ILLUSTRATED BOOKS \ CUTS & ENGRAVINGS

“Large Scale” in Several Respects . . .
62 Engravings & Bedford Bound

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•  First edition, illustrated with a total of 62 engraved plates. Allibone describes Brayley “a laborious and accurate topographer”; he compiled and edited a wide range of works with titles featuring assorted Beauties, Picturesques, Histories, Antiquities, etc. The present work provides a history of Westminster Abbey and some of its associated luminaries, along with extensive descriptions of its architecture, sculptures, and paintings. The illustrator who portrayed many of the above, John Preston Neale, was an architectural draftsman and landscape painter “best remembered for his views of the nation's country houses, churches, and public buildings,” according to the Oxford DNB.

Binding:  By Francis Bedford, signed, in dark brown morocco done between 1851 and 1880, covers framed and panelled in ornate gilt rolls with gilt-stamped corner fleurons and midpoint decoration. Spines gilt extra with gilt-stamped leather title and volume labels. Board edges gilt-tooled with triple fillets, turn-ins with gilt-tooled rolls and corner fleurons. All edges gilt. Stamped “F. Bedford” on lower front turn-in.

Provenance:  Each front pastedown with armorial bookplate of William Arthur, sixth Duke of Portland.

•  NSTC 2B46491; Allibone 240; Brunet, II, 1215.   Binding as above, minor shelf wear to lower edges and corners, vol. I with front board expertly reattached and with small dent to outer edge of front cover. Joints delicate, due to size and weight of volumes, but holding. A few pages and plates with faint foxing, otherwise clean.  (24100)

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He Survived “La Noche Triste” & Much, Much More
   THE CONQUEROR'S REWARD  

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•  Pedro de Villanueva was one of the conquistadores of Mexico.  He was among Cortés's original party, part of the Francisco de Saucedo (also spelled “Salcedo”) contingent, whose ship was delayed in leaving Cuba.  With Saucedo, a friend of Cortés, he arrived at Villarica de Veracruz in July of 1519, shortly after Cortés and his men had destroyed the “idols” at Cempoala.

Villanueva was among the small but grand “army” that marched into Tenochtitlán in the Spring of 1520 and in July of the same year were to flee the western world's largest city fighting for their lives, on the “Noche Triste.”  He survived the hell and slaughter of the causeways and later returned with the greatly augmented force that destroyed the Aztec capital and its empire. Still later he was with Cortés in the exploration and conquest of Pánuco and following that with Nuño de Guzmán in the exploration and conquest of Zacatecas and Jalisco. He and his brother Fernando (also a member of the Saucedo contingent) jointly received an encomienda (Quechula) and settled in Puebla de los Angeles where Pedro served as a regidor on the town council in the 1540s and 1550s.

In the last years of the 1550s Villanueva petitioned the crown for the grant of a coat of arms in recognition of his service to the crown in the conquest of Mexico.  Felipe II honored that request in this impressive document.  He enumerates the Conqueror's deeds, specifically mentioning Don Hernando Cortés and Nuño de Guzmán and the various conquests in which Villanueva participated.  He describes the coat of arms being granted and the significance of the colors and symbols.  The granted arms are beautifully accomplished in many colors within the text of the document, with that text yielding space to the large miniature: Measuring 17.5 x 15 cm (7" x 6"), the arms are painted with a formal frame delimiting their presentation on a red field with corner brackets of gold over blue.  Surmounting the arms is a knight's helm with plumage, trailing from which are decorative “swooshes.”  The new Villanueva arms are quartered, showing a cyphered “M” surmounted by a fleur de lis in the upper left, a crowned lion en passant in the upper right, an arm holding a sword rising out of a flowing river in the lower left, and a castle on a hill in the lower right.

The text of the grant of arms is elegantly indited in a standard court semi-round gothic in sepia ink and is enclosed on the left, right, and top sides by an illuminated and historiated sash-like border.  In the upper left and right corners are miniatures of Justice and Knowledge in sylvan settings.  Running between those two along the top of the document is a decorative panel incorporating flowers, fruits, mythic animals, and cherubs.  Below this, the king's name is accomplished in large letters of gold on a field of red accented with gold, and the “D” of his honorific “Don” is given special treatment.  This is elaborated in an ornate, almost baroque style that comes close to obfuscating the fact of its being a majuscule “d”:  Wrought in gold, the letter at first appears to be merely a “frame” for the royal coat of arms that fills its center.  The king's arms are accomplished in gold, white, black, red, and blue; the whole being laid on a blue field with white accents.

The panels running down the left and right sides of the document are accomplished in red, gold, green, pink, white, red, blue, and brown, many in several shades.  The decoration includes birds of several varieties including a fine owl, animals including a watchful rabbit, strawberries and other fruits, and flowers, ribbons, grotesques, and butterflies.




The document is signed in the king's name by Juana (Joanna Habsburg) de Austria, “princesa de Portugal.”  Married to Prince Juan of Portugal, young Juana (b. 1537) was the regent of the Spanish crown from 1554 until her brother Philip's return to Spain in September of 1559. She had just lost her husband to death and borne his posthumous son, both in January, 1554, when she left Portugal and her child in the Spring of that year to assume the regency throne in Valladolid.



In format and content this document differs dramatically from the cartas executorias de hidalguía that most collectors are familiar with.  Here we have a single large sheet of vellum handsomely engrossed, artfully illuminated, and exquisitely decorated with a composite border containing miniatures.  This is not a bound volume of copies of documents created for storage in the family archive. This was created for display in a prominent place of honor; and it is a magnificent display item.  This is not a grant of nobility nor a confirmation of it based on something that some vague ancestor did; rather it is a grant of a coat of arms to a man who himself performed significant military and other service for the Crown and whom the Crown wishes to honor both publicly and privately.  Only a few hundred of Cortés's men survived the Noche Triste, the reentry into and destruction of Mexico City, and the subsequent conquests in Panuco and elsewhere.  The number of grants such as this to actual members of Cortés's original “army” were few.

