Catalogue 183 Part I

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Book Arts, History & Graphic Arts Items 1-65

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POST OFFICE BOX 382369 CAMBRIDGE, MASSACHUSETTS 02238 T (617) 868-1711  F (617) 868-2960 [email protected] PART I BOOK ARTS, PRINTING HISTORY& GRAPHIC ARTS

A RARE SPECIMEN OF PRINTERS’ INKS

1. ACME PRINTING INK CO.Lithographic Inks. Chicago, 131521 West Congress St., n.d. [ca. 1940] $300.00 The above is the cover title; there is no actual title page. A substantial specimen, about 150 pages, and full of color. Specialties of the firm included Acme Paste Drier, Cobalt Dryer, Offset Liquid Reducer, Acme Non-wash-up Compound, Litho Linseed Varnishes, and Lakatine. The first seven leaves are a progressive proof of a full color advertising image. All the following plates are color samples numbered for identification. The final thirteen plates are color samples of inks for certificates (i.e., for stocks, bonds, etc.). OCLC locates just three copies: UCSB, Yale, & U Del.

8vo, orig. cloth, cover title printed in green, gold and black. Circa 150 leaves, printed on rectos only. Slight rubbing to hinges and head and tail of spine; else a fine copy.

“NATURAL ILLUSTRATION” THE STANDARD AMERICAN PRINTER’S MANUAL WITH TEN MOUNTED SPECIMENS OF DRIED THROUGH THE MIDDLE YEARS OF THE GRASSES IN PERFECT CONDITION NINETEENTH CENTURY

3. AMOS, WILLIAM. Minutes in agriculture and 2. ADAMS, THOMAS F. Typographia: or the printer’s planting...illustrated with specimens of eight sorts of the best, and instructor; a brief sketch of the origin, rise and progress of the two sorts of the worst, natural grasses, and with accurate typographic art. Fourth edition, with numerous emandations and drawings and descriptions of the above practical machines on additions. Philadelphia: L. Johnson & Co., 1851 $300.00 seven copper plates. Boston [U.K.]: Printed by J. Hellaby, Originally published in 1837, this was a standard work and 1810 $2000.00 stayed in print until 1864. It was a comprehensive manual First published 1804. The present copy is in fine condition, abridged from Johnson and Hansard (both English printed on thick paper and illustrated with ten mounted manuals). The final chapter illustrates improved presses: specimens of dried grasses all in perfect condition. The the Colombian, invented by George Clymer; the American ‘practical machines’ referred to in the title are as follows: Press invented by Sheldon Graves; the Washington Press sward dresser, thistle cutter, compound roller, tree- invented by Samuel Rust; the Wells Press invented by John transplanter, scuffle, couch grass drag and a couch grass I. Wells; a large press manufactured Seth Adams & rake. Though it appeals to us today primarily as an Co. of Boston; and the Screw Press invented by Mr. A. example of a now extinct form of book illustration, in its Ramage. Except for the platen press all of the others were day this was intended for farmers to show them how best invented and manufactured by Americans. JPHS E18. to grow crops of grass. The mounted grasses are identified Burke Printing Collection 883. by both their Latin names and common names; their 8vo, orig. cloth. x+7-282 pp with numerous imposition diagrams and 6 perfect state of preservation is remarkable. This book wood-engr illus of presses. Spine a little dull else a nice copy. would make a great display item. Called ‘natural illustration’, this method was used from the 18th century and reached it height of popularity in the middle of the

[1] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [1] nineteenth. Expensive and time consuming to produce, BERRI’S PEOPLE’S “the results rarely justified the effort, since the plants were difficult to fix securely into the books, were often fragile, 5. [BERRI, D. G., Engraver & Stamp Maker]. Berri’s and prevented the book from closing properly, even when People’s Printing Press, used by the Army and Navy. London, they were guarded in.” - Wakeman, Victorian Book Illus., p. 1864 $275.00 65. None of those problems appear in the present work. A single sheet handbill printed on both sides; Berri claimed OCLC/WORLDCAT locates 7 copies in American libraries. that this press, a small cylinder design, could be used for Large 4to, modern binding of linen spine & corners; original printed letterpress, lithographic and copper-plate printing. The boards have been reproduced on both covers. (ii)+viii+92 pp with 10 press is illustrated. See Wakeman, Literature of Letterpress mounted specimens of dried grasses on three leaves with , no. 12. See also Moran,Printing Presses, pp. 238-9. mounting labels and manuscript numeration, original tissue guards; 2 Berri published a handbook to go with the press in 1864; it hand-colored engr plates of grasses, and 7 folding engr plates of machinery. A fine large untrimmed copy with half title. was quite successful as a second edition was published in 1865 and a third in 1871. The handbill is full of interest; it lists numerous uses for the press, sizes and prices, type, RARE MILWAUKEE TYPE FOUNDERS’ SPECIMEN lithographic stones, inks, etc. Rare; not in OCLC. Single sheet (9 ½ xx 7 ½"); printed on both sides. 4. BENTON & WALDO FOUNDRY. Portable Book of Specimens from Benton & Waldo Foundry operated by American Type Founders’ Company. Patentees and Manufacturers of ILLUSTRATED WITH 42 MOUNTED HELIOTYPES Benton’s Self Spacing Type. Milwaukee, [1893] $1000.00 A rare specimen; OCLC locates only two copies (Columbia 6. BICKELL, DR. L. from the Hessian and RIT). Founded in 1873, this foundry had a tortured Historical Exhibition illustrating the art of binding from the history until about 1873 when Linn Boyd Benton became XVth to the XVIIIth centuries. Leipzig: Karl W. Hiersemann, involved. The history of the firm would have stopped at 1893 $800.00 that point were it not for the inventiveness and leadership A fine folio work, illustrated with mounted heliotypes of of Mr. Benton, the senior partner of the firm. “Benton, who bindings from photos taken by the author and limited to had never had mechanical or technical training, soon found 100 copies. This book grew out of the Jubilee Exhibition of his niche, and upon his death it was counted that there the Hessian Historical Society at Marburg in the summer of were over twenty patents to his credit. Among them were 1890. To make his selections, the author, who was the ‘self-spacing’ measuring system...[but]...the invention conservator of antiquities at Cassel, visited the libraries at and machine that really made the Benton name truly Marburg, Cassel, Fulda, and Giessen. He opens with brief famous was his punchcutter, based upon the old histories of the libraries in question. This book fits into a pantograph method, and patented in 1885...Benton became long list of similar works, compiled in the late 19th century, involved with the invention because the plant did not have illustrating selected binding treasures in various major available punchcutters and they had requirements for libraries: British Museum, Dresden [Library], Bibliotheque making over 3000 special punches. He personally studied Nationale, Bodleian Library, Royal Library Windsor Castle, the project and designed a machine to do the work that was Vienna Imperial Court Library, etc. They are all listed in B. formerly done by hand. The invention and the product was Breslauer’s The uses of literature (1986), p. 23. an immediate success.” - Annenberg, p. 63. In 1892 the This is copy no. 71 of 100 with English and German title American Type Founders Company acquired the business pages and text in both languages. Mejer 211. and in 1894 the Benton and Waldo plant was dismantled. Large folio (19 x 14"), orig. heavy cloth, re-hinged with orig. morocco But Mr. Benton was hired by ATF and he continued to spine, gilt, laid down. Top edge gilt. 14+18 pp with 53 mounted heliotypes work with the new organization until he retired, just fifteen on 52 leaves. Very good copy. days before his death in 1932.

8vo, orig. stiff printed blue wrappers, neatly rebacked. 272 pp with a bis leaf between pp 32 & 33. Small area of damage and loss (about the size of 7. BISHOP, H[ENRY] G[OLD]. The Job Printer’s List of a quarter) on p. 161/162. One small clip on p.207/208; ditto on p. 213/214. prices and estimate guide: containing prices to be charged for all But, in fact, a very good copy. And rare. kinds of job and book work, from a small card to a large volume. New York: H. G. Bishop, 1893 $200.00 First edition. Published or manuscript “Lists of prices”

[2] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [3] have a long history in the various trades, going back to at 10. BLANEY, HENRY R. Photogravure. With least the middle of the 18th century. The present work lists introduction and additions by the editor. New York: Scovill & 72 alphabetized categories from ‘Addressed Envelopes’ to Adams Co., 1895 $275.00 ‘Wine lists.’ Bishop was a printer in Albany, New York. In Fine copy of the first edition in book form; this originally his Appendix he prints extracts on Rules and Usage from appeared in the columns of The Photographic Times (but the Cincinnati Typothetae and the Typothetae of New without the additions by the editor and without the York. OCLC locates 8 copies. specimen plate as frontispiece). Chapters on Early history; 12mo, orig. publisher’s cloth, title stamped in gilt on cover. 88 pp. Front The Negative; The Transparency; The Carbon tissue; flyleaf is loose; front inner hinge tender. The final 13 page are illustrated Cleaning & graining of the copper plate; Development of ads. negative resist; the Acid baths, etc. Chapter X is “A list of books and articles on Photogravure from 1888 to 1893.” Roosens/Salu 8237.

8. BLAGDEN, CHARLES. Some observations on 8vo, orig. gilt stamped publishers’ cloth. (viii)+44+22 of ads. Excellent ancient inks, with the proposal of a new method of recovering the copy. The frontispiece is a specimen photogravure printed by the N.Y. legibility of decayed writings. London, June, 1787 $375.00 Photogravure Co. Disbound from the Philosophical Transactions of the Royal Society. I owned a copy of this pamphlet once before, and that was John Carter’s copy. He had inscribed the following note on it: “An early and significant series of experiments in the application of chemical aids to paleography.” Charles Blagden was an M.D., Sec. R.S., and F.A.S. As of 1787 he was Sir Charles Bladen, Knt.

8vo, 5 leaves (paginated 389-398). Drop title. Stitched into modern wrappers with a printed paper label on cover.

