linton showed us his copy of Whitman’s Leaves of Grass - and told us the following narrative in re the book. In England, Mr. Linton held friendship with Mr. Rossetti, who had edited and published Whitman’s work in England. Mr. Linton stated “he considered Whitman as the outstanding writer in the English language outside of Shake- speare. Skiff explains how Linton, who engraved Whitman’s portrait for the 1876 edition of Leaves, personally related to him that in the 1860s he had met Whitman “of whom he requested a copy of the original edition of Leaves of Grass. Whitman stated he only had his working copy. (The volume he had printed himself.) This he finally presented to Linton after first writing (or printing) his name upon the title page. Whitman then added his presentation inscription at the upper right hand corner of the title-page.” After Linton’s death, Skiff continues, Linton’s daughter sold him this very same presented copy of the 1855 Leaves; “but before delivering it to me,” Skiff writes, “she tore the inscription to her father from Whitman from the title-page – remarking when so doing that her father’s name must be removed from the book.” This autograph statement was probably written out c. 1940 for Countess Doheny, when Skiff sold her a major portion of his library; a shorter account of his acquisition of Linton’s copy is to be found in Skiff’s book Adventures in Americana (p. 120). The information in Skiff’s letter enables us to ascertain that the book was presented from Whitman to Linton in 1860 - undoubtedly owing to Whitman’s deep affection for Rossetti (and any friend thereof) -- then passed into Skiff’s possession shortly after 1897 (the year of Linton’s death), where it apparently remained until about 1940, at which time the book was purchased by Estelle Doheny (having transited, no doubt, through a bookseller’s hands). It is important to note that this copy was actually signed twice by Whitman on the titlepage - an altogether unique circumstance in 1st edition copies -- once in thin tall block lettering under the title (stating “by Walt Whitman”) and again in a presentation inscription (now, regrettably, torn away) in the upper right corner. Though Whitman is known to have used block lettering in the creation of layout dummies of his own advertisements, this is probably the only copy of any edition of Leaves of Grass to have been signed with such lettering. Though Skiff doesn’t say why Whitman chose to sign the titlepage in this distinctive manner, it is nonetheless tempting to speculate that Whitman perhaps wished to definitively put his name on his anonymously published work - in surrogate print form -- just as his very last copy was about to be given over to posterity. (Skiff’s statement - or is it Linton’s or Whitman’s -- calling Whitman’s working copy “the volume he had printed himself” is an intriguing point of ambiguity in the narrative: Whitman is certainly known to have set some of the type for the 1855 Leaves of Grass; but this peculiar phrasing suggests that Whitman perhaps had an especial involvement with this particular copy. Could this copy in fact have been the first finished or prototype copy -- Whitman’s “first-born child” so to speak?) Whitman is known to have owned only one other 1st edition copy of Leaves of Grass -- his “desk copy” (in which Whit- man inserted manuscripts of subsequently published poems), now owned by the New York Public Library. Even the Library of Congress -- which acquired the known bulk of Whitman’s library from Horace Traubel’s estate (Traubel himself having received it directly from Whitman) -- contains no 1st edition Leaves owned by Whitman. The present copy is unique among signed 1st edition copies of Leaves of Grass - of which there are perhaps only some 5 or 6 extant - not only for its block-letter inscription, but also for being a first issue copy in a state “A” binding. All the other known signed copies appear to belong to the second issue of the work. And in this context it is further significant to note that the NY Public “desk copy” is in fact a trimmed “remainder copy” in plain unprinted wrappers. We are once again confronted - after a lapse of 140 years - with WHITMAN’S OWN FIRST EDITION, FIRST ISSUE COPY OF THE 1855 ORIGINAL LEAVES OF GRASS. It’s condition factors notwithstanding, it remains from the true collector’s standpoint The Greatest and Most Desirable Copy Obtainable. The present offering is the Unique Opportunity to acquire THE