And surviving grants to those actual participants in the Conquest are extremely rare, even more so in commerce. This is the only royal grant of a coat of arms to an actual member of Cortés's “army” that we have seen that has ever appeared in the marketplace.  Via published auction records and our extensive archive of dealer catalogues, we trace no instance before this one of the offering for sale of a grant of arms to a Conqueror of Mexico.  Yes, there are examples in various libraries and museums in Mexico and Spain, and probably in the U.S., but such examples seem to have entered their institutional resting places via donation from descendants of Conquerors, not via purchase.

Provenance:  It is awesome to realize that this is no mere retained secretarial copy of Felipe's grant of arms to Pedro de Villanueva.  This gorgeous document not only records the king's rewards to one of Cortés's men, but was that Conqueror's personal property.  It is the copy of the decree sent to him expressly, by the Crown!



•  On Villanueva, see: Icaza, Diccionario autobiográfico de conquistadores y pobladores de la Nueva España, I, 88–89; Thomas, Who's Who of the Conquistadors, 146; Himmerich y Valencia, The Encomenderos of New Spain, 1521–1555, 262; Díaz del Castillo, Verdadera historia de la conquista de la Nueva España, chap. LIII. On Juana de Austria, see: the work of Dr. Kelli Ringhofer.  Overall in very good condition.  Some fold tears, some minor rubbing of small areas of images, stains as visible in our illustrations.  The wax seal and its silk cords no longer present. Text clear, not faded, and colors strong.

To review the pictures of this document more systematically than
“mousing over” the image at our description's top may allow:

This entry is repeated in the
“D–F” section of this
catalogue . . .

Into the Woods

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•  Uncommon sole edition: This entry in the “Birch Bark Books” series is a first-person account of the author's hunting adventures in the Adirondacks. Here, Abbott describes his trailblazing rambles through the woods, his endeavors to shoot deer and game birds, and his culinary successes with trout and venison jerky. The work is illustrated with a number of mounted black-and-white photographs.

Each book in the series was published by the author as a very limited edition and distributed to his friends as a Christmas gift; the present copy is inscribed by Abbott: “Wishing you peacetime Christmas cheer.”

This is the original first, 1918 edition, not a modern reprint.

•  Publisher's bark-patterned paper–covered boards, front cover with printed title; extremities chipped (most notably spine head). Front free endpaper with pencilled inscription as above; pages clean.  (26848)

Famous for ItsMaps of the Holy Land
    & Based on Sources Now Lost

•  Next to the last edition, and fifth overall, of Adrichem's important and influential work on the Holy Land. Adrichem (1533–85) was a Delft-born priest (a.k.a. Christianus Crucius) who wrote several works on Jerusalem and the Holy Land.

Theatrum Terrae Sanctae is famous for its engraved maps, but the work is justly sought for its descriptions of Palestine and the antiquities of Jerusalem. Additionally the work contains a chronology from Adam to 1585, the year of the author's death.

First published in 1590, Theatrum Terrae Sanctae had subsequent editions in 1593, 1600, 1613, 1628, and 1682; and was translated in several languages, including English. Because Adrichem used contemporary sources that are now lost, the work is important for the history of Palestine and Israel during the last half of the 16th century.

The work begins with an engraved allegorical title-page, has woodcut initials and tailpieces, and bears12 folding or double-page engraved maps. The text is printed in roman type in double-column format.

•  VD17 12:119393Z; Bibliographia Belgica A 131; Tobler 210; Röhricht 210–11.   Recent full black morocco, tooled in coppery gilt old style. Some browning to maps, a few very old repairs to same; endpapers and some other leaves with instances of darkening at edges, the leaf “behind” the largest folding element showing this most strikingly (and showing it extended farthest into the margins). Foremargins brittle and some with short tears or with strengthening strips. In all, a good+ copy and a very handsome volume.  (24104)

Neat Pairing.  Striking Illustrations.

•  Aeschylus's classic play and Shelley's poem, here with a preface by Rex Warner, who translated the Aeschylus into English, and tinted line-and-wash illustrations by John Farleigh. This is copy number 444 of 1500 printed; unusually for the Limited Editions Club, most copies are unsigned, as Farleigh passed away before receiving the colophon sheets. Click the interior image for an enlargement.

•  Bibliography of the Fine Books Published by the Limited Editions Club 370.   Publisher's gilt-stamped tan and light blue buckram, the colors “split” horizontally across the covers, in a slipcase lightly sunned and with an old waterspot to the label (but sturdy). In original glassine dustwrapper, with upper edges a bit chipped; book clean and fresh,  (13313)

Engravings bythe “Bewick of America”

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•  Wide-ranging gathering of excised illustrations done by or attributed to famed American wood engraver Alexander Anderson (1775–1870), a pioneer in his field. The clipped images gathered here include such delights as “The Chinese offering perfumes, &c. to their Deity,” “Last Number of the Family Magazine,” advertising views for the Columbian Hotel in NY, cuts from Bentley's Pictorial Primer and other children's publications (in the case of the Primer, almost a full leaf being present), a few head- and tailpieces (some biblical), and numerous pastoral scenes. An unidentified historical work was clearly he source of several large cuts: “Ruins of Jamestown, Va.”; “Yorktown, Virginia”; “Washington's Head Quarters at Morristown, N.J.”; “Residence of President Adams, Quincy, Mass.” (signed Croome and Anderson), and others. Some of the unsigned images are very likely Anderson's work and some are connected to it, such as an example from the Wood's Almanac for 1838 — many issues of that almanac did contain Anderson engravings, although the 1838 did not. Some items were annotated by the original collector, such as the view of President Edwards' House, Northampton, Mass., labelled in pencil on the reverse “Anderson's characteristic N.E. picture.”