THE SUCCESSOR FIRM TO THE CASLON DYNASTY

9. BLAKE, GARNETT & CO. A specimen of Printing Types, &c. by Blake Garnett, and Co., (Successors to Mr. Caslon, of London), Letter-founders, Sheffield. [Sheffield: Blake, Garnett & Co., ca. 1819] $6175.00 The firm of Blake, Garnett & Co. was founded in 1819 with the purchase of the foundry of William Caslon IV. This is the first specimen book issued by the firm, and includes many of the Caslon types. “Blake, Garnett & Co. beg leave respectfully to inform the trade that they have purchased the whole of Mr. W. Caslon’s foundry.” - Advertisement. For an interesting discussion of the products of the new foundry see Reed & Johnson, A history of the old English letter foundries (1952), p. 322. Berry & Johnson, p. 77 (calls for 73 leaves of specimens, St. Bride’s copy); Mosley 20 (listing varying numbers of leaves; S. Bride’s & Univ. of Vermont).

Large 8vo, 19th century blue half calf, marbled sides, joints rubbed, spine lettered direct, untrimmed. 77 leaves including title and advertisement leaf, printed on rectos only; printed on at least five different kinds of paper, one watermarked 1814, another 1815, and a third 1817; some light offsetting; occas. cont. marginalia, marbled endpapers.

[2] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [3] 11. BOSTON.Proceedings at the dedication of the building p. 73). This shows a German bookbinder carrying out the of the Public Library of the City of Boston January 1, 1858. same operation (edge marbling) a little more than a century Boston: The City Council, 1858 $150.00 after Diderot (ca. 1765)...” - Marbled Paper, pp. 140-41. Mejer Not in Hitchcock’s American Architectural Books (though 1659. Brade’s work had a long life; by 1916 it was into a he does list 3 titles on libraries and 5 separate works on seventh edition. Right from the start it was intended to individual Boston buildings). The appendix contains a accompany the Atlas, as indicated from this statement on history of the library and a detailed description of the the titlepage: “Nebst einem Atlas von Stempel-, Schriften-, buildings, exterior and interior, with plans and elevations. Fileten-, und Platten-Mustern, Buntpapier-, Calico-, etc. It was designed by Charles K. Kirby in the “Roman Italian Proben U.F.W.” However, I believe that more copies of the Style” in granite, brick and Connecticut sandstone. It stood text were printed and circulated than the atlas. in Boylston Street and is illustrated in Kilham’s Boston after The magnificent Atlas was separately published to Bullfinch, pl. XVIII. accompany the second edition of Brade & Herzog’s text. It

8vo, orig. dec. cloth. 194 pp. with frontisp. and 5 wood-engr. plates from consists mainly of a grouping of samples illustrating drawings by Hammatt Billings. A bit of fraying to head and tail of spine. various papers, types, vignettes, ornamental stamps, Light tide mark along the margins; not objectionable. machinery, and designs of bookbindings provided by numerous German manufacturers. There are descriptions of several other copies, two from OCLC records and one in full detail (Veatchs Arts of the Book, 89:68). The OCLC record of the RIT copy (from Bernard Middleton’s collection) has 31 plates. The Veatchs copy also has 31 plates. The OCLC record of the Milwaukee Cnty copy has 33 plates. The copy on offer here has 34 plates. This copy also has a remarkable inscription on the front fly proving its usefulness for the bookbinding trade, tracing the history of this copy from 1907 to 1979.

Text Volume: 8vo, cont. half black morocco. xii+420 pp with 117 wood-engr text illus. On pp 332-333 are a number of ornamental display type specimens. Old 19th cent. lib. stmp on t.p.; but an excellent copy. Atlas Volume: Oblong folio (11 ¼ x 15"), orig. cloth sides, black morocco spine. T.p. printed on blue paper and mounted; 4 leaves (8 pp) of RARE GERMAN BOOKBINDERS’ MANUAL text & list of plates; 2 columns of text to each page, thus COMPLETE WITH THE EVEN RARER ATLAS making 16 ‘columns’ or pages. And with 34 plates numb 1- WITH MORE PLATES THAN ANY OTHER RECORDED 26, 27a, 27b, 28a, 28b, 29a, 29b - 34. 4 plates with 118 COPY numbered and mounted original marbled and fancy paper samples made by Alois Dessauer with a printed price list 12. BRADE, L[UDWIG] & J. R. HERZOG. L. Brade’s on the verso of each plate; 1 lg. fdg. plate [an elaborate title Illustrirtes Buchbinderbuch...Zweite ganzlich umgearbeite page] by the Gravir-Anstalt Falckenberg with descriptive Auflage. Leipzig: Verlag Otto Spamer, 1868 [WITH] OTTO letterpress on verso; a number of plates of specimens of SPAMER (ed). Atlas zum illustrirten Buchbinderbuch. Ideen- types and ornaments. Final two plates: 1 plate with 8 Magazin...Zweite vermehrte Auflage. Leipzig: Otto Spamer, mounted samples of calico book cloth and final plate with 1868 $6750.00 blind-embossed paper bindings. Truly remarkable. Originally published in Stuttgart in 1860, this important work contained right from the start a full and important account of paper marbling. Richard Wolfe comments on EARLY MANUAL OF this; on his p. 140 he states: “I now reproduce a from the second, 1868 edition of Ludwig Brade’s Illustrirtes 13. BREGEAUT, R. L. Manuel complet théorique et Buchbinderbuch (his fig 27; it appears in the present copy on pratique du dessinateur et d’imprimeur lithographe. Second

[4] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [5] édition, revue, corrigée, augmentée, et ornée de douze lithograhies. Paris: Roret. 1827 $1150.00 First published also in 1827, but by the author rather than by Roret, and it had ten plates rather than the twelve in this second edition. I like this book and have had a number of copies over the years; there were in fact three issues of this second edition. One had ten plates, another had eleven plates and the copy on offer here has twelve (which is the maximum). This is the ideal copy. Twyman, Lithography, p. 264, lists only this edition and states that it went into a German translation in Ulm, 1829. Bigmore & Wyman, I, p. 80, cite only one edition (Troyes, 1834). It was a long popular work and went into several editions in the early 20th century. Bregeaut was an important writer on lithography and is quoted repeatedly by Twyman, either from this edition or from the later Nouveau manuel of 1850. The St. Bride Catalogue, p. 124, lists three editions, the earliest of which is the present. This manual is especially notable for the information it provides on the early years of the Lasteyrie Press in Paris - see Whitehead, Alois Senefelder (Phila., Temple U. Press, 1972), p. 22 and no. 59. Parts of this manual were translated into English by Hullmandel and published in 1832.

12mo, orig. printed wrappers, untrimmed. xxxvi+176 pp. with 12 litho plates (6 of which are ganged up, 3 to a leaf, on two folding leaves). Outer margins of last dozen or so leaves have been chewed by insects but in no case does this affect letterpress or plates. Preserved in a custom-made clamshell box. printing registration and registration devices, rainbow printing and the one form of color printing to have attracted much attention already, tinted lithography. What “THE FIRST FRENCH MANUAL TO INCLUDE is more, the book included color-printed plates, the first A CHAPTER ON CHROMOLITHOGRAPHY” lithographic treatise since Senefelder’s to have done so. Its two small plates, both trimmed and pasted down, 14. BREGEAUT, L. R. Nouveau manuel complet de represent the two fundamentally different approaches to l’imprimeur lithographe. Nouvelle edition, tres augmentée, par color printing. One used selective inking to print the colors M. Knecht...et M. Jules Desportes...Ouvrage ornée d’un atlas of the rainbow from a single ink-drawn rectangle, from red renfermant des figures colorées et autres. Paris: Roret, 1850 at the top, through orange, yellow and green, to blue at the $1250.00 foot. The other, which the text tells us was printed by Originally published Paris 1827 as Manuel complet... Engelmann & Graf, was printed from seven separate stones lithographe. Next to the first, this edition is the most and depicts an amorous couple in a landscape setting. It important of the series. For it is, as Michael Twyman was drawn entirely in ink and shows a good range of hues explains, “the first French manual to include a chapter on and tones built up by overprinting and the use of hatched chromolithography.” The authorship really should go to lines.”- Twyman, Chromolithography, p. 39 and figs. 18 and Knecht and Jules Desportes, who are, indeed, both listed 19. Of this edition OCLC locates 5 copies in American on the title page. “Though this account runs to a mere libraries. sixteen pages, it includes information about the making of 2 vols in one. Text: 12mo, well-bound in recent cloth. xxiv+399 pp. The colored inks, the use of powders for dusting colors, the role “Atlas” (which is bound at the end of the text volume contains a printed of the lithographic artist and writer, the sequence of t.p., list of plates, and 15 litho plates of which 2 are printed in full colors. printing colors, the manufacture of rollers for color

[4] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [5] 15. BRETON, V. Essais progressifs sur la composition typographique des tableaux et travaux de ville diverse, avec un appendice sur la composition des langues orientales par M. A. Labouret.Paris: Imprimerie de l’Ecole Estienne, 1893 $500.00 First edition. The author was a professor at the Ecole Estienne and a prolific writer; Giles Barbier lists six works by him between 1890 and 1899. The present work includes 15 pages printed in two or more colors as well as a profusion of cuts of typographic ornaments, letterheads, calling cards and other details of job printing. In the color work one gets a slight sense of the influence of the ‘artistic’ printing movement of America and England. This copy is in a special ‘one-off’ binding of full pigskin, but not finished or labelled. It looks like it was done by an amateur or an advanced student binder. Barbier, French letterpress printing, p. 28. St. Bride Catalogue, p. 126.

Folio, full pigskin as noted above, with five raised bands and all edges gilt. Slight rubbing. viii+290+iv+50 pp., profusely illus with 15 pp in two or more colors.

