PHOTOGRAPHIC ALBUM; ALTEMUS & CO

Photographic Album, the

Philadelphia: Manufactured by Altemus & Co. 1864. A Fine Altemus Photographic Album [PHOTOGRAPHIC ALBUM] The Photographic Album. Hinged-Back Patented July 21st 1863. Philadelphia: Manufactured by Altemus & Co. ca. 1864. Small square quarto (5 3/4 x 5 inches; 146 x 127 mm.). Calligraphic title-page printed in gold and purple, Index to portraits, and twenty five thick card, double sided window frame leaves bordered in gold. The first eighteen with a single nineteenth century family photograph. We have been unable to identify the family name. Publisher's full brown embossed morocco over boards. Covers and spine elaborately decorated in blind, both covers with four circular ivory stones set in gilt. Spine embossed and decoratively lettered in gilt "Album" "Patd. July 21st. 1863". Two brass clasps, decorated in relief and fitted with two circular ivory stones with gilt centers, gilt board edges and turn-ins, all edges gilt. A fine example of an early Altemus album. Altemus and Company first published photographic albums in 1862. During the next thirty years it published numerous elegant albums in many different styles. Although many albums from this time period can be easily identified as Altemus productions since they have the Altemus and Company imprint, a number of albums had no imprint. Some of the pre-1863 albums had a very similar look as the "post 1863 new patent hinged back design". All the albums post-1863 did note the patent somewhere in or on the album. In 1863 Henry and Samuel Altemus became the assignees of a patent of John Mets. This patent gave Altemus the right to use the special hinged back design for their photographic albums. The albums using this special design have the Altemus & Company imprint on the title page along with a line that says patented July 21, 1863. By 1864 Altemus was touting its special photographic album design. "It having the advantage of laying open perfectly flat.." Altemus had the patent for the "hinged back" design. As described by Altemus-- "each leaf is attached to a small rod covered with morocco forming a separate hinge of its own, admitting the book to be opened to its full extent without danger of the slightest injury". (henryaltemus.com). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05515

Catalogue: Fine Bindings

Keywords: ALTEMUS & CO. Photography

HOMER; BARNES, Joshua, translator

Homeri Ilias & Odyssea, Et in Easdem Scholia, Sive Interpretatio, Veterum

Cambridge: Cornelium Crownfield, 1711. A Fine First edition of Joshua Barnes's Homer in Greek and Latin In Contemporary Full Olive Green Morocco [HOMER]. Homeri Ilias & Odyssea, Et in easdem Scholia, sive Interpretatio, Veterum. Item Notae perpetuae, in Textum & Scholia, Variae Lectiones, &c. cum Versione Latina emendatissima. Accedunt Batrachomyomachia, Hymni & Epigrammata, unà cum Fragmentis, & Gemini Indices. Totum Opus cum Plurimis MSS. Vetustissimis, & Optimis Editionibus Collatum, Auctum, Emendatum, & Prifcae Integritati Restitutum. Opera, Studio, & Impensis, Josuae Barnes. Cantabrigiae [Cambridge]: Apud Cornelium Crownfield, 1711. Two quarto volumes (9 3/16 x 7 3/8 inches; 234 x 187 mm.). [xvi], CXXVI, [2], 432, 431-937, [938-1042, index]; [viii], 272, 275-643, [1, blank], [1], [1, blank], 110, [1], [89, index] pp. Text in Latin and Greek. Folding engraved frontispiece in volume I. General title-page in Greek and Latin, half-title for the Ilias and title-page in volume II for the Odyssea. Full contemporary olive green morocco, sides triple-ruled in gilt, spines with five raised bands elaborately decorated and lettered in gilt in compartments. Double-ruled gilt board edges and decorative gilt turn-ins, marbled endpapers, all edges gilt. With the bookplate of Homer scholar and author Roberto Salinas Price on front paste-downs. An absolutely superb copy in its original binding. This edition contains considerable prefatory material, including three traditional Lives of Homer, the Contest of Homer and Hesiod, and the first book of the Homeric Questions of Porphyry. Regarding this edition, Edward Harwood commented that "this Edition will ever maintain its distinction, not merely for its magnificence and the erudition of the Editor, but from the complete Greek Scholia that are here subjoined to the text" (Harwood, p. 2). Joshua Barnes (1654-1712), was an English scholar. Born in London, the son of Edward Barnes, a merchant taylor, he was educated at Christ's Hospital and Emmanuel College, Cambridge, he was chosen in 1695 as Regius Professor of Greek, a language which he wrote and spoke with facility. Barnes "rarely emended his texts, but commented often of their poetic metre and regularly reported the readings of the few English manuscripts he consulted" (ODNB). One of his earliest works was Gerania (1675), a Utopian prose romance about a journey to visit the "blameless pygmies" mentioned in the Iliad. A whimsical sketch to which Swift's Voyage to Lilliput may owe something. Among his other works is a History of that Most Victorious Monarch Edward III (1688), an epic work of over 900 pages, in which he introduces long, elaborate speeches into the narrative. He also produced editions of Euripides (1694), Homer (1711), and Anacreon (1705), of which the last contains titles of Greek verses of his own, which he was hoping to publish. He was elected a Fellow of the Royal Society in November, 1710. Barnes died on 3 August 1712 at Hemingford, near St Ives, Huntingdonshire where his widow erected a monument to him. Harwood, A View of the Various Editions of the Greek and Roman Classics, London, 1775. .