Altogether, an excellent survey of Anderson's career and a collection worthy of study.

Provenance:  Ex-lots sold at Libby & SotheyParke Berent auctions; acquired by Seven Gables Booksore; residue of the stock of Seven Gables Bookshop (1930–79), via the son of Michael Papantonio (2009).

•  Pomeroy, Alexander Anderson, 1583, 1600, 1763, 1958, 2 examples from 2054.   Varying degrees of age-toning and foxing, some items with pencilled annotations; the gathering in good to excellent condition.  (25685)

Richly Hand-Colored Flowers

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•  1859 volume of a long-running and (one senses) proudly produced monthly periodical: The latest horticultural successes, gardening tips, reviews of shows, lists of trendy varietals with their descriptions, etc. The volume is illustrated with12 hand-colored floral plates done by notable botanical illustrator James Andrews, as well as a number of in-text wood engravings; Andrews's fuschia plate is especially vivid.

•  Contemporary half sheep and marbled paper–covered sides, spine with gilt-stamped title and gilt-stamped raised bands; binding moderately rubbed overall. All edges gilt. Trimmed during binding, in a few cases just touching edges of images. Front pastedown with private collector's rubber-stamp. Scattered faint spotting, pages and plates generally clean. You can imagine subscriberseagerly waiting for each issue of this.  (26865)

Ah, Sweet Cynicism

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•  First edition: Bons mots and aphorisms regarding love, men, and women, the whole elegantly illustrated in green and black by Clara Elsene Park. Antrim was the author of Don'ts for Girls: A Manual of Mistakes, Naked Truth and Veiled Allusions, and A Mimic's Calendar.

Binding:  Publisher's color-printed paper–covered boards, cloth joints; unusual for the way that the sewing decoratively knotted through the spine.

•  Light signs of wear to hinges and extremities, overall clean and attractive. Pages slightly age-toned. A witty little thing, in construction as well as sentiments.  (26752)

Illustrated & Annotated

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•  First edition of Edward William Lane’s English translation, illustrated with numerous in-text wood engravings from designs by William Harvey. Lane, an Egyptologist and noted scholar of Arabic language and literature, chose to bowdlerize portions of the tales he found “objectionable,” but added extensive anthropological and cultural annotations, as well as explanations of many of his choices in translation and transliteration.

•  NSTC 2L3671. Contemporary half red morocco and marbled paper–covered sides, spines with gilt-stamped title and gilt-framed compartments; sides and edges a bit rubbed, vol. I with small scuffed area from now-absent label on front cover. All edges marbled. Front pastedowns each with armorial bookplate and institutional rubber-stamp, title-page versos rubber-stamped, inked numeral in lower margin of dedication or contents page depending on volume. A lavishly produced set, attractively illustrated and bound.

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Printed by Hogal — Illustrated with Four Woodcuts

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•  First Mexican edition of Aranda's work of devotion to the Virgin Mary, handsomely printed by the best printer working in Mexico in the 18th century: Hogal is often compared favorably with Baskerville. His type is a good roman with italic and he adds four good size, unsigned, woodcuts of four different apparitions of the Virgin.

An uncommon work of mariology; in the U.S. only the New York Public Library reports owning a copy.

•  Medina, Mexico, 2844.   Contemporary vellum over light boards, with the ties. Top and bottom edges of the closed volume with inked ownership of an unidentified conventual library. Clean copy.  (26872)

“Aristotle's Master Piece”: Virginity, Copulation, & Generation

•  Early American edition of this famous, “pseudo-Aristotle” work of folk medicine and midwifery. It invariably appeared in cheap editions and it was often sold under the counter because of its explicit, but crude, depictions of the female reproductive organs — and the cuts of the “monstrous” births were (in)famous. The present edition does not include the woodcut depicting female anatomy, but the hairy child and three examples of different conjoined twins are here.

Following the obstetrical “Master Piece” portion (which includes a brief “Family Physician” section as well as “The Experienced Midwife”) are “Aristotle's Book of Problems, with other Astronomers, Astrologers, Philosophers, Physicians, &c.” and “Aristotle's Last Legacy, Unfolding the Mysteries of Nature in the Generation of Man.”

•  Shaw & Shoemaker 9860; Austin, Early American Medical Imprints, 75; Bibliotheca Osleriana 1836 (for first ed.). Not in Sabin.   Period-style quarter tan cloth with light blue paper–covered sides, spine with printed paper label. Title-page mounted. Early pencilled ownership inscription along one inner margin. Pages browned and stained, with occasional chipped edges. One leaf with lower outer corner torn away, affecting a few words; last leaf with small repair at upper inner corner, with loss of several letters.  (25215)

 For a bit (very mild!) EROTICA,
&, yes, the above counted as that,
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Wildcats, Bears, Rabbits, Otters, Skunks, Buffalo, & “Wapite”
“The Sooty Squirrel,” Badgers, Beavers, Ground-Hogs, Foxes, *&* the “Missouri Mouse”

•  Audubon (1785–1851) and Bachman (1790–1874) collaborated — Audubon as artist and Bachman as writer of most of the text and editor of the entire work — in a most successfully manner on the idea of a well-illustrated scientific study of the quadrupeds of North America. The first edition (New York, 1845–48), like the first edition of Audubon's Birds of America, was a wealthy connoisseur's production with the plates in elephant folio format and the text in three octavo volumes.