“RENDERING THE LIBRARY ROOM FIREPROOF”

16. BULFINCH, CHARLES. Library fireproof [droptitle]. Report of the Library Committee of the House, on the subject of rendering the Library Room fire-proof. February 6, 1826. Read, photo-mechanical printing and instructions on the carbon and laid on the table. [Washington], 1826 $175.00 processes, platinotype process, photo-mechanical printing Charles Bulfinch, Architect of the Capitol of the United processes, including Woodburytype, Stannotype, States, gives the Chairman of the House Library collotype, photolithography, asphalt processes, etching Committee his expert opinion on what can be done to transfers on zinc, half-tone, and processes make the library fire-proof; actually emphasis on what including the Talbot-Klic photogravure process - as well as CAN’T be done (replacing the wooden arched ceiling with much general photographic material. To quote Bridson/ brick), or what can’t be done cost effectively (replacing Wakeman, this was an “outstanding textbook...the most wooden alcoves with cast iron), or would create its own comprehensive manual of its period.” ( and problems (replacing wood with stone). The list of costs is picture printing, p. 159 and E. 49). Epstean 911 (2nd edition). fascinating. Gov. Doc. 19th Congress, 1st Session, Rep. no. Roosens/Salu 8915. 66, House of Reps. 8vo, orig. cloth, fine copy. xvii+415+46pp. with scattered text illus. 8vo, 1 sheet (2 pp). Removed; left margin ragged.

18. CAMILLO, DOYEN. Conferenza sulla litografia letta “THE MOST COMPREHENSIVE MANUAL il 1 Settembre 1895 in occasione del 1 centenario della scoperta di OF ITS PERIOD” Senefelder celebratosi in Torino (Regione Sassi).Milano: C. H. Lorilleux & Cie., 1895 $350.00 17. BURTON, W[illiam] K. Practical guide to The centennial of the invention of lithography (1795/1796) photographic and photomechanical printing. Second edition, generated several publications. The present pamphlet was revised and enlarged.London: Marion & Co., 1892 $300.00 produced in Italy; there was a similar exhibition and Fine copy in the original publisher’s decorative stamped catalogue held in Paris (Centenaire de la lithographie. cloth. First published 1887. Includes an historical sketch of

[6] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [7] Catalogue officiel de l’exposition: 1795-1895) and also one in give a list of thirteen type specimens, from the first in 1716 New York:Catalogue of an exhibition illustrative of a centenary to the present one of 1857. There is a notice on page 3 of this of artistic lithography 1796-1896 (Grolier Club, 1896). work: “[This] new specimen book has been entirely Camillo Doyen was himself a lithographer and author of reprinted, and contains the most recent and improved two manuals:Trattato di litografia (Torino, 1877) and founts of the Caslon letter-foundries, lately united under Manuale di litografia (Milano, 1896). The present the combined superintendence of Henry William Caslon “Conferenza” is very rare; it is not in OCLC. and Alexander Wilson. The important step of purchasing a

12mo, orig. printed wrappers. 36 pp with litho port. of Senefelder. great portion of the long-established Glasgow letter- Wrappers lightly soiled; spine worn, lower half chipped away. Unopened foundry of Alexander Wilson & Sons, Great New Street, copy. London, was taken with a view of combining in one foundry whatever distinguished the two houses in their individual capacities, and also to give to the printing trade A LATE BUT GREAT CASLON SPECIMEN the advantages necessarily resulting from the united practical experience of their principals.” Most of the 19. CASLON, H. W. and CO. Specimen of Printing specimens in the present book derive from Caslon’s Types of the Caslon and Glasgow Letter Foundry. Chiswell foundry rather than the joint firm. It includes not only the Street, London, 1857 $4500.00 original old faced letters but the ‘most recent and improved William Caslon (1692-1766) was the first great type founder fonts.’ This volume is distinguished by a three-color and that England produced. Bigmore and Wyman give a good gold-printed title page; as well as some large and bold account of him and his son, grandson and great-grandson, wood display types. OCLC locates seven copies in this all of whom carried on in the type founding business. They country.

Thick 4to, orig. half roan, hinges and head and tail of spine rubbed but a very good and appealing copy. Title page, leaf of introduction, 3 leaves of price list followed by 300 specimen leaves (7 folding and 4 in colors) plus a final advert leaf.

WITH 25 MOUNTED & IDENTIFIED PAPER SAMPLES

20. CASSAGNE, ARMAND.Guide pratique pour les differents genres de dessin. Dessin a la mine de plomb - au crayon noir - a la sanguine - au fusain - a la plume - a la sepia - a la plume relevé de couleur. 3e edition, considerablement augmentée. Paris: Librairie Classique Internationale A. Fouraut, 1892 $475.00 Originally pubished 1873 with 21 paper samples; the present edition has 25 (of 26); lacks on sample. Priced accordingly. Includes 3 (of 4) samples of paper pour la mine de plomb, le crayon noir et la sanguine; 8 samples of paper for black crayon and charcoal; 3 samples of lined (i.e. graph) paper for copying, enlargement or reduction of drawings; and 7 samples of papers for diverse uses including Whatman for watercolors and sepia wash and Harding for pen and sepia wash drawing. The samples are all in various pastel colors and are pleasing to look at. Not at all common; OCLC locates four copies of the first edition in USA; of the present edition no copies are located.

Large 8vo, orig. publisher’s cloth, cover blocked in black and gilt, a very handsome binding. iv+182 pp with 152 illus. including some in tint, some in color (hors texte), with dust sheets. 25 tipped on paper samples as described above.

[6] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [7] SAMPLE SHEETS OF DECORATED PAPERS

21. CHAPPELLIER, L. & A. GRAND. La Maison du Papier Gommé. Paris, 78 Rue de Wattignies, n.d. [1929] $175.00 Fascinating advertising flyer of ‘papiers gommé’ for making decorative borders for framing prints or photos under glass. Contains 73 small hand-mounted samples each with identifying numbers. Includes decorative papers of silver, gold, bronze...etc.

Sheet (21 x 8 ½") folded into 4 panels. Tipped on printed price list supplies the date of 1929. Good condition; none of the samples are missing.

22. CONNECTICUT. NEW HAVEN.Catalogue of the library of the Linonian Society, Yale College. October, 1841. New Haven: Printed by Hitchcock & Stafford, 1841$275.00 A FINE EXAMPLE OF PRINTING IN COLORS BY Linonia was founded in 1753 as Yale College’s second GAUTIER D’AGOTY literary and debating society. They had an impressive library in 1841. The catalogue is arranged in three formats: 24. COURT DE GEBELIN, ANTOINE. Histoire alphabetical by author (last name first) and title; a classified naturelle de la parole, ou précis de l’origine du Langage & de la index by subject (biography, divinity, encyclopedias, etc.; Grammaire Universelle. Paris: L’auteur, Boutet, a.o., 1776 and finally index of authors, A to Z. OCLC locates five $1800.00 copies: Grolier, Yale, Newberry, MHS and Case Western Reserve. First separate edition of this theoretical treatise which mixes linguistics and anatomy. L’Histoire naturelle de la 8vo, recased in modern brown paper boards with gilt on morocco spine parole considers the vowels as representing the sensations label. (ii)+162. Scattered light foxing. and the consonants the ideas. The color plate by Gautier d’Agoty represents the tongue, the larynx, and the vocal cords. It is one of the last that he produced and is SAMPLE BOOK OF CHROMOLITHOGRAPHIC CIGAR distinguished by his mastery of the polychromatic BOX LABELS technique in the perfect register of the several plates of color. 23. CORNELL PRINTING CO.Cigar labels from This work is relevant here as an inexpensive Cornell Printing Co., 83-85 Pennsylvania Ave., Elmira, New exemplar of the mid-18th century color printing of Jacques- York, N.d. [ca. 1895-1900] $500.00 Fabien Gautier d’Agoty. The real inventor of this form of A nice booklet of 10 elegant chromolithographically color printing was Jacques Christoph Le Blon, developed in printed cigar box labels. Cigar names included ‘Ponies’, the 1720s and 30s. Gautier d’Agoty developed it further. ‘Cuban pearls’, ‘Cricket’, ‘Puffs’, etc. The quality of printing “The medium was mezzotint. By printing color upon color is very high and includes gold and silver inks. This firm is and using four plates (yellow, blue, red and black) he listed by Jay Last who states: “Cigar box labels. The Cornell managed profound effects - and mezzotint showed, as its Printing Co. was purchased by F. M. Howell in 1887 but name says, the gradation of shading which no amount of continued under the Cornell name until 1900.” - The Color engraved cross-hatching could provide.” - C. Franklin, Explosion, p. 177. Not in OCLC. Early Colour Printing (1977), p. 1. Franklin’s book is Oblong 8vo (6 x 8 ½"), orig. printed wrappers. With 10 chromolitho plates. essential to understanding Gautier, and one of the best Each plate gives the number and price for 100 “ins and outs” (inside and sources in English. For the collector or library trying to outside of the box). Slight chip to spine edge of wrapper but internally a assemble an exhibition of color printing both Le Blon and fine copy. Gautier are essential - and the present book would fill one of those requirements at modest expense.

[8] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [9] 8vo, orig. full mottled calf; spine with 5 raised bands decorated with gilt chromolitho title page. The plates illustrate facsimiles of floral stamps, dark red morocco title piece, marbled edges, covers various historical scripts; the one color plate (aside from the decorated with triple gilt filets. (iv)+400 pp with engr frontisp and folding color plate as described above. Very nice copy. frontispiece) illustrates the picture writing of the ancient Mexicans. The book is in fact a trade catalogue; Davids was a manufacturer of inks. Romaine, GATC, p. 352: “the best ill. catalogue of inks located.” Wiborg,Printing inks, a 25. CRISP, WILLIAM FINCH. The Printers’, history, pp. 262-3: “the plates are exceedingly interesting.” Lithographers’, Engravers’, and Bookbinders’ Business Guide Davids was an important pioneer in the manufacture of with ready-reckoned general price lists. Fourth edition, extended ink; see Carvalho, Forty centuries of ink, pp. 209-10. Burke and improved. London: J. Haddon & Co., 1873 $225.00 Printing Collection 1166. First published 1864, second edition 1868. Gives information on pricing various types of job; 7 pages on Small 8vo, orig. pebble-grained cloth, title blocked in gilt on cover, all edges gilt. Chromolitho dec. title page and 72+1+4 pp. with 16 plates bookbinding; stereotyping (4 pages); lithographic printing numb 1-12; 1 unnumb in color and 3 litho ff showing “form of the word (8 pp); legal and commercial information, etc. At the end ‘ink’ in different languages.” The color title page was printed by Snyder, are 16 pages of ads including an illustration of Dellagana’s Black & Sturn, Lithographers. Fine copy. improved horizontal printing machine (on whom see Moran Printing Presses). Wakeman’s Literature of Letterpress printing 1849-1900 no. 15 describes the third edition of 1869.

