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Honey & Wax Catalog 9 use books as bees use flowers 1 HONEYANDWAXBOOKS.COM 2 HONEYANDWAXBOOKS.COM 3 1 Sylvia Beach; [Fred McDarrah]. Announcement of Sylvia Beach’s talk, “The American and French of the Twenties Meet in the rue de L’Odéon.” New York: The Poetry Center, [1959]. Double-sided postcard, typed Greenwich Village address of recipient Fred W. McDarrah. Postmarked in New York City on October 29, 1959. $550. Original postcard from The Poetry Center announcing Sylvia Beach’s upcoming talk on November 1, 1959. Beach founded her English-language bookshop, Shakespeare and Company, on the Left Bank in 1919. She settled at 12 rue de l’Odéon, across the street from the French bookshop, La Maison des Amis des Livres, run by her partner Adrienne Monnier. Between the two of them, Beach and Monnier made the rue de l’Odéon the center of literary life in Paris between the wars. James Joyce, Gertrude Stein, Ernest Hemingway, Paul Valéry, Djuna Barnes, T.S. Eliot, and Scott Fitzgerald bought and borrowed books on both sides of the street. Most famously, Beach published Joyce’s Ulysses when no one else dared. After the Nazi occupation forced the closure of Shakespeare and Company, and a stint in an internment camp, Beach returned to Paris, where she remained active in the city’s literary life for decades, working as a translator and watching her former customers win Nobel Prizes. In 1959, Beach published her memoir Shakespeare and Company to wide acclaim; this New York City talk appears to be part of the publicity effort for the book. The recipient of this postcard was legendary Village Voice photographer Fred W. McDarrah, downtown chronicler of the Beats, Bob Dylan, Andy Warhol, the New York School, and Stonewall. McDarrah was a quiet, alert figure who seemed to be always on the scene as cultural history was being made: a quality he shared with Sylvia Beach. 4 HONEYANDWAXBOOKS.COM 5 LEFT AND NEXT PAGE 2 John Baskerville (publisher); Virgil; Juvenal; Persius; Horace; Lucretius; Catullus; Tibullus; Propertius; Terence; Sallust; Florus. First edition set of Baskerville’s Latin classics. Birmingham: John Baskerville, 1757-1773. Seven quarto volumes, measuring 11.5 x 9 inches. Contemporary red straight-grain morocco, eighteenth-century binder’s ticket, nineteenth-century morocco bookplate. $10,000. Complete first edition set of John Baskerville’s Latin classics, including his landmark Virgil. An eccentric Birmingham industrialist, Baskerville never made much profit from his sideline as a self-taught type-founder and printer, but his innovations in type design, printing technology, and book design had far-reaching impact. As Lord Macaulay wrote, in The History of England, “the magnificent editions of Baskerville went forth to astonish all the librarians of Europe.” Baskerville’s typeface was generously proportioned, with clean edges and high contrast. He favored bright white paper (including, in his Virgil, the first use of wove paper in English printing), and specially formulated deep-black ink; the printed sheets were heated and pressed to produce a polished “gloss” finish. Baskerville’s modern sense of proportion extended beyond type to the layout of the page itself, where a striking use of white space displayed his printing to advantage. All seven of Baskerville’s Latin classics are represented here in their first quarto editions: Virgil, Baskerville’s first book, which made his reputation (1757); Juvenal and Persius (1761); Horace, the only illustrated volume in the series (1770); Lucretius (1772); Catullus, Tibullus and Propertius (1772); Terence (1772); and Sallust and Florus (1773). The books were uniformly bound by Bradel, l’Aine, at his pre-revolutionary Paris address. It is unsurprising that the books found their way to France so early. Baskerville’s work found a warmer reception on the Continent, where typographers like Pierre-Simon Fournier and Giambattista Bodoni took immediate notice, than in England, where he was regarded with suspicion by London printers as a provincial crank. In the nineteenth century, these books were owned by the influential French critic Jules Janin (1804-1874), who was once challenged to a duel by Alexandre Dumas père over a bad review; after inconclusively debating swords versus pistols, the two shook hands and became friends. A splendid first edition set. 3 [Walt Whitman]; Robert Andrew Parker. Watercolor depicting Walt Whitman’s Brooklyn home during the first printing of Leaves of Grass. West Cornwall, Connecticut: no date. Ink and watercolor illustration, measuring 12.5 x 10 inches. $850. Original watercolor by American painter Robert Andrew Parker, depicting the wooden frame house at 99 Ryerson Street in Brooklyn, a few blocks from the Navy Yard, where Walt Whitman lived from May 1855 to May 1856. Whitman finished the first draft ofLeaves of Grass in a second-floor bedroom, and printed the book in Brooklyn Heights in the summer of 1855; that December, Ralph Waldo Emerson visited the Ryerson house to congratulate Whitman on his groundbreaking literary debut. The Ryerson house is the only one of Whitman’s New York City residences to survive into the twenty-first century; it remains, surprisingly, unlandmarked. Although a note on the verso identifies this illustration as aNew Yorker commission, it does not appear to have been published in the magazine. A striking image. 