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Book number: 04888

Catalogue: Fine Bindings

Keywords: BARNES, Joshua, translator Books in Greek Books in Latin Classical Literature

COSWAY-STYLE BINDING; BAYNTUN, binder; WILLIAMS, H. Noel

Queen Margot Wife of Henry of Navarre

London and New York: Harper & Brothers, 1907. A Superb Mid-Twenties Cosway-Style Binding by Bayntun of Bath with Two Fine Oval Miniatures Extra-Illustrated by the Insertion of Twenty-Five Engraved Plates of which Six are Hand-Colored COSWAY-STYLE BINDING. BAYNTUN, binder. WILLIAMS, H. Noel. Queen Margot Wife of Henry of Navarre. With sixteen illustrations in photogravure. London and New York: Harper & Brothers, 1907. Quarto (9 3/8 x 7 3/8 inches; 238 x 188 mm.). xviii, 409, [1, blank] pp. Colored frontispiece and nineteen photogravure plates with tissues printed in red & brown. Extra-illustrated by the insertion of twenty-five engraved plates of which six are hand-colored. Bound ca. 1925 by Bayntun, stamp-signed in gilt "Bayntun. Binder. Bath. Eng." on front turn-in. Full dark blue crushed levant morocco over beveled boards, covers with elaborate gilt frames, spine with five raised bands, elaborately decorated and lettered in gilt in compartments, gilt ruled board edges, wide elaborate gilt turn-ins, all edges gilt. Front doublure of red morocco surrounded by a frame of inlaid maroon morocco. Set into the front doublure are two very fine oval miniature paintings set under beveled glass within a double gilt frame. The upper miniature is of Margaret de Valois, Queen Margot of Navarre. The lower miniature is of her spouse Henry III of Navarre (later Henry IV of France). Both miniatures measure 3 3/16 x 2 1/2 inches; 81 x 63 mm. The rear doublure is of red morocco surrounded by a frame of inlaid maroon morocco. Blue watered silk end-leaves. A very fine example housed in its original felt-lined blue cloth clamshell case. Margaret of Valois (1553-1615) was a French Princess of the Valois dynasty who became Queen Consort of Navarre and later also of France. By her marriage to Henry III of Navarre (later Henry IV of France), she was Queen of Navarre and then France at her husband's 1589 accession to the latter throne. Their marriage was annulled in 1599 by decision of the Pope. She was the daughter of King Henry II of France and Catherine de' Medici and the sister of Kings Francis II, Charles IX and Henry III. Her marriage, which was to celebrate the reconciliation of Catholics and Huguenots, was tarnished by the St. Bartholomew's Day massacre, and the resumption of the religious troubles which ensued. In the conflict between Henry III and the Malcontents, she took the side of Francis, Duke of Anjou, her younger brother, and this caused a deep aversion of the King against her. As Queen of Navarre, she also played a pacifying role in the stormy relations between her husband and the French Monarchy. Shuttled back and forth between the two courts, she endeavored to lead a happy conjugal life, but her sterility and the political tensions inherent in the French Wars of Religion caused the end of her marriage. Mistreated by a brother quick to take offence and rejected by a fickle and opportunistic husband, she chose the path of opposition in 1585. She took the side of the Catholic League and was forced to live in Auvergne in an exile which lasted twenty years. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 04479

Catalogue: Fine Bindings

Keywords: BAYNTUN, binder WILLIAMS, H. Noel Cosway-Style Bindings Extra-Illustrated Copies French History

COSWAY-STYLE BINDING; BICKNELL, Anna L.

Story of Marie-Antoinette, the

London: T. Fisher Unwin, 1897. The Story of the Last Queen of France before the Revolution In a Fine Cosway-Style Binding [COSWAY-STYLE BINDING]. BICKNELL, Anna L. The Story of Marie-Antoinette. London: T. Fisher Unwin, 1897. First edition. Octavo (8 3/8 x 5 3/4 inches; 212 x 146 mm.). [i]-xiv, [2], 334, [2, blank] pp. Twenty-seven photogravure plates. Bound ca 1960 in full red crushed levant morocco, covers decoratively bordered in gilt, front cover with a central gilt design surrounding a fine oval hand-painted portrait miniature of Marie-Antoinette (3 1/4 x 2 1/2 inches; 82 x 63 mm.), set under glass. Spine with five raised bands elaborately tooled and lettered in gilt in compartments. Double-ruled gilt board edges and wide turn-ins, red silk liners and endleaves, all edges gilt. Housed in the original fleece-lined, red cloth clamshell case, spine lettered in gilt. The binding is unsigned but is very similar to the Cosway-Style bindings that were done by Sangorski & Sutcliffe for Asprey's. Marie-Antoinette (1755-1793) was the last queen of France before the French Revolution. She was born an archduchess of Austria and was the penultimate child and youngest daughter of Empress Maria Theresa and Emperor Francis I. She became dauphine of France in May 1770 at age 14 upon her marriage to Louis-Auguste, heir apparent to the French throne. On 10 May 1774, her husband ascended the throne as Louis XVI and she became queen. Anna Louise Bicknell (1835?-) also wrote Life in the Tuleries under the Second Empire. 1894, and published several articles in the Century Magazine and National Geographic including: The Pretenders to the Throne of France. 1883 Marie-Antoinette as Dauphine. 1897 The Last Days of Louis XVI and Marie-Antoinette. 1897 French Wives and Mothers. 1898. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05088