12mo, orig. cloth, gilt stamped & titled front cover.iv+110+(16) pp of ads.

AMONG THE FIRST COLORPRINTED ‘PAROISSIENS’

26. DASSANCE, M. L’ABBE. Heures nouvelles, paroissien complet LatinFrancais, a l’usage de Paris et de Rome, par M. L’Abbe Dassance. Paris: L. Curmer, 1841 $850.00 Writing of a color-printed work entitled Offices complets suivant le rit romain of 1855, Michael Twyman states: “This was by no means the first ‘paroissien’ (French prayer book for the laity) to include some chromolithography. Among the first must be L’Abbe Dassance, Heures nouvelles... (Paris: L. Curmer, 1841) which has a decorated title page and a part-title lettered ‘Lith. Engelmann.’ Both pages were printed on coated stock in a pale version of the five-colour method referred to above. Curmer must have felt that colour was a means of selling his ‘paroissiens’ as they were advertised very briefly on the wrappers of his L’imitation de Jesus (1855-57) as having ‘coloured frontispieces [‘frontispieces en couleur’].” - History of Chromolithography, p. 184, note 198. Rare; OCLC locates just two copies in American libraries.

8vo, orig. full maroon morocco, gilt die-stamped upper cover and spine, a.e.g., a very handsome binding. 800 pp. with 2 chromolithographs as explained above; and 11 steel engr plates.

157 SAMPLES OF PAPERS AND BOARDS 27. DAVIDS, THADDEUS. The history of ink, including its etymology, chemistry and bibliography. New York: 28. DAWE, EDWARD A. Paper and its uses. A treatise for Thaddeus Davids & Co., [1860] $550.00 printers, stationers and others. London: The Technical Press Fine bright copy of an appealing little book with handsome Ltd., 1929 [and] 1939 $675.00

[8] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [9] A RARE LITHOGRAPHIC MANUAL LITHOGRAPHED THROUGHOUT BY ITS AUTHOR

29. DESPORTES, JULES. Manuel pratique de lithographe. Seconde édition. Paris: Chez l’auteur, Rue d’Enfer, 60; MAISON, Librairie, Quai des Augustins, 29. 1840 $2000.00 Originally published 1834; this is the second edition. Aside from its rarity and the information it imparts, this is an important book because it is the only lithographic manual which was printed entirely by the process it describes. Michael Twyman, in his Early Lithographed Books, devotes four pages to it: “One lithographic treatise deserves to be singled out for detailed attention here. This is J. Desportes, Manuel pratique de lithographe (Paris, 1834, 2nd ed., 1840)...Desportes founded and managed the first lithographic trade journal, Le Lithographe (1837-48)...his Manuel pratique du lithographe provides the best example I [Twyman] know of the work of a lithographic printer who used the process of lithography to produce his own book...Desportes manual is also important in terms of what it tells us about lithography...The two editions of Desportes book are very similar; apart from a change of title page...and a few new plates (that were also published in Le Lithographe) the second edition is the same as the first...The presswork of Desportes’s manual is not of the highest order, but otherwise the book was extremely well produced.” One of the above comments applies directly to the present copy; it has a special color plate bound in (of two alphabets shown in mirror image) printed in rainbow printing (on this see Twyman, Chromolithography), pp. 39-40 and figs. 18-19. The origin of this plate is clear; it is titled at First published 1914. A made-up set (vol I, text, is 4th the top “Le Lithographe” - it was originally printed for edition of 1939; vol II, samples, is dated 1929). Text of vol I Desportes periodical of that name. Early Lithographed Books is identical to that of the first (1929) edition. Good copies of (Bibliography), 1.84. OCLC locates a total of three copies; 2 a fine book. Divided into four sections - paper in USA (Fordham & ArtInsChi) and one copy in France manufacture; papers and cards of various kinds; the use of (BN). paper and samples of papers and cards. All of volume two 8vo, recent full calf with a marbled pattern (a Spanish binding?). is devoted to the samples; they are arranged as writing xlviii+230+viii) pp. with 4 plates of lithographic tools, 4 b/w specimen papers (1-36); printing papers (37-77); cover papers (78-93); plates (from Le Lithographe) and one rainbow printed plate, also from the wrapping papers (94-117); miscellaneous papers (118-137) same source. Scattered foxing throughout. and boards (138-157). Tables of particulars (i.e. materials the papers are made of, manufacturer, etc.) are given for all the samples. 30. DODD, GEORGE. British Manufactures. Series IV, V 2 vols, 8vo, orig. cloth. xi+176+(xviii) pp. with 25 illus. Vol II is thick 8vo, and VI. London: Charles Knight & Co., 1845-6 $225.00 with the samples. Text vol is bound in orig. red cloth (faded); Sample vol A valuable series. Series VI covers: papermaking, is bound in orig pale green cloth. parchment and vellum, ancient manuscripts; engraved wood blocks and types; type founding; founding, press and machine printing; and bookbinding. Included in David Pankow’s The Printer’s Manual, an

[10] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [11] illustrated history (2005), pp. 42-3. He states that these four these specimens as possible, there seemed to be little, or no sections were based on Charles Knight’s essays on the relationship between American and European designs.” same subjects in the Penny Magazine of 1833. He goes on to say after 1850 American type founders

3 parts in one. 12mo, orig. marbled sides (worn); neatly rebacked in calf. “devised most of their own styles, which were far superior 218+224+256 pp. with scattered wood engr. text illus. in design and execution to wood types produced abroad in the same years.” (p. 34). I find this statement puzzling and I do not agree with it. But one statement which Kelly makes PROOF COPY OF A FINE AESTHETIC MOVEMENT about the rich design qualities of wood type resonates: “the TRADE CARD figure-ground properties of many 19th century wood types show a visual sophistication very rare in any of the arts of the period.” I could not agree more. Not in André Jammes, 31. DONALDSON, WILLIAM M. & CO. Lithographers Spécimens de Caractères (2006). and manufacturers of cigar labels, edgings, brands, etc. [Trade Card]. Cincinnati, Ohio, [ca. 1881-85] $250.00 4to (10 ½ X 8"), orig. cloth backed mottled paper boards. T.p. & 82 leaves showing about 105 specimens. Each numbered with size in picas Jay Last gives a good history of this firm. Donaldson began (‘ciceros’) and prices supplied in MS. Several of the largest specimens are work in 1856 as an apprentice and spent his entire life in the double-p. capitals 74 ciceros (or 13") tall. The impressions are very strong, lithography business, dying at the age of 91. The present rich and black. A stunning book. trade card, designed in the style of the Aesthetic Movement, is composed of sweeping curves, straight lines, a small motif of Japonism and bright colors. It is an advertisement for the Donaldson firm, specifically for cigar labels. Trade cards of chromolithographers are not common.

Trade card on paper stock (3 ½ x 4 ½). Printed in colors. A nice display item.

FABULOUS SPECIMEN OF WOOD TYPES “A VISUAL SOPHISTICATION VERY RARE IN ANY OF THE ARTS OF THE PERIOD”

32. DUBOSC, G[aston], Graveur. Caractères en bois pour l’impression typographique fabriques à Paris 58 rue de Verneuil, 58. Nota - Les chiffres seront, suivant les demandes, assortis aux differents caractères de ce spécimen, et le prix en sera le meme. Paris: Imprimerie de l’Illustration, 1865 $5500.00 Fine copy of a very rare specimen (OCLC locates just two copies: NYPL and Harvard, Houghton Library). The standard work on the subject is Rob Roy Kelly,American Wood Type: 1828-1900 (N.Y., 1969) and as the title indicates it is almost entirely about American types. But he does have one interesting paragraph entitled “European Wood Types”- “It is not known to what extent mass production of wood type flourished in Europe during the same time as it was manufactured in America. However, it is believed that Americans dominated the European markets as well as their own after 1870. There are a number of European wood type manufacturers identified through specimen books:Dubosc of Paris in 1865...(and he goes on to list four others, all English). On the basis of examining as many of

[10] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [11] ARTISTIC LITHOGRAPHY monograph on the other great French illustrator, Gavarni. The volume concludes with the funeral address given by 33. DUCHATEL, E. Manuel de lithographie artistique Alexandre Dumas, on whose bust Doré worked just before pour l’artiste et l’imprimeur.Paris: Minot, [1907] $1050.00 he died, in the Père Lachaise Cemetery. In this deluxe copy A good copy in the original color printed wrappers. the etched portrait of Dore by Lalauze after C. Duran is Originally published 1893 as Traité de lithographie present in two impressions, printed in black and sanguine. artistique, this is a revised edition with a preface by Leon 4to (8 3/8 x67/8) bound in full contemporary brown morocco, highly gilt Bénédite, Conservateur du Musée du Luxembourg. The covers and spine, dark green lettering piece. A fine untrimmed copy with 1893 work was the first instruction manual on artistic the orig. printed gray wrappers bound in. [4](blank)+[4]+218+[6] (last two blank). With the bookplate of N. Dujardin Van Der Avoort, a. 1900. Copy lithography since Englemann’s treatise of 1835. This no. 12 of 20. edition is illustrated with lithographs by numerous artists including A. Wilette, Paul Mourou, Charles Leandre, Desire-Lucas, Georges Redon, Maurice Neumont, L. Vallet, WITH EXTENSIVE ANNOTATIONS & EMENDATIONS Andre Cahard, and several others. One section is reserved entirely for color lithography, describing the process in 35. [DUYCKINCK, EVERT A.].A brief catalogue of detail and illustrating it step by step with color proofs. The books illustrated with engravings by Dr. Alexander Anderson, original edition of 1893 was published in 200 copies; this with a biographical sketch of the artist. New York: [Privately edition was in 500 of which 200 with remarques on papier Printed by] Thompson & Moreau, 1885 $175.00 deluxe and 300 sans remarques on papier du Marais of which this is no. 74. The lithographs are on India paper, A rare book, limited to 100 copies. This copy belonged to an mounted. Several good notes on Duchatel are given in P. unidentified collector who has made about 37 annotations Cate and S. Hitchings, The color revolution, color lithography or emendations with a sharp pointed pencil in the margins. in France, 1890-1900 (Rutgers, N. J., 1978,in passim). The He or she was clearly a collector as the comments often cover of the present work is a great image showing a start “My copy...” Biographical sketch by Benson Lossing. fashionably dressed woman pulling a print from a OCLC locates two copies (MMA; Penn State). AAS also has lithographic press; it was done by the artist Maurice copy. Neumont, first produced as an ad for a printing firm. 8vo, orig. cloth. vii+35 pp. Sewing is fragile.