The “popular” edition was issued in 31 fascicles (New York, 1849–54) that when assembled formed three royal octavo volumes containing 150 plates; a supplement was issued later containing an additional 5 plates.

Present here is second octavo edition, the first designed as a set of books and not issued in parts, all title-pages bearing the date of 1854, and containing155 fine handcolored lithographed plates by W. E. Hitchcock and R. Trembly after J.J. and J.W. Audubon, lithographed by J.T. Bowen.

Provenance:  Bookplate (dated 1910) of Redfield Proctor [Jr.], governor of Vermont.

•  Sabin 2368; Church 1357 (for 8vo edition in parts); Legacies of Genius 128; Bennett 5.   Contemporary black pebbled goat, elaborately tooled on the covers; gilt spines extra, gilt beaded roll on board edges, gilt inner dentelles. All edges gilt. Light to moderate to no foxing, variously; tissue guards. A lovely set.  (23904)

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“The Victoria Album”

•  Not many of the leaves in this autograph book (manufactured for and published by the New York firm of J.C. Riker, ca. 1850) have been inscribed, but those that have are appealing in content: A possibly original poem labelled “To My Augusta” praises her “mild but bright blue eye,” while another poem exhorts the recipient to “Hope! . . . Smile! . . . Remember Your Friend.” Some of the datelines give Mount Pocono, Bethlehem, and Easton (all in Pennsylvania) as locations, while “Phil.” presumably indicates Philadelphia. Following the theme stated on the front cover, with its portrait of Queen Victoria and banner reading “The Victoria Album,” the album pages are interspersed with metal-engraved plates depicting an assortment of royal women including Victoria herself (looking very young), Anne of Denmark, and Isabella of Valois. The front cover vignette has been reproduced, in gilt, opposite the frontispiece portrait.

Provenance: The inscription on the front fly-leaf reads “Miss Augusta E. Luckenback [/] presented to her by her dear sister Em [/] Feb.y 11th/53.”

Binding: Publisher’s red morocco, spine gilt extra, front and back covers with gilt-stamped vignettes of Queen Victoria, front vignette surrounded by gilt-stamped floral border. All edges gilt.

•  Binding as above, edges and spine rubbed, still bright and attractive. Mild foxing to some leaves and plates.

St. Augustine It isNOT — Anselm, Bernard,
& the Dean of Canterbury, It IS!

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•  First edition of this translation by George Stanhope, dean of Canterbury and an acclaimed preacher. Although Stanhope and the title-page attribute the first four items to St. Augustine, the works were not written by that saint — the accompanying pieces by St. Anselm and St. Bernard, however, are correctly assigned.

The volume is illustrated with a frontispiece and three other copper-engraved plates done by “I. Simons.”

•  ESTC T97614.   Contemporary speckled calf framed and panelled in blind with contrasting plain calf panel and blind-tooled corner fleurons, rebacked with lighter speckled calf, spine with gilt-stamped leather title-label; sides abraded. Contemporary inked ownership inscription to back of frontispiece and similarly old small inked notation (monogram?) to title-page; ; title-page institutionally rubber-stamped at base (no other markings). Pages age-toned; intermittent light spotting and staining.  (24438)

Jane Austen's Works — A Handsome, Limited Edition
Illustrated by the Brock Brothers     

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PRB&M offers a small prize to anyone who can, without looking anything up,
identify all the scenes shown . . .

•  The complete set in 12 volumes of the Chawton edition, limited to 1,250 numbered and registered copies — this is copy no. 1,029. An elegant, limited reissue of the same publisher's 10-volume Old Manor House edition, published the same year, this like that was edited by R. Brimley Johnson and introduced by William Lyon Phelps, the Lampson Professor of English Literature at Yale and an early champion of Austen's works. The introduction is itself a good read and gives insight into the life and character of the author, as well as a critical appraisal of the “qualities that place the novels of Jane Austen so far above all her contemporaries except Scott.”

The first 10 volumes consist of the novels — Sense and Sensibility (vols. I & II), Pride and Prejudice (vols. III & IV), Mansfield Park (vols. V & VI), Emma (vols. VII & VIII), Northanger Abbey (vol. IX), Persuasion (vol. X). Volumes XI and XII contain the minor works and letters. A bibliography of Austen's writings is included in vol. I.

Illustrated with69 plates, including a wonderful series of color drawings to accompany the text, done by the brothers Charles Edmond and Henry Matthew Brock, this isadditionally embellished with portraits of the author, pictures of her residences in Bath and Winchester, a view of her burial place inside Winchester Cathedral, a facsimile autograph letter, and a facsimile title-page of the first edition of Sense and Sensibility. Each plate is accompanied by a protective tissue guard, printed with a descriptive caption in red ink. Title-pages are printed in red and black, and each has its own unique engraved vignette. The delights in this production abound. On the whole, very satisfying!

•  Publisher's brown cloth, spines with brown paper label; several labels with ssmall brown spots, cracks, and edge chips, not too conspicuous and not affecting printing. Two leaves (pp. 343–346 of vol. X) detached from binding; long tear down center of pp. 283/284 (vol. IV), without loss of text; except for two leaves with some offsetting from laid-in scrap of paper, interiors clean. Outer and lower edges deckle, with a few signatures opened unevenly and some unopened. A very good set.  (24537)

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Early Illustrated Effort at a DICTIONARY for the Masses

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•  Second, expanded and revised edition of this enormously popular dictionary, following the first of 1730. The DNB says, “Bailey's English dictionaries gave a new prominence to etymology and to lexical comprehensiveness, including dialect terms, scientific terms, common words, and even vulgar ones; they also (in the second octavo volume and in the folios) made the first extensive use of pictorial illustration.” Dr. Johnson owned a copy of this edition, and annotated it extensively prior to compiling his own dictionary.