Catalogue: Fine Bindings

Keywords: BICKNELL, Anna L Cosway-Style Bindings French History

VENETIAN BINDING; BOOK OF HOURS

Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi

Venice: Ex Typographia Balleoniana, 1754. A Fine Eighteenth Century Italian Book of Hours in its Original Red Morocco Binding With Hand-Painted Gauffered Edges [VENETIAN BINDING]. [BOOK OF HOURS]. Officium Beatae Mariae Virginis S. Pii V. Pontificis Maximi. Venetiis [Venice]: Ex Typographia Balleoniana, 1754. Octavo (7 3/4 x 4 5/8 inches; 197 x 117 mm.). [i]-xxxxiv, [1]-453, [3, indices] pp. Vignette engraved title-page and seven full page copperplate engravings in the text. Full contemporary red morocco, covers elaborately decorated in gilt, spine with five raised bands decoratively gilt in compartments, decorative gilt board edges, marbled liners. The edges are gilt and exquisitely gauffered with small diamond shaped lozenges hand-painted in red. An exquisite example in exceptionally fine and untouched condition with just the smallest amount of light scuffing to the extremities. A remarkable survival from nearly two hundred and seventy years ago.. Books of Hours were bestsellers. They were the first text read across Europe by people at every level of literacy. These devotional books, containing a daily routine of prayers for the reader to follow, reached a huge audience, more than any previously written text. Children were taught to read with Books of Hours. Repeated daily, the passages found in these books, usually in Latin, were committed to heart. Prayers on death, plague, warfare, travel, and bad weather were all found in Books of Hours. The plates: 1. Office of the Blessed Virgin Mary (p. xxiv) 2. Office of the Blessed Virgin Mary (p. 80) 3. Office of the Blessed Virgin Mary (p. 150) 4. Office of the dead (p. 226) 5. Seven penitential psalms (p. 294) 6. Office of the holy cross (p. 334) 7. Office of the holy spirit (p. 342). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05459

Catalogue: Fine Bindings

Keywords: BOOK OF HOURS Books in Latin

BOSWELL, James; JOHNSON, Samuel; RIVIÈRE & SON

The Life of Samuel Johnson, LL. D.

London: Printed by Henry Baldwin, for Charles Dilly, 1791-93. First Edition, First Issue of Boswell's Life Of Johnson Together With The Excessively Rare 'The Principal Corrections and Additions' Bound in at the End of Volume Two BOSWELL, James. The Life of Samuel Johnson, LL.D. Comprehending an Account of his Studies and Numerous Works, in Chronological Order; a Series of his Epistolary Correspondence and Conversations with many Eminent Persons; and Various Original Pieces of his Composition, Never Before Published. The Whole Exhibiting a View of Literature and Literary Men in Great-Britain, for Near Half a Century, during which He Flourished. In Two Volumes. London: Printed by Henry Baldwin, for Charles Dilly, 1791. First edition, first issue, with "gve" for "give" in the uncorrected state (line 10 on p. 135 in Volume I) and all of the errata uncorrected. Two quarto volumes (10 3/4 x 8 7/16 inches; 274 x 216 mm.). vii, [1, blank], [ix-xii], [16, "Table of Contents" and "Corrections and Additions"], 516; [2], 588 [i.e. 586] pp. Engraved frontispiece by James Heath from a portrait of Johnson by Sir Joshua Reynolds in Volume I, two engraved facsimile plates in Volume II. ("Round Robin.." facing p. 92 and "Fac Similes of Dr. Johnson's hand writing" facing p. 588). Together with [at the end of volume II] BOSWELL, James. The Principal Corrections and Additions to the first edition of Mr. Boswell's Life of Dr. Johnson. London: Printed by Henry Baldwin for Charles Dilly, 1793. [Title, verso blank], 42 pp. Bound by Rivière & Son ca. 1910 in full mottled calf, covers with triple gilt rules. Spines with five raised bands, decoratively tooled in gilt in compartments, red and brown morocco labels lettered in gilt, gilt ruled board edges, decorative gilt turn-ins, marbled end-papers, all edges gilt. Expertly rebacked and corners strengthened (over fifty years ago) with original spines laid down. Occasional light foxing or staining to a few leaves, otherwise a fine copy of the first issue with the exceptionally rare Principal Corrections and Additions bound in at the end of volume two. "The work [The Principal Corrections and Additions] is now difficult to obtain; when it turns up it is almost invariably bound in with a copy of the first edition of the Life." (Pottle, p. 212). This was Boswell's last publication before his death in 1795. The 'gve' or 'give' question.. "Of the four copies in the British Museum, two have one reading and two the other. There can be little doubt that 'gve' is the earlier state. The first proof shows the word correctly spelled, but the lines are punctuated as follows: 'Short, O short! then be thy reign, "And give us to the world again.' Boswell passed this in the proof, but in the revise (both proof and revise are in the possession of Mr. Adam) he directed the printer to remove the exclamation point in the first line and substitute it for the first period at the end of the second, which is in fact the punctuation of the printed text. When the changes were made the 'i' dropped out, and the printer, not noticing what had happened, filled up the line by inserting a space between 'gve' and 'us'. After a considerable part of the edition had been printed, the error was discovered and corrected in the press." (Frederick Albert Pottle. The Literary Career of James Boswell, p. 151). The correct first issue as here reads" "Short, O short then be thy reign, "And gve us to the world again!" Boswell's biography of Johnson is a classic of the genre—a full, candid account of the life of one of the most famous eighteenth-century writers and thinkers by another. "The Life of Johnson was no single book miraculously produced by an inexperienced author. It was the crowning achievement of an artist who for more than twenty-five years had been deliberately disciplining himself for such a task" (Pottle, p. xxi). Courtney & Nichol Smith, pp. 172-3. Grolier, 100 English, 65. Pottle 79 & 113. Rothschild 464 & 466. Sterling 71. Tinker 338. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03432

Catalogue: Fine Bindings

Keywords: JOHNSON, Samuel RIVIÈRE & SON Biography Eighteenth-Century Literature English History London