Small folio, cont. half red morocco over original color printed wrappers. (viii)+iv+pp.7-109+(iv) pp. with 12 numbered plates (some on India paper) plus 11 un-numbered plates of which 5 are in color or tint. Hinges worn SAMPLE BOOK OF KODAK PHOTGRAPHIC but holding; internally a clean copy. PRINTING PAPERS ALSO IDENTIFYING CAMERAS AND ACCESSORIES

DELUXE COPY, ONE OF 20 ON JAPON, 36. EASTMAN KODAK CO. Velox Prints from Kodak WITH THE ETCHED PORTRAIT IN TWO Negatives. [Rochester: Eastman Kodak Co., N.d., [ca. 1920] IMPRESSIONS $550.00 “The pictures in this show the sizes made by the 34. DUPLESSIS, GEORGES. Catalogue des dessins various Kodaks, the results obtained with certain aquarelles et estampes de Gustave Doré, exposés dans les Salons accessories, and the different surfaces of Velox paper.” au Cercle de la Librairie (Mars 1885) avec une notice Contains 25 mounted sample prints in four different biographique. Paris: Cercle de la Librairie, 1885 $500.00 finishes: velvet velox (14), Glossy velox (2), carbon velox First edition. Gustave Doré had died in 1883. This is one of (5), and portrait velox (4). The camera used for each print is the first commemorative exhibitions of his drawings and identified, and, as noted above, various accessories are prints. Here are 374 pieces listed (provenances are always identified, including: Special Kodak self-timer; Kodak given). This is also one of the earliest monographs on one antasticmat lens f.7.7; Vest pocket autographic Kodak of the most popular French illustrators of his time. Georges special focusing model at 3 feet with regular lens Duplessis, curator of the Print Cabinet of the Louvre, and equipment; Kodamatic shutter 1-200 second; Kodak sky the acknowledged authority on French prints gives a filter; Kodak portrait attachment; Kodak color filter; chronological bibliography of Doré’s printed books and his Diomatic shutter; Eastman flash sheet and Kodak flash contribution to periodicals. In 1876 Duplessis wrote a

[12] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [13] sheet holder...etc. The prints are mounted on litho-printed engraving. Indeed, Chapter VI is a ‘Description of the backgrounds forming a dark line border and include plates’ and states: “...this was a process by machinery; and of printed captions. The cord which holds the album together so great ingenuity, that it is gratifying to affirm that it was is broken but the prints are in perfect condition. invented and perfected by Americans, and (if we may be

Oblong 4to (8 ½ x 11 ¼"). Stiff black fabric covers, title blind stamped on allowed to show some esprit de corps) artists connected cover. 12 leaves. with this institution.” It seems to have been invented by a Pennsylvania mechanic named Christian Gobrecht in 1817; Gobrecht’s machine was copied by his friend Joseph A RARE SAMPLE BOOK OF Saxton in 1818 (on Gobrechet see Groce & Wallace, p. 263). PHOTOGRAPHIC PAPERS But the history is very complicated; it has been worked out by Elizabeth Harris, “Experimental graphic processes in England 1800-1859” in JPHS, no. 4, 1968, pp. 74-86. Harris 37. EASTMAN KOTAK CO. Velox prints from Kodak lists the present work in her bibliography of books with Negatives. Rochester: Eastman Kodak Co., N.d. [ca. early medal engraving; it is the only American title on her list. 1920s] $450.00 She also states that “in Eckfeldt & Dubois Manual of gold and “The prints in this album show the sizes of the pictures silver coins (1842) the three recent inventions of made by the various Kodaks, also the results obtained with photography, medal engraving and electrotype were the different Velox surfaces.” This copy includes fifteen combined to make the title page vignette.” Kress C.5794. sample prints on 7 stiff card leaves: velvet velox, 7; carbon This copy bears an interesting typographic bookplate of velox, 2, glossy velox, 1; portrait velox, 2; Royal Velox- Thomas Dillard of New Orleans. This first edition does not redeveloped, 1 and Royal Velox-untoned, 2. Includes an seem be in the book auction records. unusual sample print from a No. 1 Panorama Kodak (these are rarely included in these sample books). It also includes 4to, cont. diced half roan, marbled sides. (iv)+iv+5-220 pp with special t.p. vignette as noted above and 16 medal-ruled plates each with dust sheet. three samples of Royal Velox paper; the first Royal Velox- Hinges a bit rubbed; 2 pale spots on the margins of the engr. t.p. and text redeveloped (made with a No. 3A Autographic Kodak lightly browned throughout, but a good copy of a rare book. with Kodak Anastigmat lens f.7.7); the final two on Royal velox untoned. These samples of Royal Velox paper are rarely included in Velox Print sample books. ENGELMANN’S MANUAL OF LITHOGRAPHY As is well known, “Sample books and journals that feature actual photographic prints have become the only 39. ENGELMANN, G[ODEFROY]. Manuel du completely reliable means to accurately identify the type of dessinateur lithographe ou description des meilleurs moyens à paper and processes used by twentieth century employer pour faire des dessins sur pierre dans tous les genres photographers.” - “Paper Sample Books” inEnvisioning connu. Suivi d’une instruction sur le nouveau procédé du Lavis Paradise (Rochester: GEH, 2007), pp. 168-9. Lithographique. 2de Edition. Mulhouse & Paris: Engelmann Oblong 4to (8 ½ x 11"), printed heavy paper wrappers, string bound. One & Cie, 1824 $1500.00 leaf of text and 7 stiff card leaves with 15 sample prints as listed above. Originally published 1822, this was one of the two most Upper portion of front hinge split about two inches; else a fine copy.

THE FIRST AMERICAN BOOK TO UTILIZE MEDAL ENGRAVING

38. ECKFELDT, JACOB R. & WILLIAM E. DU BOIS. A manual of gold and silver coins of all nations struck within the past century...Illustrated by numerous engravings of coins, executed by the medal-ruling machine, and under the direction of Joseph Saxton, of the United States Mint. Philadelphia: Published at the Assay Office, 1842 $425.00 First edition of a landmark book, as far as I can determine the first American book to use the technique of medal

[12] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [13] important lithographic manuals of the 1820s and 30s (the translation, Berlin, 1833, but there never was an English other was Hullmandel’s The art of drawing on stone, Lond., edition. Of the first edition OCLC locates 12 copies in 1824). Twyman in his Lithography 1800-1850 devotes pp 114 American libraries; of the second, 10 copies and of the third to 131 to a comparison between the two manuals. He states 3 copies. All of these manuals are rare in the marketplace; that both were primarily concerned with producing prints only two copies, one first, one second, appear in the book from drawings made by artists (as opposed to drawings for auction records since 1975 (and one was, not surprisingly, other purposes). Engelmann’s aim in writing the book was, Leonard Schlosser’s). he explains in the introduction, to describe ‘les moyens le 8vo, old but not original paste paper boards (front inner hinge cracked; plus faciles, les plus surs et les plus prompts d’executer des upper rear hinge slightly cracked). Litho half title, litho t.p., and Dessins sur pierre...’ But he takes particular pride in bringing 90+(iv)+litho list of plates and 13 litho plates (of which 2 fdg and 2 tinted). to notice his own discovery of ‘lavis’ or ‘aqua tinta Plates 1 and 2 with spots of light foxing but a good copy of a rare book. lithographique’, which we cannot but feel is partly the reason for publication...The methods described in the two HISTORY OF THE EARLIEST YEARS OF treatises are more or less the same, and the similarities LITHOGRAPHY must be considered the result of direct influence rather than just the reflection of common practice...The germ of 40. FERCHL, FRANZ MARIA.Uebersicht der einzig most of [Hullmandel’s] observations can be found in the bestehenden, vollstandigen IncunabelnSammlung der earlier [Engelmann]. The Engelmann manual saw a second Lithographie und der ubrigen Senefelder’schen Erfindungen, als edition in 1824 and a third in 1830. There was a German Metallographie, Papyrographie, Papierstereotypie und Oelgemalde-Druck (ohne Presse);...vom Sammler und lebenslanglichen Hausfreund ders Erfinders. Munich: Commission ber V. Montmorillon’schen Kunsthandung, 1856 $1150.00 First edition, a very nice copy in the original publisher’s gilt stamped binding. There was a second edition, which was essentially unchanged, in 1862. The text is arranged in chronological sections, arranged in ascending years, from 1796 to 1821. This work is quoted or referred to twice by Twyman. In discussing the origin of the term “lithography” Twyman quotes Ferchel who claimed that the term was first used by Mitterer in Munich (p. 4, n 6). Twyman cites Ferchl again in the matter of tracing the history of Senefelder’s original lithographic press (p. 19, n. 2). At the end of his text Ferchl reproduces 32 early lithographic images on two folding plates. Bigmore & Wyman, p. 215. OCLC locates three copies in America: NYPL, ArtInstChi and MMA.

8vo, orig. publisher’s dark green cloth, title in gilt on cover. 91 pp with litho frontisp and 2 fdg litho plates. Excellent copy.