6 HONEYANDWAXBOOKS.COM 7 4 Thomas Pope Blount; [John Philip Kemble]. De Re Poetica: or, Remarks upon Poetry. With Characters and Censures of the Most Considerable Poets, whether Ancient or Modern. Extracted out of the Best and Choicest Criticks. London: Ric. Everingham, for R. Bently, 1694. Quarto, measuring 7.75 x 6.25 inches. Contemporary calf rebacked. Penciled note and bookplate to pastedown; ink note to front free endpaper. $3200. First edition of Thomas Pope Blount’s diverting crowd-sourced guide to poetry: the genres, the terms, the controversies, the names to know. More a reader than a writer, Blount was known as a synthesizer of other people’s observations, and the “remarks upon poetry” offered here are almost entirely those of his contemporaries: John Dryden, René Rapin, Thomas Rymer, Nicolas Boileau, and the Earl of Rochester, among others. Most of the volume is devoted to opinions on more than sixty important poets, from ancient Greece to the English Restoration, a brisk survey of literary tastemaking at the close of the seventeenth century. A note in this volume identifies it as “Dr. Bliss’s copy, also Kemble’s copy.” English actor John Philip Kemble (1757-1823), known for his tragic Shakespearean roles, was a serious book collector. In 1798, Thomas Mathias wrote: “his fondness for obsolete books has obtained him, among the book auction cognoscenti, the name of Black Letter Jack.” De Re Poetica appears as lot 170 in the 1821 auction of Kemble’s books, an event that lasted ten days, best remembered for the sale of Kemble’s First Folio to the son of James Boswell for £112. Philip Bliss (1787-1857) was an Oxford librarian and bibliographer who corresponded with Kemble; the bookplate is that of Shakespeare scholar H.B. Charlton (1890-1961). Wing B3347. A very good copy, with compelling provenance. 8 HONEYANDWAXBOOKS.COM 9 5 [John Milton]; James Roots. An Interesting School Piece taken from Milton’s Paradise Lost. London: Laurie & Whittle, 1804. Engraved writing sheet, measuring 19.5 x 15 inches, featuring a hand-colored border of woodcut vignettes from Paradise Lost. Calligraphic writing specimen, dated December 21, 1805, executed in ink. Light edgewear and dampstaining, mounted to a backing sheet at an early date. $1250. English schoolboy’s writing specimen, penned within a printed border of vividly hand-colored scenes from John Milton’s Paradise Lost. The headpiece features the expulsion of the fallen angels from Heaven, while eight smaller vignettes line the sides: “Satan, Sin, and Death, at the Gates of Hell,” “Satan Landed on the Earth,” “Satan in the Shape of a Toad Whispering in the Ear of Eve,” “Michael the Angel Telling Adam What’s to Happen Hereafter,” “Satan Beguiling Eve,” “Satan and his Legions turned into Serpents,” “Adam and Eve Driven out of Paradise,” and “The Grand Triumph over Sin and Death.” Although the printed title of the sheet suggests that it was intended to showcase a passage copied from Milton, this particular writing specimen opens with a verse from Ecclesiastes: “Remember / thy Creator in the / days of thy Youth.” A calligraphic sketch of a quill pen (signed “J. Roots, Boxley” on the shaft) floats above a quotation from the Roman rhetorician Quintilian: “I like a Boy / who is incited by commendation / is animated by a sense of glory and / weeps when he is outdone.” Roots concludes with a lightly edited couplet by Alexander Pope: “Tis education forms the youthfull mind / Just as the twig is bent the trees inclin’d.” Decorative writing specimens like this one were often presented by children as gifts to their parents. This example, signed in full “James Roots” and dated December 21, 1805, may have been produced as a Christmas gift. An uncommon survival. 10 HONEYANDWAXBOOKS.COM 11 6 Jean Zuber (publisher). Collection d’Esquisses des Principaux Articles de Zuber & Cie still offers a number of Décoration Éxécutés en papier Peint dans la Manufacture de Jean Zuber et the designs featured in it, printed by Compagnie à Rixheim près Mulhausen, dept. du haut-Rhin. [Mulhouse, Alsace, hand from the same nineteenth- France]: Engelmann père & fils, circa 1850. Folio, measuring 19.5 x 14.5 inches. Green century blocks, which are now paper boards, red morocco title label lettered in gilt (“J. Zuber & Cie / à Rixheim”) to officially designated as Historical upper board. 42 leaves of varying sizes, lithographed recto only, most inserted on stubs: Monuments by the French Ministry 26 uncolored plates, 14 plates hand-colored.
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