COSWAY-STYLE BINDING; BUCHAN, John; BAYNTUN-RIVIÈRE, binders

Sir Walter Scott

London: Cassell and Company Ltd. [1932]. A Fine Cosway-Style Binding by Bayntun (Rivière) Extra Illustrated with Twelve Plates [COSWAY-STYLE BINDING]. BAYNTUN-RIVIÈRE, binders. BUCHAN, John. Sir Walter Scott. London: Cassell and Company Ltd. [1932]. First edition. Octavo (8 5/8 x 6 inches; 219 x 152 mm.). 388 pp. Extra illustrated by the insertion of twelve plates, three of which are hand colored. A fine Cosway-Style binding by Bayntun (Rivière) ca. 1940, stamp signed in gilt on front turn-in. Full sangria red morocco, covers elaborately tooled in gilt in a fine thistle design. Front cover with a fine hand-painted oval portrait miniature (3 1/4 x 2 1/2 inches; 82 x 63 mm.) of a young Sir Walter Scott, set under glass and surrounded by a fine thistle design in gilt. Spine with five raised bands, decoratively tooled with a thistle design and lettered in gilt in compartments. Decorative gilt board edges and wide turn-ins. Marbled liners and endleaves, all edges gilt. Housed in the original felt-lined purple cloth clamshell case, spine lettered in gilt. The Extra Illustrations: Facing p.72, hand colored portrait of Francis Jeffrey, Esq. Facing p.83, engraved portrait of Wm. Gifford, Esq. Facing p.122, hand colored portrait of Henry Mackenzie Facing p.174, inlaid full length portrait of 'The Editor of the Quarterly' (Henry Mackenzie) Facing p.179, engraved view 'The Peel Tower in the Village of Darnick near Abbotsford' Facing p.202, inlaid engraved portrait of Mrs. J.G. Lockhart eldest daughter of Sir Walter Scott Facing p.215, engraved view 'Hall at Abbotsford' Facing p.217, hand colored engraved view 'The Pavilion on the Tweed near Abbotsford' Facing p.226, engraved view 'Rhymes Glen, Abbotsford' Facing p.259, inlaid engraved portrait of 'Adam Fergusson, l.L.D. F.R.S.E.' Facing p.275, inlaid engraved portrait of 'Thomas Moore' Facing p.348, portrait of 'Léon Tolstoy' John Buchan (1875-1940) was a Scottish novelist, historian and Unionist politician who served as Governor General of Canada. Born in Perth, he studied classics at the University of Glasgow. He became a prolific author of fiction, poetry and non-fiction, with involvement in over 100 books. His works include The Thirty-Nine Steps and Greenmantle. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05089

Catalogue: Fine Bindings

Keywords: BUCHAN, John BAYNTUN-RIVIÈRE, binders Biography Cosway-Style Bindings Extra-Illustrated Copies

FORE-EDGE PAINTING; CLARKE, Joseph Clayton; GOLDSMITH, Oliver; COLLINS, William

Poetical Works of Oliver Goldsmith, M.B. , the

London: Printed at the Stanhope Press, by Charles Whittingham, 1809. With an Exquisite Fore Edge Painting of Temple Bar, London By Joseph Clayton Clarke aka "KYD" FORE-EDGE PAINTING. KYD (pseudonym of Joseph Clayton Clarke), artist]. GOLDSMITH, Oliver. The Poetical Works of Oliver Goldsmith, M.B. Collated with the best editions by Thomas Park, F.S.A. London: Printed at the Stanhope Press, by Charles Whittingham, 1809. [bound with] The Poetical Works of William Collins. London: Printed at the Stanhope Press, by Charles Whittingham, 1709 [sic] 1808. [bound with] Poems by [Thomas] Gray. With an exquisite fore edge painting beneath the gilt, of Temple Bar - the principal ceremonial entrance to the City of London, by Joseph Clayton Clarke aka "Kyd." The painting is full of Dickensian style characters. Twelvemo (4 7/8 x 3 inches; 124 x 76 mm.). [i]-iv, [1]-86, [v]-vi, [1]-81, [1, blank]; [iv], [1]-64, [9]-99, [1, blank] pp. Two engraved frontispieces, one for Goldsmith's Poetical Works and the second for William Collins's Poetical Works. Contemporary full red straight-grain morocco, covers decoratively bordered in gilt and blind, spine with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, decorative gilt board edge and turn-ins, gray endpapers, all edges gilt. Housed in an early twentieth century fleece-lined, red cloth slipcase. The fore-edge painting, which we believe was executed sometime around 1910, depicts Temple Bar - the principal ceremonial entrance to the City of London, and exhibits an unusual degree of detail, art and craft; the coloring is quite extraordinary. Temple Bar was the principal ceremonial entrance to the City of London from the City of Westminster. In the middle ages, London expanded city jurisdiction beyond its walls to gates, called ‘bars', which were erected across thoroughfares. To the west of the City of London, the bar was located in the area known as the Temple. Temple Bar is situated on the historic royal ceremonial route from the Tower of London to the Palace of Westminster, the two chief residences of the medieval English monarchs, and from the Palace of Westminster to St Paul's Cathedral. The road east of Temple Bar and within the City is Fleet Street, while the road to the west, in Westminster, is The Strand. Fore-edge paintings by "Kyd" are excessively rare - I have seen only a handful in over fifty years of specializing in this field. "Kyd" was a personal friend of my Great Uncle, Sam Joseph and used to frequently visit 48a Charing Cross Road in the 1930's.. (DJB). "CLARKE, Joseph Clayton [sometimes seen as "Clark"] - English artist (1856-1937). Clarke worked as a freelance artist and cartoonist until 1900. He is described as having had many occupations during his career as an artist. His book, The Characters of Charles Dickens portrayed in a series of original water colour sketches by "Kyd", London, Paris, & New York: Raphael Tuck & Sons, was issued ca. 1889. From 1900-1920 he drew illustrations for cigarette cards and postcards based on Dickens' characters. He is best known for his marvelous character drawings and watercolors from Dickens' stories. Clarke signed his name "Kyd" on the popular color drawings he made. His fore-edge paintings are not signed. However, an un-illustrated pamphlet issued by Sawyer's (bookseller) states that he is known to have painted certain types of English scenes which suggests that his work can be identified. "Kyd" was described as a "flamboyant character", known to wear a "grey suit, spats, a homburg hat, and gloves, and always with a flower in his buttonhole". He frequented the racing tracks, bars, and women, thus his income suffered. Late in life he made money by producing watercolor sketches, mostly of Dickens' characters, for London booksellers, or perhaps a fore-edge or two. He worked for "Punch" for one single day. Clarke died in Hampstead in 1937." "..Clayton Clarke, the most outstanding authority on anything appertaining to the cult of fore-edge painting. Better known perhaps to an earlier generation as a black and white humorous artist and illustrator of Dickens under the pseudonym 'Kyd', he has for over a quarter of a century studied and practiced the delightful vagaries of this fascinating form of decoration; and it is no exaggeration to say that by the fine quality and beauty of his work he has raised what was originally a curiosity to the dignity of an art" (J.E.S. Sawyer, "Kyd" [Joseph Clayton Clarke] a Preliminary Study of his Life and Work Together with His Essay on Fore-edge Paintings, p.12). Reference: Jeff Weber. Annotated Dictionary of Fore-Edge Painting Artists & Binders, pp. 80-83. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05173