“TYPES DES PROCEDES DE REPRODUCTION”

41. FIGARO.Figaro Photographe. Supplement du Figaro, Edition unique. Paris: Figaro, 1892 $1500.00 A supplemental issue published “a l’occasion de la première Exposition Internationale de Photographe.” It was conceived in two parts: text and illustrations. The text addressed La Science de la Lumiere; L’Histoire; La Science

[14] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [15] (L’Appareil); L’Art and L’Industrie (La Photogravure). The FINE COPY IN CONTEMPORARY SLIPCASE halftones in the text illustrated the subjects under WITH PLATES PRINTED IN COLOR A LA POUPEE discussion; those hors texte were to show various processes. There are thirteen specimen plates, as follows: silver print 43. FLORIAN, [JEAN PIERRE CLARIS DE]. Galatée, (1); photomechanical gelatin prints (4); photogravure en Roman pastoral; imité de Cervantes. Edition ornée de figures en creux (1); photochromolithograph (2); photolithograph (1); couleur, d’après les dessins de M. Monsiau.Paris: Defer de phototypie, i.e. collotype (1); photogravure en relief (2) and Maisonneuve, 1793 $3000.00 halftone (1). The credits to the printers are given in almost First edition with these illustrations. Fine copy of a lovely all cases; the two color plates were printed by Lemercier. book, notable especially for its four color-printed plates. This is a rare work in the marketplace; I have had only one They were executed in stipple and printed from single other copy in the past 53 years. OCLC locates six copies in plates inked à la poupée in an unusually delicate and America: Columbia; IMP/GEH; MoMA; Getty; UCBerkeley remarkably subtle range of colours. “The house of Defer de & Princeton. Maisonneuve seems to have made a specialty of sorts of Folio (16 x 1 recased in cloth with morocco cover label by Green Dragon these works, bringing out four between 1792 and 1796; the Bindery. (ii)+46 pp profusely illus with halftones and with 13 specimen illustrations [of all but one] were all drawn by Nicolas- plates. Very good copy. André Monsiau (1754-1837), a painter who had been admitted to the French academy in 1789 but had soon thereafter begun an active side career as an illustrator.” - M. AN EXTENSIVE FIGGINS SPECIMEN Grasselli, Colorful Impressions (2003), p. 148. The four color- “NO FAT-FACED, PREPOSTEROUS, printed plates in the present work were engraved by DISPROPORTIONATE TYPES TO BE FOUND HERE” Colibeu (2) and Cazenave (2). “The technique for making color prints à la poupée involved applying different ink 42. FIGGINS, V. & J.Specimen of plain and ornamental colors to a single printing plate using ball shaped wads of types from the foundry of V. & J. Figgins, 17 West Street, cloth, one for each color. The paper has just one run Smithfield, London. N.d. [1845-46] $2950.00 through the press, but the inking needs to be carefully re- Founded in London in 1792, and running right up to the end of the 19th century, Figgins was one of the most important British type foundries. A long list of the Figgins specimens is given by Nicolete Gray (pp. 184-186); of the present issue she states that it “contains more than the 1845 and less than the 1847 issue.” She states in a footnote (p. 184) that “the entire surviving stock of punches of the Figgins foundry is now in the St. Bride Library. This material consists of hundreds of founts documented with the date of cutting and the name of the punch-cutter and should eventually provide precise evidence of Figgins’ contribution to nineteenth-century type design.” Bigmore & Wyman I, pp. 218-19 give a long and interesting commentary on Figgins. The present work contains numerous examples of wood types, some as large as 4 or 5 letters to a page; also fancy types, ornamental initials, music types, corner ornaments, ornamental rules, fancy borders, flowers, etc. OCLC locate just two copies in America: Columbia & Harvard.

Large 4to (12 ½ x 10 ½"), recent full cloth. T. p. within border of typographic ornaments and 180 leaves printed on rectos only. Two leaves removed between folios 68 & 69. Title and first three preliminary leaves a little chipped around margins.

[14] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [15] done after each impression is printed...In France it was used for the illustrations to luxury scientific books, culminating in those of the botanical illustrator, Redouté, especially his famous Les Roses.” - Wikipedia. Cohen- DeRicci 400. Lewine, p. 188. Gordon Ray p. 145.

Large 4to (13 x 10"). Nicely bound in contemp. half black roan, black paper boards, smooth spine gilt in panels with vase or ornamental stamp centerpiece. Orig. (somewhat worn but solid) slipcase. Bookplate of Jean Furstenberg. 125 pp with 4 color-printed engraved plates. Fine clean large-margined copy. In contemporary slipcase.

44. FORTIER, G. La photolithographie, son origine, ses procédés, ses applications. Paris: Gauthier-Villars, 1876 $375.00 First edition. A competent work, the first 40 pages are devoted to a history of the medium with a separate chapter given to Zurcher, who made the first experiments in photolithography as early as 1842. The remainder of the text deals with formulas and processes. There are three specimen plates: épreuve lithographique obtenu par un report photographique; a gravure in relief reduced by photography, and a specimen of the application of photolithography to chromolithography (2 plates in colors). See Twyman, Chromolithography, p. 633 for a color reproduction of these two color plates as well as a discussion. A good brief essay on photolithography is given in L. Nadeau, Encyclopedia of printing..., II, 375. (born 1740) was a well known figure in the London Roosens/Salu 8288. OCLC gives no locations in America. bookbinding trade and one of the ‘Prosecuting Masters’ in 8vo, orig. printed stiff wrappers. 74 pp with 3 double-p. specimen plates the dispute of 1786 when five journeymen bookbinders (1 in colors). This copy has become un-sewn. were imprisoned for combination. The paper he is holding refers to this early trade union action when the trade societies ‘The United Friends’, ‘The Brothers’ and ‘The City FINE ENGRAVED PORTRAIT OF A MASTER Brothers’ combined in trying to obtain an hour’s reduction BOOKBINDER in the working day then standing at 6 a.m. until 8 p.m. after which overtime was paid, with a half-hour break for 45. FRASER, JAMES. “James Fraser aged 67”, engraved breakfast and an hour for dinner. The five ‘Martyrs’ portrait by William Poole after Robert Dighton. London, received two-year prison sentences, one, William Wood, [1807] $2250.00 dying in prison...Fraser seems to have regretted his part in Engraved portrait of the bookbinder James Fraser, age 67, the proceedings and published two statements justifying seated at a table with inkwell, spectacles, a large volume the masters’ case and concluding “APROSECUTING, but I lettered “Estimates in Bookbinding”, a letter headed “Mr. hope I shall never be a PERSECUTING MASTER BOOK- James Fraser Book Binder, Frontier Court, St. Martin’s BINDER.” - Highlights from the Bernard C. Middleton Lane,” and holding a paper captioned “A plan for Collection of Books on Bookbinding Rochester, N.Y., 2000, pp. reconciling the difference between the Masters & 30-31. Journeymen Bookbinders.” Line engraving (16 x 12"), trimmed to outside borderline at sides, upper A copy of this print is included in the catalogue of and lower margins intact. Very good impression. the Bernard Middleton collection with an interesting note written by Bryan Maggs. It reads, in part: “James Fraser

[16] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [17] “A FULL AND UP TO DATE REFERENCE WORK” 8vo, orig. cloth. ii+89+ii+(xii) pp with 6+1 plates as described above. Short Barbier (2") clean split down center of spine, hardly noticeable.

46. FREY, A.Nouveau manuel complet de typographie contenant les principes theoriques et pratique de cet art. Nouvelle WITH A LOVELY DECORATIVE TITLE PAGE édition, revue, corrigée et augmentée, par M. E. Bouchez, correcteur a l’Imprimerie J. Claye. Paris: Roret, 1857 $300.00 48. FRY, EDMUND & SON.Specimen of Modern Originally published 1835. “Afull and up-to-date reference Printing Types, by Edm. Fry & Son, Letter Founders to the King, work in alphabetical, dictionary form. Published in two Type Street. London: Barnard and Farley (Printers), 1820 parts, both of the same year. A long legal appendix covers $5775.00 even international copyright agreements. The plates Bigmore & Wyman, I, p. 243 mentioning only 1816, 1824 include a wooden press ‘dite hollandaise’, as well as and 1827 editions. Berry & Johnson citing the Oxford copy; Stanhopes of the early Parisian and Gaveaux kinds, the Mosley locating four copies with between 91 and 118 Journal de Debats press, the Thonnelier, the Gaveaux leaves (Oxford, Cambridge, V&A and Columbia Columbian, the Frapié and Sellingue presses.” - Giles University Library). OCLC adds the Huntington and Barbier, French Letterpress Printing, p. 19. Bigmore and Detroit copies. None added by JISC; not in the British Wyman, I, 238 (this edition). St. Bride Catalogue, p. 345 Library or St. Bride’s Catalogue. (both the first and second editions). See also Moran, Large 8vo, cont. cloth backed boards with wine auction sale particulars Printing Presses (1973), p. 53 which gives more information pasted over boards, manuscript paper spine label, untrimmed and on the Frey book and the various presses illustrated in it. OCLC locates seven copies of this edition in the USA.

2 vols. 12mo, orig. printed wrappers, untrimmed and unopened. xii+298; (ii)+299-536+36 pp of publisher’s ads and 7 fdg. plates showing type cases, imposition schemes and printing presses. Sewing loose in vol 2.

WITH 8 MOUNTED SAMPLES OF SPECIAL PAPERS

47. FRITZ, GEORG.Photolithography. Translated by E. J. Wall. London: Dawbarn & Ward, 1895 $500.00 Originally published in German (Halle, 1894). “Photo- lithography...with the exception of phototypy and autotypy, [is] that process for the preparation of letterpress plates which has done the most towards making photography useful for the graphic arts, in the artistic sense as well as from the practical point of view.” - Preface. The plates in this edition are printed on heavy coated stock by the Imp. Royal State Printing office in Vienna (1. A photolithograph from a pen and ink sketch; 2. ditto from a copper plate engraving; 3. Autotypy from an original drawing; 4. Positive print from a pantograph; 5. Chromated gelatine negative print from a pantograph and 6. Autographic drawing on a blue or ferroprussiate print). The final plate contains 8 mounted samples of scraper boards made by Angerer & Goschl of Vienna. These were special prepared papers for drawings for photo-litho transfer without the use of a screen. They are described and explained on page 25. Heidtmann 6464. Bridson/Wakeman E253. Epstean 1333 citing the German edition. Roosens/ Salu 8305 also citing German edition.