The title-page is printed in red and black; a full-page plate shows an orrery (for which word there is an unusually long entry) from multiple perspectives, while many of the in-text woodcuts are depictions of heraldic terms, or mathematical and scientific concepts. Etymological information is provided in “Antient British, Teutonick, Dutch Low and High, Old Saxon, German, Danish, Swedish, Norman and Modern French, Italian, Spanish, Latin, Greek, Hebrew, &c. each in its proper Character” (from the title-page). Our photographic detail, third image from left, above, highlights the (endearing!) ambition and achievement of this large volume.

•  ESTC T87976; O'Neill B-5; Vancil 12. On Bailey, see: Oxford Dictionary of National Biography online.   Contemporary mottled calf, covers framed in gilt double fillets, rebacked, spine with gilt-stamped leather title-label and gilt-ruled raised bands; sides acid-pitted and scraped. 19th-century endpapers. Title-page with old-fashioned, round institutional pressure-stamp; light soil and old inkblots (also light!) in upper portion. Pages a little browned right at edges; light or faint waterstaining visible in first third of volume, usually to lower margin only; one leaf with tear from outer margin just touching text, without loss; one lower outer corner torn away, with loss of one letter from catchword. A sound, pleasant copy of this handsome and interesting production.  (25002)

Volcanic Illustrations — Baily's Central American Survey

•  First edition of this evaluation of the commercial and agricultural potential of the Central American countries. An officer of the British Royal Marines, Baily lived in Guatemala for many years, and was the translator of Juarros's Compendio de la historia de la ciudad de Guatemala; he was also a proponent of the “Canal de Nicaragua.” Click the interior image for an enlargement.

The volume is illustrated with three engraved views, all three incorporating volcanos. As usual, this copy does not include the oversized map, which was printed and published separately.

•  Palau 21943; Sabin 2771; Nicaraguan National Bibliography 1476.   20th-century quarter red morocco and marbled paper–covered sides, spine with gilt-stamped title; minor wear to corners and spine extremities. Plates with light waterstaining to lower portions; frontispiece, title-page, and plates backed with linen.  (25454)

European Conquest & Settlement of

Ceylon Malabar & “The East”

•  Missionary and keen observer, Phillipus Baldaeus (1632–72), recounts his travels in and to, and the history of the east coast of Malabar and Roromandel, the island of Ceylon, and the adjacent kingdoms and principalities. He tells of the cities, harbors, buildings, temples, natural history and society. In doing so, he demonstrates a fascination with the Hindu religion, its gods, ceremonies, and beliefs.

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The work is highly illustrated and the engravings, being16 folding maps/plans, and 18 folding plates, are of battles, plans of fortresses, maps of areas, statutes, etc. Three double-page engraved tables are of scripts. The in-text illustrations, which are just as detailed and impactful, are numerous.

An important book on the rising Dutch presence in the East Indies and concomitant diminution of the Portuguese hegemony. This is the first edition in German; a Dutch-language edition also appeared in 1672.

•  Landwehr, VOC, 557. 18th-century calf, gilt spine extra. Binding shows wear, with abrasions and leather lost; joints starting. Once in a library and bearing the odd pencilling, but no stamps. Clean copy.

A PRB&M “FEATURED BOOK”  —
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Washington in aBeautiful Striped Binding
      (He'd have Wanted the Cloth for a Waistcoat)

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•  Bancroft's biography of Washington, originally published in 1807, appears here as two volumes in one in an attractive gift binding. Each volume is illustrated with two wood-engraved plates; the second volume has a separate title-page.

Binding:  Publisher's green-blue vertically striped ribbed cloth (predominantly seen in the 1840s, never common). Covers with gilt-stamped foliate and drawer pull frame, spine gilt extra with American eagle and portrait of Washington. All edges gilt.

•  For early eds.: Sabin 3097; Howes B86. On striped bindings, see: Krupp, Making a Case for Cloth, p. [11].   Binding as above, very lightly rubbed, most notably at corners. Front free endpaper with old, closed cuts/slashes and early inked presentation inscription. Plates browned; some signatures foxed, most pages clean. A lovely copy.  (26759)

The Private Edition, One of 12 Copies Only

A Family Copy
      A Conundrum Here as to “Original” Bindings!

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mouse-over, for an enlargement.

•  The very rare private issue of the first two volumes of Barham's most successful work, specially printed on heavier cream-toned paper, with the special limitation leaf, numbered and signed by Richard Bentley in the first volume. Plates and illustrations are by Leech, Cruikshank, and Buss. This copy is denoted copy #1 in ink, but a trace of an erasure suggests it may have been denoted #12, and then corrected at some point. The ownership signature of the author's son, R.H.D. Barham, who edited the third volume in 1847, appears on the half-title of the second volume. No private issue of the third volume was prepared.

The rather complex bibliography of this private issue, as well as that of the public issue, is discussed at length by Sadleir in the context of his entries for the copies in his collection, pp. 27– 29. He owned copy #8 (the publisher's copy) of the private edition of the first volume, but lacked the second volume in this form. He had knowledge of only two other copies, Barham's own copy (later Owen Young's) at the NYPL, and a catalogue reference to a copy from the collection of D. Phoenix Ingraham, sold in “February 1836 [sic, i.e. 1936].” This copy of the first volume, like Sadleir's and the others, has on p. 236 the incomplete printing of “The Franklyn's Dogge.”