Catalogue: Fine Bindings

Keywords: CLARKE, Joseph Clayton GOLDSMITH, Oliver COLLINS, William Eighteenth-Century Literature Fore-Edge Paintings Poetry

CLOUGH, Arthur Hugh

Poems

London: Macmillan and Co. 1877. Poems by Arthur Clough Florence Nightingale's Devoted Assistant CLOUGH, Arthur Hugh. Poems. With a Memoir. Fifth edition. London: Macmillan and Co. 1877. Octavo (6 1/2 x 4 7/16 inches; 166 x 113 mm.). xxiv, 350 pp. Contemporary full olive green morocco, covers with tripe-gilt rules, spine with five raised bands, decoratively ruled and lettered in gilt in compartments, pale yellow coated endpapers, all edges gilt. Various ink inscriptions on front flyleaf. Near fine. Arthur Hugh Clough (1819-1861) was an English poet, an educationalist, and the devoted assistant to ground-breaking nurse Florence Nightingale. He was the brother of suffragist Anne Clough, who became principal of Newnham College, Cambridge. Clough's output was small and much of it appeared posthumously. Anthony Kenny notes that the editions prepared by Clough's wife, Blanche, have "been criticized .. for omitting, in the interests of propriety, significant passages in Dipsychus and other poems." But editing Clough's literary remains has proven a challenging task even for later editors. Kenny goes on to state that "it was no mean feat to have placed almost all of Clough's poetry in the public domain within a decade, and to have secured for it general critical and popular acclaim." His long poems have a certain narrative and psychological penetration, and some of his lyrics have a strength of melody to match their depth of thought. He has been regarded as one of the most forward-looking English poets of the 19th century, in part due to a sexual frankness that shocked his contemporaries. He often went against the popular religious and social ideals of his day, and his verse is said to have the melancholy and the perplexity of an age of transition, although Through a Glass Darkly (pp. 54/55), suggests that he did not lack certain religious beliefs of his own, and in particular a belief in the afterlife where the struggle for virtue will be rewarded. His work is interesting to students of meter, owing to the experiments which he made, in The Bothie and elsewhere, with English hexameters and other types of verse formed upon classical models. Clough is perhaps best known now for his short poems Say Not the Struggle Naught Availeth (p. 345), a rousing call to tired soldiers to keep up the good fight, Through a Glass Darkly (pp. 54/55), an exploration of religious doubt, and The Latest Decalogue, a satirical take on the Ten Commandments. The Latest Decalogue's (pp. 142/143) couplet on murder, "Thou shalt not kill; but need'st not strive/Officiously to keep alive:" is often quoted - usually out of context - in debates on medical ethics in the sense that it is not right to struggle to keep terminally ill people alive, especially if they are suffering. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 03474

Catalogue: Fine Bindings

Keywords: Nineteenth-Century Literature Poetry

KELLIEGRAM BINDING; CRUIKSHANK, George, illustrator; JERROLD, Blanchard

Life of George Cruikshank, the

London: Chatto and Windus, 1883. In a Beautiful and Unusual Kelliegram Binding From the Library of Jakob Raskob - Builder of The Empire State Building [KELLIEGRAM Binding]. [CRUIKSHANK, George]. JERROLD, Blanchard. The Life of George Cruikshank. In Two Epochs. A New Edition. With Eighty-Four Illustrations. London: Chatto and Windus, 1883. New edition. Octavo (7 1/4 x 4 1/4 in; 180 x 116 mm). xvi, 392 pp. Nineteen black and white plates with tissue guards, sixty-five black and white text illustrations. Bound by Kelly & Sons ca. 1900 in an unusual Kelliegram (thus signed) binding of full crimson crushed morocco with gilt-decorated frame to covers, and multi-colored morocco inlaid portrait to spine. One raised band. Turn-ins with gilt corner pieces. All edges gilt. Green silk end leaves. Original red cloth covers and spine bound in at rear. With the bookplate of John J. Raskob. The beautifully inlaid and colorful "Kelliegram bindings were one of many innovations of the English commercial binding firm of Kelly & Sons. The Kelly family had one of the longest connections in the history of the binding trade in London, having been founded in 1770 by John Kellie, as the name was then spelled. The binding firm was carried on by successive members of the family into the 1930s. William Henry Kelly significantly developed the company in the first half of the nineteenth century, followed by William Henry, Jr. Henry, and Hubert Kelly, who took control in 1892, taking the firm into the twentieth century..The development [during the 1880s] that came to be known as Kelliegram was one of the bindery's most notable, and the popularity continues today as demonstrated by the prices Kelliegram bindings command at auction and in the rare book trade" (Dooley, Kelliegram Bindings, Brynmawr Library). George Cruikshank was and remains the most celebrated caricaturist and book illustrator of the 19th century. The previous owner, the noted book collector John Jakob Raskob, was a financial executive and businessman for DuPont and General Motors, and the builder of the Empire State Building. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 02141