[16] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [17] partially unopened, a very nice copy. Title page printed within an in 1794 Isaac Steele joined as partner until 1808, when attractive border of printers’ flowers followed by 115 leaves of specimens Edmund Fry was left in sole control until he admitted his printed on one side only, of which two are folding, some occasional offsetting. son to partnership. In 1829 the foundry was acquired by William Thorowgood. Berry & Johnson, p. 45. Mosley 118 & 119. Bigmore & Wyman, I, p. 242. OCLC locates one copy in USA (SUNY at Buffalo). UNTRIMMED COPY PRINTED ON THICK PAPER 2 vols in one. Sm. 4to, orig. boards with marbled covers, printed paper title label to spine (rubbed), upper joint weak and almost detached, corners 49. FRY, STEELE & CO. A specimen of Printing Types, rubbed but a very good untrimmed copy with wide margins. 103 leaves by Fry, Steele and Co., letter-founders to the Prince of Wales, including title and 2 advertisement leaves; 22 leaves including title and Type Street [BOUND WITH] Specimens of metal cast advert leaf (ornaments numbered 1-103), all printed on rectos only, printed on thick paper, ‘Lepard’ watermark. ornaments, curiously adjusted to paper, by Edmund Fry and Isaac Steele... London: Printed by T. Rickaby, 1794 $4875.00 A very good copy of this extremely rare and substantial specimen book. The Frys were a Bristol family, and Joseph LARGE PAPER COPY Fry (1728-87) established the foundry at Bristol in 1764, in partnership with William Pine and Isaac Moore as 50. GEE, W. H. Works relating to Bibliography, History of manager and type designer. By 1766 the foundry had Printing, Bookbinding, &c., Catalogues of Public and Private moved to London, with Moore retiring in 1776 and Pine Libraries, Sale and Bookseller’s catalogues on sale by W. H. Gee, shortly after. In 1782 Fry took his sons Edmund (especially High Street, Oxford, 1880 $175.00 interested in exotic founts) and Henry into partnership, A rare priced bookseller’s catalogue, devoted to the book and made considerable purchases of Greeks and Orientals arts, 925 items described. OCLC locates 7 copies in at the same of James’s foundry. Joseph retired in 1787 and American libraries. 4to, orig. printed wrappers. 62 pp. Large paper copy, untrimmed.

FIRST EDITION OF GILPIN’S FIRST BOOK ILLUSTRATED WITH AN EXPERIMENTAL GRAPHIC PROCESS

51. GILPIN, WILLIAM. Observations on the River Wye, and several parts of South Wales, &c. relative chiefly to picturesque beauty; made in the summer of the year 1770. London: R. Blamire, 1782 $875.00 First edition of Gilpin’s first book of picturesque tours, and the only edition to contain the experimental plates. These plates are a curious admixture of etching, aquatint, and hand coloured wash, executed by the author’s nephew, William Sawrey Gilpin. Though they are to my eye quite attractive, if not indeed beautiful, they were not well received, and in later editions were replaced with the conventional aquatints of Francis Jukes. This was a popular and long lived work; it was still being quoted at length in 1915 in the Great Western Railway’s handbook for travellers, The Wye Valley. Twenty or thirty years ago this was a relatively common book; it has now gotten very scarce, especially this first edition. Not in Abbey.

8vo, orig. polished tree calf, gilt spine, neatly rebacked with orig. spine laid down. (xi)+99 pp. with 15 oval plates (as noted above). Nice copy.

[18] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [19] GOLDING CHROMATIC JOBBER PRINTS SEVERAL COLORS ON ONE JOB

53. GOLDING & CO.Printers’ Review. Vol IV, no. 2, Boston, Spring, 1884 $350.00 A single issue of this house journal with an arresting large splash of color on the cover of a five-color abstract image printed with their ‘chromatic jobber.’ The caption at the bottom explains: “All the colors on this page and the tint on eighth page were printed at one impression on a 12 x 18 Golding Chromatic Jobber.” The text, which is extensive, explains how it works: “Asectional view of bed, rollers, ink disk, with Automatic Fountain and Brayer, is illustrated on page 8, giving an accurate idea of the appearance of the color attachment of the press when printing twelve colors.” The description goes on at some length. There were in these decades other attempts to make a press which would print several colors at once. One example was the “Bryson Chromatic Press which prints three colors at once” - Philadelphia, 1870 (see my Catalogue 179, item 16; [this item is now in the Huntington Library]). Two other presses are mentioned in the text to the present item: “The old Globe Press...was advertised to be equal to what was termed ‘rainbow colors’”. Another one was the Bacon Color Apparatus from England which was exhibited at one of Boston’s fairs; “this was solely intended for multi-color printing but it failed in practice.” These various items of printing ephemera document the early stages of development for a press which would truly GODINE INCUNABLE print multiple colors - that would come about 1900 with the three color halftone.

52. [GODINE, DAVID R., Publisher]. MARVELL, Lg. 4to (12 x 8"). 8 pages with several illus; full-color on page 1 and two- ANDREW. To His Coy Mistress. N.p. [?Northampton, MA], color illus on p. 8. Previously folded; light evidence of the fold but not 1969 $200.00 objectionable. Fine copy of one of the noted publisher’s earliest works. Colophon reads: ‘This poem, set in Arrighi and printed at the Gehenna Press, is the first in a series of single poems WITH LEMERCIER CHROMOS & GILLOT COLOR and letters, tracts and broadsides to be published by David GRAVURES STILL IN THE ORIGINAL R. Godine. 1969.’ Wikipedia: “Godine had worked for artist PRINTED DUST JACKETS! Leonard Baskin and printer Harold McGrath, but who had no publishing experience when he opened his printing 54. GONSE, LOUIS. L’art Japonais. Paris: A. Quantin, shop in 1970 in a barn in Brookline, MA. Many of the early 1883 $2500.00 titles were fine letterpress editions, using a 40" Kelly-3 First edition, fine copies and a remarkable survival in the flatbed reciprocating letterpress with three form original color-printed silk bindings and still in the original rollers...his early editions include Andrew Marvell’s PRINTED DUST JACKETS. “Gonse’s pioneering study Garden printed on a Vandercook Press #20...” encompassing all Japanese art was of primary importance to the time; published first in 1883, it was reprinted in 1886, 12mo, orig. dark blue paper wraps, stitched. T.p. printed in red and black and gold. (8) pp. Fine copy. 1891 and 1900. An English edition appeared in 1891. Its appearance coincided with the full phase of Japonisme in

[18] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [19] A MARBLING RARITY

55. HALFER, JOSEF. The progress of the marbling art from technical scientific principles. With a supplement on the decoration of book edges. Translated by Herman Dieck, Philadelphia. Buffalo, New York: Louis H. Kinder, 1893 $2000.00 A very nice copy. Originally published in German in Budapest in 1885, our copy is the first edition in English and the second edition to have marbled paper samples (the 1885 edition contained no samples; the 2nd German edition of 1891 had 35 samples). This copy has the “Preface to the second edition” on page 10. Halfer was a successful European marbler who had begun revolutionizing the process with the development of prepared colors. Easton gives the work extended notice: “The Halfer system is so important that marbling history is broken at this point, and referred to as pre-Halferian and post-Halferian marbling. The advantages of the Halfer system were two-fold: freed of the laborious preparation of colors, and with standardized colors, marblers could produce more work; and secondly, the use of carragheen size allowed finer detail in marbling.” - Marbling a history, pp. 78-9. The best assessment of Halfer’s work and importance is by R. Wolfe, Marbled paper, (1990), pp. 124-130. The mounted marbled specimens in this work are among the most brilliant and appealing of any similar work I have seen. The reason for France where connoisseurs utilized the book as a the rarity of this work is known; though 1000 copies were fundamental text on all Japanese arts.” - Weisberg, no. 66. printed all but 100 were destroyed in a fire (D. Hunter, “A It is a spectacular work, a tour-de-force of late 19th century bibliography of marbled paper,” Paper Trade Journal, April French bookmaking. It was produced, at least in part, as a 28, 1921, pp. 52-58). MejerBibliographie der Buchbinderei Lit response to Audsley and Bowes, Keramic art of Japan, lists two German and the French editions (nos. 1813, 14 and (London, 1875), which work elevated the art of 15) but not this English edition. chromolithography to a new height. Gonse’s book contains 8vo, orig. gilt die-stamped leather over cloth (upper cover with wonderful as well 30 color plates, both Lemercier chromolithographs title-labelling); neatly rebacked with most of the original spine laid down and beautifully subtle Gillot color gravures. The edition on a matching backing (restored by the Green Dragon Bindery). Top edge was limited to 1400 copies; this is no. 220 on papier vélin. gilt. 240+(ii) pages of ads for Halfer’s colors. With 5 large mounted single page samples of marbled papers and 5 pages of 6 mounted samples each See also the Fine Arts Society, The aesthetic movement and the (or a total of 35 mounted samples). Sensitively restored, a nice copy of an cult of Japan, (London, 1972, p. 52). See also S. Wichmann, appealing book. Japonisme, p. 11. Cordier 661. It is a book which gives much pleasure. A very fragile book in the original silk bindings, this is a fine set and very rare thus. 56. HART & VON ARX,Lithographers and Publishers. 2 vols, folio, each vol in orig. printed dust jackets. Orig. color printed silk [Illustrated advertising circular]. New York, 19 Park Place & bindings; titles in bold capital letters surmounted by images of ravens 10 Murray Street, 1885 $150.00 within rising suns; spines with titles in Japanese characters as well as in French. Bindings signed at base of spines: ‘ENGEL, REL.’ (iv)+iv+310+1; A four page flyer soliciting business; their specialty was (iv)+370+1 pp with titles in 2 colors, very numerous text illus. (some full-p) photo-lithographic reproductions and photo-mechanical and 34 heliogravure plates and 30 color plates. Plate numbering is erratic printing. The sample illustrations include four for patents, but the work is absolutely complete and corresponds exactly to the list of two for architectural publications and a map. Charles Hart plates. Internally clean and fresh, each plate with original Japanese tissue guard sheets. (1824-1914) was a major figure in New York city

[20] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [21] lithography for his entire working life. See: J. Last, The Color interesting essay, containing a minute history of the art up Explosion, pp. 96-7. to 1820” (Bigmore & Wyman), it has the great additional