Sadleir's analysis suggested to him the following probable sequence: a) the private edition, b) copies of the public edition with p. 236 in the same form as it appears in the private edition, c) copies of the public edition with p. 236 blank; and d) copies of the public edition with the complete new version of the text on p. 236.

The set in hand raises a new question in regard to the form of the binding of the private edition in its original state. Sadleir's copy, like the copy he located at NYPL, was bound in “Full brown Russia,” with the title, imprint, and date on the spine, and the title on the upper board, and he describes that binding as “original.” The binding described by Carter in reference to the twelve private copies is also in accord with Sadleir's description.

However, the remnants of the binding preserved at the back of the present first volume — see note below andtop-right image above — are red moiré silk (as opposed to the brown cloth of the public edition), with the side panels and spine ornately blocked with a gilt design and the title within the gilt frame (the spine is rather worn, but legible). This suggests that only some of the twelve private copies were bound in leather, and others, or at least one, were bound in this special silk cloth, gilt extra.

Binding: Full claret crushed levant, gilt extra, all edges gilt, by Riviere, with the side panels and spine of the original binding of the first volume bound at the end.

Barham began writing the short pieces making up this series as contributions to his friend and classmate's Bentley's Miscellany. The subject matter was “at first derived from the legendary lore of the author's ancestral locality in Kent, but soon [was] enriched by satires on the topics of the day and subjects of pure invention, or borrowed from history or the ‘Acta Sanctorum’. . . . The success of the ‘Legends’ was pronounced from the first, and when published collectively in 1840 they at once took the high place in humorous literature which they have ever since retained” (DNB).

Provenance: With R.H.D. Barham’s signature as noted above, and with the armorial bookplate of Sir David Lionel Salomons (1851–1925) in each volume.

•  NCBEL, III, 365; Sadleir 156a; Tinker 216 (public edition); Carter, Binding Variants, p.92. Bindings a bit darkened and slightly discolored at extremities, light rubbing to joints, some foxing to the prelims of the first volume, with an old tide-mark in the lower gutter areas of the plates; a tipped-in bookseller's description in the first volume. A very good, very interesting example of a very rare thing.

First Publicly Available, “Real” Editions,
inSigned Bindings

•  All three series of these entertaining tales, here in the first editions following the extremely scarce author’s edition of 12 copies. The Legends made their original appearances in Bentley’s Miscellany, as a favor to Bentley, a former schoolmate of Barham’s; Bentley here collects the pieces in book form with a life of the author (illustrated by an appealing engraved portrait done by R.J. Lane). The stories and poems are illustrated with 18 plates engraved by George Cruikshank, John Leech, and John Tenniel.

Bindings: Contemporary signed bindings by E.P. Dutton & Co., of red morocco with covers framed in gilt triple fillets; spines with raised bands, gilt-stamped titles, and compartments framed in gilt double fillets. Board edges gilt-ruled, gilt inner dentelles. Upper page edges gilt. Original cloth covers and spines bound in at the back.

•  Sadleir 156b, e, & f; NCBEL, III, 365. Bindings as above, spines and upper board edges darkened with a bit of rubbing; free endpapers with offsetting from turn-ins. One volume with lower part of cover stained and the lower inner margin of the title-page and plates (not the text leaves!) waterstained. One plate evenly age-toned.

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A Century “Pre”–Nordhoff & Hall — Mutiny on theBounty, First U.S. Edition

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•  First (and unauthorized) U.S. edition, following the 1831 London publication under the title The Eventful History of the Mutiny of the Bounty. This is “Harper's Stereotype Edition,” for the “Family Library” series; it is interesting that the firm pounced on something so fresh for that gathering.

The volume is illustrated withtwo steel-engraved plates, one view of Tahiti and one of Pitcairn's Island.

•  American Imprints 11221; Hill, Pacific Voyages, 70.   Publisher's speckled sheep, spine with gilt-stamped leather title-label; edges and extremities rubbed, spine darkened, spine leather with fine cracks, spine head covered with dark cloth tape extending onto sides. Ex–social club library: 19th-century bookplate on front pastedown, inked numerals on front free endpaper, title-page pressure-stamped. Pages with scattered spots of staining; last page with series title pencilled across — quite decoratively!  (26390)

Anacharsis in English — Anything But Dry!

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•  Translated from the French by William Beaumont for the original English printing. Really a textbook on the daily life and culture of ancient Greece, primarily centered around Athens, this lengthy work is "so written, that the reader may frequently be induced to imagine he is perusing a work of mere amusement, invention, and fancy" (p. iii). Footnotes citing a multitude of classical sources back up Barthelemy's imagined journey, which is illustrated with an attractive engraved map by du Bocage.

•  Shaw & Shoemaker 5809. Recently rebound in period-style tan cloth over light blue paper sides, spines with paper labels. Contemporary ownership inscription to front fly-leaf in each volume. Map with light offsetting and short tear just starting along one fold. First 20 leaves of vol. II waterstained and last 10 foxed; scattered incidences of spotting in all volumes, pages generally clean. A nice-looking set, and still — as it always was! — a work offering a pleasant way to absorb ancient history.

A Thrilling Adventure by CAR —  TheFirst International Motor Rally

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•  First edition: Account of Prince Borghese's dramatic victory in the Peking to Paris automobile race of 1907, written by the journalist who accompanied him. The work is printed in black-letter on heavy, very white paper, and illustrated with an oversized, folding map of the race's route, 32 half-tone photographic plates, and numerous in-text photographic reproductions.

Binding:  Publisher's textured tan cloth, covers and spine with stamped in brown with small pictorial vignettes evoking “the road”; title and author stamped in gilt. All edges subtly blue-sprinkled.