Catalogue: Fine Bindings

Keywords: CRUIKSHANK, George, illustrator JERROLD, Blanchard Biography English History Nineteenth-Century Literature Cruikshankiana

DICKENS, Charles

Cricket on the Hearth, the

London: Bradbury and Evans, 1846. To have a Cricket on the Hearth is the luckiest thing in all the world!" DICKENS, Charles. The Cricket on the Hearth. A Fairy Tale of Home. London: Bradbury and Evans, 1846. First edition, with first state of "Oliver Twist" advertisement. Foolscap octavo (6 3/8 x 4 inches; 163 x 102 mm.). [iv], 174, [2, advertisements] pp. Additional engraved frontispiece and pictorial title (by Maclise) with original tissue guard. Illustrated throughout in the text. Handsomely bound ca. 1880 by Samuel Tout (stamp-signed in black on verso of front free endpaper). Full blue crushed levant morocco, covers decoratively ruled and bordered in gilt, spine with five raised bands elaborately decorated and lettered in gilt, gilt board edges, elaborate gilt turn-ins, light brown patterned imitation silk liners and endleaves, all edges gilt. A very fine example. "Although the titlepage is postdated 1846, The Cricket on the Hearth was published on December 20, 1845." (Smith). "Of the 14 illustrations in this Christmas book, seven were designed by John Leech; three by Richard Doyle; one by Clarkson Stanfield; two by Daniel Maclise; and one by Edwin Landseer." (Smith, p. 42). John Peerybingle, a carrier, lives with his young wife Dot, their baby boy and their nanny Tilly Slowboy. A cricket chirps on the hearth and acts as a guardian angel to the family. One day a mysterious elderly stranger comes to visit and takes up lodging at Peerybingle's house for a few days.. Victorian binder Samuel Tout worked out of Nassau Street in Soho, London 1868-79. He then partnered with William Coward in a bindery in Whitechapel but in 1880 continued on his own in the same location. Smith II, 6. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05509

Catalogue: Fine Bindings

Keywords: Fairy Tales Nineteenth-Century Literature

DUHAYON, Henri; ROMAINS, Jules; BOFA, Gus [RAYON d'OR/LIBRAIRIE GALLIMARD]

