LEPRINCE, Xavier

Inconvéniens D'Un Voyage En Diligence

Paris: Chez Gihaut Freres.. et Sazerac et Duval, 1826. The Disadvantages of Traveling by Stagecoach Illustrated in Twelve Highly Amusing Lithographs LEPRINCE, Xavier. Inconvéniens d'un Voyage en Diligence. [The Disadvantages of Traveling by Stagecoach]. Douze Tableaux, Lithographiés par.. Paris: Chez Gihaut Freres.. et Sazerac et Duval, 1826]. First edition. Oblong folio (10 3/8 x 13 5/8 inches; 264 x 346 mm.) Twelve hand-colored lithographed plates. Lithography by Englemann. Some light foxing, mainly marginal except the first two plates. Publisher's quarter black roan over dark plum patterned boards, front cover lettered in gilt, smooth spine. Aside from the light foxing this is a near fine example. The inconvenient rigors of travel by coach are illustrated in twelve highly amusing plates. OCLC locates just five copies in libraries and institutions worldwide: Morgan Library & Museum (NY, US); Stanford University Library (CA, US); Brown University (RI, US); University of Liverpool (UK), and Kunstbiblio Staatliche Museen zu Berlin (Germany). Auguste-Xavier Leprince (1799-1826), French painter and lithographer, 'was the son and pupil of the painter and lithographer Anne-Pierre Leprince and the elder brother of the painters Robert-Leopold Leprince (1800-47) and Gustave Leprince (1810-37). Leprince recieved a medal at his first Salon of 1819 for one of six entries, five of which were landscapes of 17th century Dutch inspiration, which came possibly via the work of Jean-Louis Demarne. Leprince quickly learnt to vary the contents of his paintings: at the Salon of 1822 his entries included three Paris street scenes, three portraits, and two scenes on board a frigate. His numerous Paris street scenes usually depicted some well-known contemporary event..In the last year of his short life Leprince showed himself to be a sensitive watercolour painter and lithographer, publishing a set of twelve lithographs entitled Inconvéniens d'un Voyage en Diligence" (Grove Dictionary of Art). Leprince was credited with inventing a process of aquatint engraving which imitated a sepia wash or Chinese ink. He used this process for a number of Russian costume plates published either singly or bound in sets. The Plates: 1. Comment j'ai perdu mon.. coin? 2. Quand en n'a pas de memiore, il avoir des jambes! 3. La coie et la pluie, que c'est romantique. 4. Plaisantez vous? nous sommesa jeun depuis avant hier. 5. Cruels effets d'une digestion interrompue. 6. Dévouement forcé. 7. Pauvre bibi !! j'en mourrai ..peut etre. 8. Voila ce que c'est que de ne pas mettre en régle. 9. Allons! Allons! Il faut partir. 10. Le courage à l'Epreuve. 11. Les amusements des gentils douaniers. 12. Les douceurs du Retour. Bobins III, 946; Lipperheide 3658. .

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Book number: 05340

Catalogue: Color-Plate Books

Keywords: Books in French Caricatures Coaching French Caricature

[LEPRINCE, Xavier]