•  Spine very slightly darkened and virtually no wear otherwise. One signature loosening; one page with a scrape (with a bit of loss to type), this and a few others with the ink's having offset or adhered pages together (usually separable); and all otherwise clean and crisp. A handsome copy.  (26680)

Decadence in the “Yellow Nineties”

 

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•  The (in)famous embodiment of fin-de-siècle aestheticism, in a complete set of early issues, without publisher's advertisements but also without later edition statements. This is a largely uncut set ofall 13 volumes of the quarterly Yellow Book, featuring Aubrey Beardsley as art director and illustrator of the first four volumes. Present here are stories by Henry James, Ella D'Arcy, Kenneth Grahame, Henry Harland, and Hubert Crackanthorpe; poetry by Richard Le Gallienne, Olive Custance, and Leila Macdonald; articles by Max Beerbohm, Arthur Waugh, and James Ashcroft Noble; art by Sir Frederic Leighton, Walter Sickert, Laurence Housman, and of course Beardsley; with many other contributors represented.

•  Publisher's yellow cloth, covers and spines variously stamped in black with those famous designs; bindings generally moderately worn (especially to spine tips) and lightly dust-soiled, one volume with spine head (?)nibbled. Many signatures unopened; with a little care and cleverness, reading quite possible despite this. Pages and plates clean.  (26698)

Detailed — DETAILED!

•  First American edition, translated by Christina Hedström and Gerald Taylor, of one of the most comprehensive reference books on the subject. The volume is illustrated with eight color plates and 239 monochromes (the latter mostly in-text, some full-page).

•  Publisher's blue cloth, spine with gilt- and blue-stamped title; without dust jacket, spine slightly sunned, a clean, solid copy.  (24835)

Blake, Rosenwald, & Keynes — Trianon Press
A Presentation Copy from the Owner of the Original

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•  A facsimile of the copy in the Rosenwald Collection, Library of Congress, the only copy known to survive with the text and title-page, and of the frontispiece, originally with this copy, in the library of Geoffrey Keynes. As per the limitation page, the edition was limited to “808 copies . . . 32 copies numbered I to XXXII . . . 750 copies numbered 1 to 750 . . . 26 copies numbered A to Z, reserved for the trustees of the William Blake Trust and the publishers.” This is copy no. 423.

“Commentary and bibliographical history” (p. [3–7]) signed in type by Geoffrey Keynes.

•  Bentley, Blake Books, A15.   Publisher's quarter black morocco with marbled paper sides. In the publisher's marbled paper slipcase. Very good condition.  (25900)

TrianonInnocence “Pre-” (their) Experience
(A Second Rosenwald Copy)  

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•  Fine facsimile of a great rarity, reproduced from a copy in the Rosenwald Collection, Library of Congress. “The illuminated pages have been reproduced by Messrs, Beaufumé and Duval, master-printers in Paris, by collotype and stencil process”; the Trianon Press has printed Geoffrey Keynes's “Bibliographical Statement” and its other added matter in a handsome brown ink.

The edition was limited to 1626 copies, this being no. 840 of 1600 regular copies. The Trianon Innocence AND Experience (our emphasis) did not appear until the year after this did.

Provenance:  Presentation copy from Lessing Rosenwald to his daughter Joan and her husband Isadore Scott: “For Scotty and Joannie / With love / Dad / 2/15/55" in Lessing's characteristic green ink.

•  Bentley & Nurmi 156; Bentley, Blake Books, 165.   Publisher's quarter tan calf, abraded; usual discoloration at hinges (inside) from the binding glue. Top edge gilt. In the publisher's leather trimmed slipcase, leather here also abraded (leather too soft!!). A clean, attractive copy with a provenance up there amongst the best imaginable.  (25939)

U.S. Cavalry, including the“Buffalo Soldiers”

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•  Including five full-page wood engravings and two full-page wood-engraved maps, this also offers coverage of the “Color Cavalry” regiments, i.e., “Buffalo Soldiers.” Indian wars, the Mexican War, and the Civil War are canvassed, with some chapters having Texas emphasis — one, citing the cavalry's attempts there to use camels.

•  Sabin 7195.   Publisher's brown cloth, with crossed sabers on the front cover; cloth discolored, and breaking across back joint. Ex–social club library: call number in a neat 19th-century hand on endpaper and fly-leaf, rubber-stamp on title- and a few other pages. No other markings. Endpapers with old waterstaining, this continuing faintly on first few leaves in some inner margins; a few early margins with short tears. Withal, a good copy.  (26282)

A Not-So-Brief History ofTime

•  Second edition of this popular survey of the history of time and calendars from the ancient world onwards, following the first edition of 1812. Brady here describes the rituals and lore associated with the regulation of time, in all its divisions and subdivisions; much material from the lives of the saints is present. Allibone quotes the London Quarterly Review's assertion that “Especially to students in divinity and law, [the work] will be an invaluable acquisition; and we hesitate not to declare that, in proportion as its merits become known to the public, it will find its way to the libraries of every gentleman and scholar in the kingdom.” Contemporary opinion seems to have borne that prediction out, as the subscribers list here (carried over from the first edition) is substantial and the work went through several editions in the first few years after its initial publication. Click the images for enlargements.

Vol. I is illustrated with one wood-engraved plate depicting a Saxon almanac, and seven in-text engravings depicting Odin, Frigga, Thor, and the other deities with days named in their honor.

Provenance: Signature on title-pages of George Buckton, vol. I dated 1812 and vol. II dated 1813.