AUTHOR’S OWN COPY OF THE GREATEST WORK OF MODERN LITERATURE. Whitman’s LEAVES OF GRASS portrayed America at the crossroads between an old world, soon to be cast off, and the new world of our future present. With the publication of LEAVES OF GRASS in 1855, Whitman, the poet of democracy, ushered in a new era in American letters, describing specifically American experiences in a distinctly American idiom. From its first publication in 1855, he had complete confidence in the greatness of both the book and its author. “Always the champion of the common man, Whitman is both the poet and the prophet of democracy. The whole of LEAVES OF GRASS is imbued with the spirit of brotherhood and a pride in the democracy of the young American nation. In a sense, it is America’s second Declaration of Independence: that of 1776 was political, this of 1855 intellectual. ...The poems are saturated ‘with a vehemence of pride and audacity of freedom necessary to loosen the mind of still-to-be-formed America from the folds, the superstitions, and all the long, tenacious, and sti- fling anti-democratic authorities of Asiatic and European past’. To the young nation, only just becoming aware of an individual literary identity distinct from its European origins, Whitman’s message and his outspoken confidence came at a decisive moment. LEAVES OF GRASS was Whitman’s favorite child. From the time of its original publication,...until the year of his death, he continued revising and enlarging it. If (his) reputation has fluctuated over the years and his position among, if indeed not at the head of, the list of great American poets was not assured until some time after his death, there was never any doubt of the matter in his own mind. ‘I know I am deathless’, he wrote. ‘Whether I come to my own today or in ten thousand or ten million years, I can cheerfully take it now, or with equal cheerfulness I can wait.’ Time has vindicated his convic- tion.” PMM One of the rare opportunities to acquire one of the greatest books in all of world literature. Spun out of the purest “stuff” of the American selfhood, the 1855 Leaves of Grass is the acknowledged center of the American literary canon. Emerson recognized its importance immediately upon publication--declaring the book to be “the most extraordinary piece of wit & wisdom that America has yet contributed”--and 150 years later critic Harold Bloom only reaffirms Emerson, concluding that in American letters “the book that matters most is the 1855 original “Leaves of Grass.” But the book’s importance far transcends any nationality. The First Truly Modern Work of Literature - the opening shot of a revolution still resounding today - its impact is immense. It alone - among all modern works of poetry - rates inclusion in Printing and the Mind of Man (where it is accurately labeled “America’s Second Declaration of Independence”). Far more than just an American work of letters, Leaves of Grass is a Masterwork of Modern World Literature -- and arguably the greatest such! For Leaves of Grass is the first work of literature to explicitly explore the modern stream of consciousness. Launching forth from the individual - “I celebrate myself,” Whitman declares point blank - the work is yet universal in its intent. Though at times egotistical and even overtly auto-erotic, Whitman nonetheless shoots for the highest - the undiluted testi- mony of the liberated Self. And through creedless mergence in Nature and the greater flow of humanity, Whitman achieves a genuine literary satori! Many have since tried to follow in Whitman’s breakthrough path, but none have surpassed him in originality and brilliance - thus confirming Whitman’s stature as “the greatest of modern poets.” Written “without check” and with “original energy” in convention-shattering lines of jagging free verse, Leaves of Grass is a kaleidoscopic fusion of rapidly-changing innovative swells of imagery and metaphor -- its reference frame ever shifting as Whitman alternates in and out of his embodied self. At once sensual and cosmic, personal and trans-personal - as mysterious as the grass -- the poetry sweeps all and everyone into its living, breathing, and ultimately fathomless pulse. Self-exploring Poetry of the highest liberality - penned by “the greatest democrat the world has seen” - Leaves of Grass is “a democracy of consciousness” celebrating all humanity. PMM 340. $275,000. This item is not yet on our website, please contact us directly if interested.