Sheet (11 x 16 ½"), folded once to 8 ¼ x 11". Page 1 is the text (lithographed virtue of containing 8 specimen plates (B & W call for 7), from hand-written original); pp 2-3 are sample illus. 2 Short clean tears the showing examples of the processes of Ged, Tilloch & Foulis margins from folds (no loss). (Roman & Greek), Didot, Herhan, Prof. Wilson’s glass plates made from wood engravings, Ferguson’s stereotype by the Stanhope Process and Perkins, Fairman & Heath’s STEREOTYPE PRINTING siderographic process. This last ‘siderographic’ plate is of WITH EIGHT SPECIMEN PLATES hardened steel which incorporates exceptionally finely engraved images and rose-engine decorations - as were 57. HODGSON, THOMAS. An essay on the origin and used in bank notes. Bigmore & Wyman, I, p. 330. Burke progress of stereotype printing; including a description of the Printing Coll., no. 1020. St. Bride Cat. p. 438. Bridson/ various processes. Newcastle: Printed by and for S. Hodgson, Wakeman C10. Well represented in libraries but rare in the 1820 $1250.00 marketplace. First edition. A rare book, one of 306 copies printed at the 8vo, orig. (or old) stiff paper wraps covered in a later brown paper. instance of the Newcastle-on-Tyne Typographical Society. xii+178+(1) pp (the final leaf is directions to the binder) with 8 specimen plates. First leaf (the half-title) is a wood-engr vignette view by Bewick. Stereotype is the ‘method or process of printing in which a First leaf browned; scattered very light small spots of foxing but a good solid plate of type-metal, cast from a papier-mache or copy of a rare book. plaster mould taken from the surface of a of type, is used for printing from, instead of the forme itself’ (ABC for book collectors, p. 190). Not only is this book “a very CHROMOGRAPHS AFTER EARLY PHOTOGRAPHS

58. HOLLAND, REV. F. W. Sinai and Jerusalem; or scenes from Bible lands: illustrated by twelve colored photographic views including a panorama of Jerusalem. London: Society for Promoting Christian Knowledge, [c. 1875] $375.00 A very interesting book on several counts; for the use in the title of the word “photographic” which simply means that the color plates were copied after photos. All of the plates are signed “W. Dickes, Sc” and they are very interesting indeed. They are not chromolithographs, but are ‘chromographs’, a modification of the Baxter process (printing in oil colors from raised surfaces). Wakeman and Bridson state that Dickes “modified the process by using a relief aquatint key block and applying some of the other colors in the same way and others from stippled, toned or grained blocks. He called these prints ‘chromographs.’” - Nineteenth century colour printers, p. 36. The photographers are credited in each print; they include some of the important early landscape photographers such as Rev. A. A. Isaacs, Negretti & Zamba, Arthur B. Cotton and others (Isaacs and Negretti are listed in Gary Edwards). Some of the plates are clearly and closely based on photographs. The final plate XII is a three-part panorama.

4to, orig. publisher’s decorated cloth, a.e.g. (iv)+52 pp with 12 color plates. T.p. in red and black. Spine replaced and inner hinges reinforced; else a very good copy. Color plates are nice and clean.

[20] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [21] “PRINTED WITH INK MADE FROM CORN” A rare survival, nine complete sample books still in the original folding top box. OCLC locates only one volume of 59. (INK). “The Ancient Fie Beacon near Liverpool.” This Interlaken book cloths (Vellum de Luxe) at the Univ. of specimen is printed by J. McCreery of Liverpool, with Ink made Texas (that volume is one of the 9 volumes in the present from Corn, burnt at the Great Fire in Liverpool, September, 1802. set). Interlaken Mills for the manufacture of book cloth was Paper removed from the Society for the Encouragement of founded and incorporated in Providence in 1883. Arts, 1803 $125.00 However, previous to that time there were said to be The paper was written by Matthew Grigson of Liverpool. thirteen other American concerns who made book cloth The specimen referred to is a wood-engraving of the (see Bookbinding in America Three Essays (Portland Me., Ancient Fire Beacon near Liverpool (it was executed for the 1941), p. 164). The title above calls for eight sample books, intended “History of Liverpool.”) In a broader sense, but in fact there are nine in the box; the final one, not Grigson was trying “to render useful the articles remaining included in the title is “IMCO Cloth” - this is a of a fine after public fires.” He discusses also uses for burnt sugar, weave buckram. This whole package is a very rare and wheat, rice, flour and cotton. They were especially used for possibly unique survival. Of great use to scholars of the paints, inks and varnishes. For his work Grigson was history of cloth bindings and a great item for an exhibition. awarded the Gold Medal of the Society. Nine small (3 ¼ x 6") volumes which neatly fit into the ‘cabinet.’ Numbers of sample cloths in each booklet vary from a low of 13 to over 100. A very 8vo, disbound (loose pages). Pp. 183-200 with one wood-engr illus. few samples have small clips, but generally a fine set in excellent condition.

PHOTOZINCOGRAPHIC FACSIMILE

61. [JAMES, COL. SIR HENRY]. Domesday Book or the Great Survey of England...Facsimile of the part relating to Wiltshire. Photo-zincographed by Her Majesty’s command at the Ordnance Survey Office, Southampton, Col Sir Henry James, Director, 1862 $275.00 Nice copy of a fragile book. Lithography was the first of the major printing processes to be used successfully with photography, and the first application of this was in the copying of old documents (photozincography). The first facsimile of the Domesday Book to be published was that of Cornwall in 1861. The present work is the second. All of this is well documented by M. Twyman in his Early Lithographed Books, pp. 243-50. See also Gernsheim, History of Photography, p. 547. The comments in the introduction to the present work by Col. James are also of much historical interest, especially as they relate to photozincography.

Folio, orig. cloth, title in gilt on cover. (vi) pp of introduction and 21 pp of photozincographed text; all printed in black and red. Hinges tender.

INTERLAKEN BOOK CLOTH 62. KELLY, WILLIAM J. Presswork. A practical handbook for the use of pressmen and their apprentices. Revised and 60. INTERLAKEN MILLS. Interlaken Book Cloth. This enlarged. Second edition. Chicago: Inland Printer, 1902 cabinet contains samples of all colors of the following grades of $125.00 cloths: Vellum de Luxe; Common colors; Extra colors; Art Originally published in 1894. Chapter One is devoted to Vellum; Basket weave; Art canvas and crash; Intergrain and Art Printing with the Hand Press - (“As many pressmen of Buckram. Providence, R.I., 1923 $750.00 today know next to nothing about working on hand

[22] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [23] presses.”) Also includes much information on inks of A LATER EXPANDED EDITION various colors. Jackson Burke Catalogue 902. With small OF A STANDARD WORK typographic bookplate: “Private Library of Ben J. Hiltner, Tyrone, Pa.” 65. KNECHT, [Ed.]. Nouveau manuel complet du 8vo, orig. publisher’s cloth, fine copy. 140+(iv) pp with scattered illus. and dessinateur et de l’imprimeur lithographe. Nouvelle édition, imposition diagrams. Nice copy. entièrement refondue mise au courant de l’industrie actuelle, et augmentée de plusieurs procédés nouveau concernant la lithographie mécanique, la Chromolithographie, la A KELSEY CATALOGUE Lithophotographie, la Zincographie et traitant des papiers de sureté. Paris: Roret, 1867 $750.00 63. KELSEY PRESS CO. Do your own printing. The Good complete copy of this rare edition. Knecht was the Excelsior Portable Press! Kelsey Press Co., Meriden, Conn. sole pupil of Senefelder. The present work had its origins n.d. [ca. 1897] $250.00 in the 1827 manual by Bregeaut. That manual was revised “William Kelsey, born 1851, of Connecticut, was fairly sure and augmented by Knecht and Jules Desportes in 1850 (see of his target - the amateur, and preferably the young Twyman, Lithography, p. 264). The present work, while amateur. He later produced larger presses, and his still based on Bregeaut, is largely a new work, completely successors continued to do so, but he became famous as the rewritten and incorporating the subjects listed in the title man who made printing presses for boys...The press was above. It is listed in Twyman’s bibliography, p. 267. The substantially the same as that which is still (1973) being plates are also new and include one chromolithograph sold by the Kelsey Co. of Meriden, Conn.” - J. Moran, (imprimé sur les machines a vapeur systeme Dupuy, Printing Presses, pp. 241-2. Much good information on Passage du Desir, 3, Paris). Of this edition OCLC locates 5 Kelsey and his presses can be found in Elizabeth Harris, copies in USA: NYPL, UCSanta Cruz, Smithsonian, UIll Personal Impressions, the small printing press in nineteenth- and Yale. century America (2004), in passim. OCLC locates a variant copy (Harvard) but that copy has 20 unnumbered pages; the present copy has 28 pp plus the front and rear covers. These Kelsey (and other trade catalogues of small printing presses) have been long sought after by collectors and hobby printers and all are rare in the marketplace. This copy is in rough condition and is priced accordingly.

8vo (8 ¾ x 7 ¼"), orig. printed wraps. 28 pp + front and rear covers. Profusely illus. Spine worn, edges worn and chipped; short clean tear throughout in the middle of the fore margin. No loss.

64. KIRK.Kirk’s Improved Engraving Machine, Price $75.00. Just the thing for general jobbing work. J. J. Watrous, Sole Agent, 213 Race St., Cincinnati, O. N.d. [ca. 1875] $175.00 A rare trade catalogue, not in OCLC. The machine was designed for engraving on wood and could execute straight lines and circles. It is well explained and illustrated. Also shown are tint tools, square gravers, lozenge do, round do, flat do, onglette do, and line do. And also a full page of engraver’s hand tools, gouges and chisels. It was aimed at both professional wood-engravers as well as amateurs.

8vo, self wraps, stitched. 8 pp., profusely illus with wood-engravings. Nice copy.

[22] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [23] 2 vols ine one. 12mo, orig. half dark green calf. (iv)+xx+403 pp. Vol II is the separate “atlas” of plates. It has its own t.p., 7 pp and 14 plates, numbered A-G, 1 unnumb col. pl and 6 fdg litho plates. A very good copy.

[24] CHARLES WOOD RARE BOOKS CHARLES WOOD RARE BOOKS [25]