Les Coupains

Paris: Le Rayon d'Or/Librairie Gallimard, 1952. A Spectacular Copy in a Stunning Binding Signed by the Author with an ALs by the Artist [DUHAYON, Henri, binder]. [BOFA, Gus, illustrator]. ROMAINS, Jules. Les Coupains. Avec douze aquarelles par Gus Bofa. N.p. [Paris]: Le Rayon d'Or, (1952). First edition illustrated by Bofa, limited to 3500 numbered copies sur vélin blanc des Papeteries de Lana, this being copy 3152. Octavo (8 1/4 x 6 1/8 in; 208 x 153 mm). 200, [1], [1, blank], [3, table], [1, blank], [1, colophon], [1, blank] pp. Twelve aquarelle plates, one of which has been inscribed by the artist to the owner. In a stunning contemporary binding by Henri Duhayon of Nice (stamp signed in gilt to inside front turn in) in full crushed cordovan morocco with large hand painted panel to upper and lower sides. Gilt lettered spine. Top edge gilt. Custom endpapers. A flawless copy in binder's leather edged slipcase. Signed and dated Nov. 1958 by the author, with a tipped in ALs by the artist, an inscription by French novelist and playwright Georges Duhamel dated Septembre 1958, and a TLs by the owner, Jean Francesche (with his blindstamped signed ex libris on inside front cover turn in). The eighth volume in Librairie Galimard's illustrated collection, Le Rayon d'or, a reissue of Romain's celebrated novel of 1913. Renowned artist Gus Bofa (b. Gustave Blanchot 1883-1968) was an illustrator for Rire and Sourire, a costume and set designer, a celebrated poster artist, and illustrator for the literary journal, Crapouillot. He soon became one of the most in demand illustrators of editions of Swift, La Fontaine, Cervantes, etc. ultimately with one hundred and seventeen volumes to his credit. (Ref. gusbofa.com). French novelist, poet, dramatist, and essayist Jules Romains (pseud. of Louis Farigoule 1885-1972) was, "early in his career..associated with a short-lived artistic community, the Groupe de 'Abbaye, which published his poems, La Vie unanime, in 1908. These poems wnad much of his later verse and prose, were influence by Unanimist theories of social groups and collective psychology. Before the war in 1914 he published more collections of poetry, a verse play..and two novels, Mort de quelqu'un (1911) and the farcial Les Copains [The Pals]" (New Oxford Companion to Literature in French, p. 707). Georges Duhamel's (1884-1966) experience as a surgeon during World War I produced Vie des martyrs (1917, tr. The New Book of Martyrs, 1918) and Civilisation (1918, tr. 1919). These collections of sketches are noted for their compassionate accounts of human suffering. He was successful as a dramatist; his Dans l'ombre des statues was performed in 1912 (tr. In the Shadow of Statues, 1914) and L'oeuvre des athlètes in 1920. His fiction includes two cycles of novels—Cycle de Salavin (1920-32, tr. 1936), about a sensitive eccentric, and Chronique des Pasquiers (1933-45, tr. 1937-46), about a bourgeois Parisian family. Essays in Scènes de la vie future (1930, tr. America: the Menace, 1931) and other collections reflect Duhamel's aversion to overindustrialization" (Columbia Enclyclopedia). He wrote passionately against war and its atrocities , and against the rise of Naziism. He was elected to the Académie Français in 1935. Though now largely forgotten, he is perhaps best remembered for his timeless epigram: "It is always brave to say what everyone thinks" The TLs by owner Jean Francesche reads: "The owner of this copy had read a book by Jules Romains, edited in 1958 by the Fayard Publishing House. It was the fourth book from the collection 'The Forty: MEMORIES AND SECRETS OF A WRITER.' "Page 128: 'In THE PALS, what part of the book is autobiographical and contains actual events?' "Page 129: 'It is not impossible to find a resemblance between the cheeks and glasses of Huchon with those of Duhamel, just as it is not impossible to find a certain pretentiousness in the future author of DESERT OF BIEVRES when Huchon prepares the veal stew as no one else can (to be more precise it was more like something between a stew and a roast)' "This revelation has led me to question the author's childhood friend on this detail, and Georges Duhamel, who like the author, has been made a member of the French Academy, was kind enough to write his answer on the half-title of this edition, which is illustrated by Gus Bofa. "I was also intrigued by the drawing where the artist had brought together 'THE PALS' and in which , I told him, it appeared that one of the characters had lost his head, or at least his cranium. "I asked him to please complete the drawing with a skillful stroke of his pencil. "He returned the drawing to me with an inscription as well as a curious letter which follows:. "I think that all of this adds to the interest of this charming volume [signed] Jean Franceche" Bofa's ALs response reads: Mr. N.D. des Champs Lundi 24 Novembre 88 Cher Monsieur, Votre lettre soulève un cas de conscience ! Votre «copain sans visage » n'a pas perdu la tête - il n'en a jamais eu - Jules Romain l'a voulu ainsi - lui, dans le même temps, mettait hors des soins, a une grande tendresse a portraiturer les autres copains. Bien loin de vouloir ajouter a ce bonhomme le coup de crayon que vous me demandez, je devrais plutôt regretter de lui ???? déjà, supposé un peu de menton, de bouche et de crâne, sans y être autorisé par le contexte. Avec mes deux mains bien sympatiques, [signature] Gus Bofa [Mr. N.D. des Champs Monday November, 24, ‘88 Dear Sir, Your letter stirs up a question of conscience! Your "pal without a face" has not lost his head - he never had one - Jules Romain wanted it like this, and at the same time he got a lot of tenderness into the process of drawing the other friends. Far from wanting to add the stroke of pencil to this man that you have asked me to, I regret that I cannot give him the supposed bit of chin, mouth and head, not being authorized to do so in this context. "With my two sympathetic hands, [signature] Gus Bofa] Duhamel's inscription reads: LES COPAINS Je n'ai aucune qualité pour poser ma signature sur le livre d'un ami de ma jeunesse; mais je dois dire que ma spécialité culinaire était alors le ragoût de moutons, & non le ragoût de veau. -[signature] G Duhamel Septembre 1958 [THE PALS I have no authority to put my signature on the book of my childhood friend; but I must say that my culinary specialty was lamb stew, not veal stew. -[signature] G. Duhamel September 1958] Monod 9851. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 01079

Catalogue: Fine Bindings

Keywords: ROMAINS, Jules BOFA, Gus [RAYON d'OR/LIBRAIRIE GALLIMARD] Books in French Fine Printing French Literature Literature

COSWAY-STYLE BINDING; SANGORSKI & SUTCLIFFE; DUNBAR, Sir George Duff-Sutherland

History of India, A.

London: Ivor Nicholson & Watson Limited, 1936. A Cosway-Style Binding by Sangorski & Sutcliffe with Two Fine Portrait Miniatures COSWAY-STYLE BINDING. SANGORSKI & SUTCLIFFE, binders. DUNBAR, Sir George. A History of India from the Earliest Times to the Present Day. London: Ivor Nicholson & Watson Limited, 1936. First edition. Octavo (7 15/16 x 5 3/8 inches; 202 x 137 mm.). [xxiv], 1-[632] pp. Erratum slip inserted facing p. [viii]. Thirty-four photogravure plates containing sixty-four illustrations. Sixteen colored maps including one large folding at end. Bound ca. 1936 by Sangorski & Sutcliffe, stamp signed in gilt on front turn-in. Full red crushed levant morocco over beveled boards, covers richly decorated on gilt, spine with five raised bands decoratively tooled and lettered in gilt in compartments, decorative gilt board edges, elaborate gilt turn-ins, gilt decorated blue morocco doublures, ochre watered silk endleaves, all edges gilt. With the gilt initials of Ohio collector B. C. Hoffman at foot of the spine. Inside front cover with large oval sunken panel with a fine gold-framed oval miniature under glass of a Maharaja (2 x 1 1/2 inches), and on the inside rear cover a fine gold-framed oval miniature under glass of a Raja (2 x 1 1/2 inches). Expert and almost invisible repair to foot of spine. Minimal rubbing to joints, otherwise near fine. An excellent example of a 'double' Sangorski & Sutcliffe Cosway-Style binding. "A history of India is equivalent in range to the history of Europe," Dunbar acknowledges in his preface, admitting "it is clearly impossible to compress the history of India into a single volume and deal adequately with every period." That said, he makes a progressive move, attempting to "compile a History of India from the standpoint of the governed rather than the many rulers of the country." A colonial officer and historian, Dunbar had firsthand experience in India, and a deep interest in the nation's evolving culture. Across over 600 pages, his tome traces the earliest periods on the country's political and religious development, documenting how people experienced cultural shifts due to frequently jarring and violent changes in leadership across centuries; and he includes, at the end, an account of British imperialism. A rich and detailed history, finely bound and richly illustrated. Sir George Duff-Sutherland-Dunbar (1878-1962) was a British colonial officer and historian, notable for his History of India, published in 1936. He also wrote adventure novels for children, one of which was serialized for the radio by the BBC in 1933. He was a member of the Dunbar of Hempriggs baronetage. Dunbar was commissioned into the British army as a second lieutenant in the Cameron Highlanders on 3 August 1898, and was promoted to lieutenant on 1 April 1899. He served in the Indian Staff Corps from April 1899, and formally transferred to the Indian Army in June 1902. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05063