A Whitman Family Copy - A Copy with Fine Provenance The Poet’s Greatest Work - Leaves of Grass - Printed 1856 Brooklyn - For the Author - The First Octavo Edition

132 Whitman, Walt. LEAVES OF GRASS (Brooklyn: [for the author], 1856) The rare first octavo edition and second edition overall. A COPY WITH FINE PROVENANCE AND A SUPERB ASSOCIATION COPY AND AS WELL, A WHITMAN FAMILY COPY. Printed for the author. With a portrait frontispiece. 8vo, the printer/publisher’ original green cloth, gilt decorated on the cover as the first edition and with gilt designs and lettering developed especially for this printing. A very good copy with some light foxing as is typical. The spine has a bit of wear at the head and tail, some light evidence of wear or age overall, a well preserved, tight copy, hinges in good order, a copy with fine provenance. FIRST OCTAVO EDITION, PRINTED ONE YEAR AF- TER THE FIRST, AND AGAIN, IN BROOKLYN AND FOR THE AUTHOR. A COPY WITH FINE PROVENANCE AND A SPLENDID ASSOCIATION COPY, most probably belong- ing to Whitman’s sister and then passed on to her daughter Zora Tuthill with Ms. Tuthill’s ownership inscription on the front free- fly. From a Whitman family collection. This second edition was greatly enlarged by the addition of 20 poems, as well as a laudatory letter from Ralph Waldo Emerson, Whitman’s long reply, and several reviews of the books (including Whitman’s own anonymous review, originally published in the Brooklyn “Daily Times”). The book is usually found in rough condition if found at all. An important contemporary of Whitman’s and a revered figure in the New England landscape of the American Renaissance, Bronson Alcott recorded in his journal for October 4, 1856, that he had gone to Brooklyn to see Walt Whitman. “I pass a couple of hours, and find him to be an extraordinary person, full of brute power, certainly of genius and audacity, and likely to make his mark on Young America--he affirming himself to be its representative man and poet. I must meet him again, and more than once, to mete his merits and place in this Pantheon of the West. He gives me his new book of poems, the Leaves of Grass, 2nd edition, with new verses, and asks me to write him if I have any more to say about him or his master, Emerson....” Alcott also refers to Whitman’s generosity in a letter to his wife on 10 October: “I crossed to Brooklyn and passed some hours with Walt Whitman the Poet, author of the Leaves of Grass, of which he gave me a copy of the new edition, just published, and containing a characteristic letter of his in answer to Emerson, printed some time since in ‘the Tribune.’ I am well rewarded for finding this extraordinary man, and shall see more of him before I leave N.Y.” Alcott did indeed see more of him--he returned with Henry David Thoreau and had an interesting visit, during which Whitman gave Thoreau a copy of the book as well. See Alcott JOURNALS, p. 286; Wells and Goldsmith, pp. 5-6. $22,500.

The Rambler - First Edition of the Original 208 Issues - 1751 Samuel Johnson’s Highly Reputed and Influential Papers The Scarce 1751 First Issue Without Volume Numbers Earliest and Most Rare Issue of a Great Work in the Language

133 [Johnson, Dr. Samuel]. THE RAMBLER (Lon- don: Printed for J. Payne and J. Bouquet in Pater-noster-row, 1751 [-1752]) 2 volumes. First edition, First Issue, The True First Edition with what Courtney and Smith call “the earlier title-page for the collected numbers” (see note below). Folio, in contemporary thick calf-covered boards, the spine panels renewed in calf to period style using blind-ruled raised think bands, gilt volume numbers on red morocco labels lettered in gilt, antique but later marbled endpapers and free-flies. [2], 640; [2], 641-1244 pp. A very handsome set, very well preserved. The paper with only minor expected evidence of age and use, quite clean and fresh with only very occasional and light spotting or soiling, first 4 text leaves of Vol. I with a short, closed marginal tear, no loss, the original calf boards with some light rubbing or very minor wear at the corners, the spines quite fine. SCARCE FIRST EDITION, FIRST ISSUE OF THIS GREAT WORK, WITH WHAT COURTNEY AND SMITH CALL THE EARLIER TITLE-PAGE IM- PRINTS. The Rambler was a twice-weekly periodical in 208 numbers issued by Dr, Johnson from 20 March 1750 to 14 March 1752. It contains essays on a variety of subjects including character studies, allegories, eastern fables, criticisms, etc., and was written by Johnson himself with the exception of five (or seven) numbers, one of which was written by Samuel Richardson, the “father of the English novel.” The Rambler papers were highly reputed and influential in the public and private life of eighteenth century England. Johnson’s wife declared that the “papers surpassed even her expectations.” “They contained a great mass of strong sense and an impressive and characteristic view of life.” Courtney and Smith (p. 30) state that “there was an earlier title-page for the collected numbers without ‘Volume First’ and with the imprint ‘London: Printed for J. Payne, and J. Bouquet, in Pater-noster-row. M.DCC.LI.’ Neither the table of contents nor the collection of mottoes accompanies this title-page.” The copy here offered conforms to this earlier setting of the title-page and thus can be considered the earliest issue of the collected numbers. Courtney & Nichol Smith pp. 30-31; Chapman & Hazen pp. 131-32; Rothschild 1234-5; Maggs 1038/28. $14,500.