•  Allibone 237 (listing 1813 & 1814 eds. only); NSTC B4120.   Contemporary treed calf, rebacked preserving original spines with gilt-stamped titles, gilt-ruled and -dotted compartment bands, and gilt-stamped compartment decorations; original spine leather chipped, cracked, and darkened as by fire. Covers with corners and edges unobtrusively rubbed; portions nearest spines showing evidence of heat exposure; hinges (inside) reinforced. Front pastedowns each with institutional bookplate, vol. I front pastedown with bookseller's ticket and affixed early cataloguing slip, vol. I back pastedown and vol. II front pastedown with inked library inscription. Title-pages with inked ownership inscriptions as above. Offsetting from plate and to endpapers from binding, pages otherwise clean though with all edges (i.e., of closed book) darkened. A particularly handsome exemplar of popular scholarship of the day.  (25436)

Gastronomic Masterpiece ILLUSTRATED — Limited Edition

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•  Handsome and uncommon edition of the culinary classic, featuring numerous illustrations lithographed from designs by Pierre Noury. This is number 292 of 520 copies printed on Lafuma verge paper, with the original printed paper wrappers bound in.

Provenance: Front pastedown of vol. I with bookplate of Francis de Neufville Schroeder, a descendent of the first mayor of New York.

•  Not in Bitting. Contemporary half red morocco and marbled paper–covered sides, spines with gilt-stamped author and title; corners and joints showing some shelf wear, spines slightly darkened. Vol. I front pastedown with bookplate as above. Original yellow wrappers in near-perfect condition; overall, a lovely set.  (25885)

Works of theBrontë Sisters

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•  Large-paper issue of this 11-volume set of the works of all three Brontë sisters, illustrated by Jack Hewer with a total of 30 architectural and landscape views. The novels are complete here, including Agnes Grey, The Tenant of Wildfell Hall, Wuthering Heights, Jane Eyre, Shirley, Villette, and The Professor. (There were several additional volumes of miscellaneous writings, letters, and biography published in this “Shakespeare Head” series, which was not complete until 1938; they are not part of this set.)

The lovely illustrations are of real places fictionally transfigured in the novels . . .

Of the 1000 copies printed of this, 500 were printed on large paper and reserved for issue in America. The present example (numbered 452) is of the large paper size and in green cloth; it is not clear to us by what rule copies were bound in this green cloth and which in the orange reported elsewhere.

•  NCBEL, III, 865.   Original green cloth, spines with printed paper labels, lacking the dust wrappers (which are scarce and almost never seen); labels darkened, a few starting to peel up at corners. Pages untrimmed, with some signatures unopened. A beautiful, clean example of this set.  (24629)

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You Will FindNO Prettier Copy!

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•  Early edition, fully illustrated with numerous in-text and full-page steel engravings.

Binding: Publisher's tan cloth, front cover and spine pictorially stamped in black, white, and red.

•  Spine very slightly sunned, otherwise a lovely copy. Pages clean.  (26919)

A Volume EXTRA ILLUSTRATED & Then Some!

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•  An extra-illustrated copy. Noted 19th-century book collector, devoted Baptist, and political and civic activist Horatio Gates Jones, an honored participant in the centennial celebration at Brown, created this extra-illustrated copy of the official publication. Added as embellishments are an original copy of the broadside publication of the theses for the first commencement of the College of Rhode Island (the first name of Brown University), 19 autograph letters signed, 14 engravings (views, portraits), 15 photographs (including cartes de visite), eight clipped signatures, and 5 other items including a partially printed document from 1738.

Provenance:  Horatio Gates Jones, Jr. (American, 1822–93); donated to the Crozer Theological Seminary; later deaccessioned.

A full list of contents is available by clicking here.

•  In a late 19th-century black half leather binding with red morocco spine label. Occasional library pressure-stamps. Very good condition.  (25981)

REWARDING in aBright “CHROMO” COVER

•  First edition: One of six volumes in the “Teacher's Tokens” series, this little reader on the joys of grammar, nature, and religion (not to mention the woes of disobedience) features18 wood-engraved illustrations by various hands; the frontispiece is signed John Andrew. The series compiler, the Rev. Asa Bullard, was particularly known as a children's minister. Click the images for enlargements.

The front free endpaper bears an inked Christmas gift inscription dated 1868.

•  Publisher's color-printed paper–covered boards, spine sunned, extremities and back cover rubbed, front cover still bright. Pages slightly age-toned, with outer edges darkened. A beautiful copy.  (26641)

Bunyan Illustrated by theBrothers Rhead — Large Format

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•  Bunyan's dialogue account of the path to perdition, with an introduction by J.A. Froude, and illustrated “with twelve compositions by George Woolliscroft Rhead & Louis Rhead designed to portray the deadly sins of the ungodly Mr Badman's journey from this world to Hell.”

•  Publisher's quarter lavender cloth over sage-green printed paper–covered sides, light rubbing; spine sunned, front cover with old spot. A few smudges to page margins, only; otherwise quite clean.  (26920)

He Served UnderMORELOS

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•  Bustamante (1774–1848), the great post-Independence political thinker and historian, first published this work as Cuadro histórico de la revolución de la América Mexicana (México: M. Ontiveros, 1821–23), a work issued in parts, written in the form of letters, each letter separately paged with separate imprint. Bustamante had served under Morelos during the War for Independence and knew all of the major and many of the minor figures, making his work most valuable.

In this edition Lic. Pablo de Mendibil has edited the letters into four large chapters and added lithographic portraits of Hidalgo, Morelos, Bravo, Guerrero, and Guadalupe Victoria. They are variously from originals by Gauci or unidentified artists, and are lithographed by either R.Cooper or Englemann & Co.

•  Sabin 47810; Palau 163362 (under Mendibil).   Mid–19th century half red leather, flat spine, machine-made marbled paper on covers and as endpapers, marbled edges. Leather abraded and refurbished; interior clean and nice.  (21727)

TO Part II . . .

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