Catalogue: Fine Bindings

Keywords: SANGORSKI & SUTCLIFFE DUNBAR, Sir George Duff-Sutherland Cosway-Style Bindings Indian Literature

COSWAY-STYLE BINDING; FEA, Allan; BAYNTUN-RIVIÈRE, binders

After Worcester Fight

London: John Lane, The Bodley Head, 1904. A Finely Decorated Bayntun-Rivière Cosway-Style Binding from the Library of J.F.D. Tutt COSWAY-STYLE BINDING. BAYNTUN-RIVIÈRE, binders. FEA, Allan. After Worcester Fight. Being a Companion Volume to "The Flight of the King" by Allan Fea. With Numerous Sketches & Photographs by the Author, together with Portraits. London: John Lane, The Bodley Head, 1904. First edition. Octavo (8 1/4 x 5 3/8 inches; 210 x 136 mm.). [i]-liv, 1-[268] pp. Title-page printed in red and black. Fifty-one illustrations including many photogravure plates. Text leaves a little foxed. Bound by Bayntun (Rivière) Bath ca. 1948 (stamp-signed in gilt on front turn-in) in full dark purple crushed levant morocco over beveled boards. Front cover double-ruled in gilt enclosing a highly elaborate floral design with gilt leaves and stems and twelve inlaid eighteen-piece red flowers. In the center an gilt decorated oval frame surrounding a fine hand-painted portrait miniature of Charles II. Lower cover identically tooled but without the inlays. Spine with five raised bands, elaborately decorated to a similar design with five inlaid eighteen-piece red flowers, lettered in gilt in compartments, double gilt-ruled board edges, and fine wide turn-ins decorated in gilt. Blue and red cockerel paste-downs and end-leaves, all edges gilt. With the armorial bookplate of J.F.D. Tutt on verso of front free endpaper. An exceptionally fine example from one of the major English collections. Housed in the original fleece-lined blue cloth slipcase with two black morocco spine labels lettered in gilt. Allan Fea (1860-1956), was a British historian and author, specializing in the English Civil Wars period and the House of Stuart, and an antiquary, after a first career as a clerk at the Bank of England. After Worcester Fight is a companion volume to the author's earlier work The Flight of the King. "Since the publication of "The Flight of the King," it has often occurred to me that there should be a companion supplementary volume containing the five important contemporary narratives of Charles II.s escape after the Battle of Worcester, which were issued collectively in 1830, under the title of "The Boscobel Tracts," viz. :-- "The King's Narrative," Blount's "Boscobel," Whitgreave's "Narrative," "Ellesdon's Letter," and the "Claustrum Regale Reseratum." (introduction). John Francis Donald Tutt (1893-1971) was a renowned veterinary surgeon and collector of fine bindings. His collection (including the present binding) was sold at Sotheby's London in October 1983. .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05090

Catalogue: Fine Bindings

Keywords: FEA, Allan BAYNTUN-RIVIÈRE, binders Cosway-Style Bindings English History

FORE-EDGE PAINTING; Horatius Flaccus, Quintus; DOUBLE-LINE PAINTER; HORACE

Carmina

Paris: E Prelis Fratrum Mame, 1808. With a Fine Fore-Edge Painting of Verona, Italy by the "Double-Line Painter" FORE-EDGE PAINTING. DOUBLE-LINE PAINTER. HORACE (Quintus Horatius Flaccus. Carmina. Editio Stereotypa Herhan. Paris: E Prelis Fratrum Mame, 1808. With a fine early twentieth century fore-edge painting by the "Double-Line Painter" showing a colorful view of Verona, Italy. Twelvemo (6 5/16 x 3 15/16 inches; 161 x 97 mm.). [i]-xi, [xii, blank], [1]-354 pp. Full contemporary maroon straight-grain morocco, covers elaborately tooled in gilt and blind, spine with four shallow raised bands, decoratively tooled and lettered in gilt in compartments, gilt board-edges and double-ruled turn-ins, marbled endpapers, all edges gilt. With the Armorial bookplate of Sir Thomas Rumbold, 1st Baronet (1736-1791) with an note in ink by his son Charles Rumbold (1788-1857) who was educated at Oriel College, Oxford, and then went to Trinity College, Cambridge. The motto "Virtutis Laus Actio" means "The Praise of Virtue is Action". The "Double-Line Painter" was an English artist, name unknown, possibly active in the 1920s. The most identifiable feature of this artist's work is the label for the painting. The artist labels his own paintings on the the front fly-leaf. If you look carefully you will see a neat light penciled double-line above and below the written title (like an architect would do). The painting title itself is also neatly written in tiny letters. This artist is highly skilled painter with high productivity." (Jeff Weber. Annotated Dictionary of Fore-Edge Painting Artists & Binders, pp. 95-96). Jeff Weber cites eight example of the "Double-Line" artist in his book on pp. 96-97. Provenance: Charles Rumbold (1788-1857). .

David Brass Rare Books (ABAA/ILAB)Professional seller

Book number: 05170

Catalogue: Fine Bindings

Keywords: Horatius Flaccus, Quintus DOUBLE-LINE PAINTER HORACE Fore-Edge Paintings