Métamorphoses D'Arlequin

Bruxelles: , 1826. Scarce Odyssey of Harlequin As a Character In France's Political Drama 1791-1826 [LEPRINCE, Xavier]. Métamorphoses de'Alequin. Parades. [Jouées sur le Théâtre Français. Bruxelles: n.p. 1826]. First edition. Oblong quarto. Twelve hand-colored lithographed stub-mounted plates, size: 10 5/8 x 14 1/8 inches (271 x 360 mm). Bound late 19th century by G. Carayon in half deep cordovan straight-grain morocco over marbled boards. Bookplate of Ch. Bouret on front pastedown. Some very light foxing mainly on the first plate but still a fine copy. Extremely scarce, with only one copy (at the BM) recorded by OCLC/KVK, and no copies coming to auction within the last thirty-six years. The BM atrributes this album to Henri-Gerard Fontallard but that cannot be so. Close comparison with caricatures signed by Leprince and Fontallard conclusively demonstrate that the style here is dramatically different than Fontallard's but extremely close to Leprince's, particularly in the faces of the figures depicted. A fascinating and intriguing album that appears to be a political allegory with the theater as backdrop and Harlequin as character in the political events in France 1791-1826. The fact that the album was published, without publisher or artist attribution, in Belgium rather than France strongly suggests fear of running afoul of French press censorship laws of the era. Auguste-Xavier Leprince (1799-1826), French painter and lithographer, 'was the son and pupil of the painter and lithographer Anne-Pierre Leprince and the elder brother of the painters Robert-Leopold Leprince (1800-47) and Gustave Leprince (1810-37). Leprince recieved a medal at his first Salon of 1819 for one of six entries, five of which wew landscapes of 17th century Dutch inspiration, which came possibly via the work of Jean-Louis Demarne. Leprince quickly learnt to vary the contents of his paintings: at the Salon of 1822 his entries included three Paris street scenes, three portraits, and two scenes on board a frigate. His numerous Paris street scenes usually depicted some well-known contemporary event..In the last year of his short life Leprince showed himself to be a sensitive watercolour painter and lithographer.." (Grove Dictionary of Art). "G. Carayon was a 19th century French bookbinder. Yvan Christ, in an article in L'Estampille, describes his activity: 'Around 1875, bookbinder Carayon became an art cartonnage [paper over boards] bookbinder, featuring popular bindings in white velin boards and enhanced watercolors, using silk, cloth, leather, and Japon paper. The success of his cartonnage bindings was great. But bindings he made in a more conventional manner should not be forgotten'" (Trans. from Devaux, Dix Siecles de Reliere, p. 351). The Plates: 1. 1re. Parade. - 1791. Columbine délaisée.. 2. 2e. Parade. - 1795. L'Orateur Populaire.. 3. 3e. Parade. - 1795. Le Directorien.. 4. 4e. Parade. - 1799. - Le 18 Brumaire.. 5. 5e. Parade. - 1800. - Le Grenadier des Consuls.. 6. 6e. Parade. - 1808. - Le Chambellan.. 7. 7e. Parade. - 1814. - Le Marquis de Bergame.. 8. 8e. Parade. - 1815. Le Champ de Mai.. 9. 9e. Parade. - 1820. Tartufe.. 10. 10e. Parade. - 1823. Le Diner.. 11. 11e. Parade. - 1825. La Clôture.. 12. 12e. Parade. - 1826. Le Congréganiste. .

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Book number: 02252

Catalogue: Color-Plate Books

Keywords: Books in French Nineteenth-Century Literature

LESLIE, Eliza

New Receipts for Cooking by Miss Leslie

Philadelphia: T.B. Peterson, 1854. Eliza Leslie's Cook Book Reflecting the Cultural and Culinary Trends of Her Time LESLIE, Eliza. New Receipts for Cooking by Miss Leslie. Comprising all the new and approved methods for preparing all kinds of Soups, Fish, Oysters, Terrapins, Turtle, Vegetables, Meats, Poultry, Game, Sauces, Pickles, Sweetmeats, Cakes, Confectionery, Puddings, Corn-Meal, Pies, Rice, Etc. with lists of articles in season suited to go together for breakfasts, dinners, and suppers; and many new receipts, and much useful and valuable information on all subjects whatever connected with general housewifery. Philadelphia: T.B. Peterson, [1854]. Small octavo (7 1/2 x 4 1/2 inches; 191 x 114 mm.). [1]-520, [32, advertisements] pp. Some light foxing throughout. Mid nineteenth century sheep, smooth spine ruled in gilt, black calf label lettered in gilt, yellow endpapers with printed advertisements. Both joints cracked but inner hinges sound. A very good example. A large number of these recipes are from the South, many of which were dictated by colored cooks. Originally published under the title, The Lady's Receipt Book, (1847), and enlarged under the title Miss Leslie's Ladies' New Receipt Book in 1850. Eliza Leslie (1787-1858) was an American author, known for her writings on various subjects, including cooking. She authored several popular cookbooks during the 19th century. Her contributions to the culinary and domestic literature of the 19th century made her a well-regarded figure. Her cookbooks were not only practical guides but also reflected the cultural and culinary trends of her time. New Receipts for Cooking is part of this tradition, providing insights into 19th-century American cooking practices. .

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Book number: 05772

Catalogue: Food

Keywords: Cookery

LEWIS, W., publisher

Naval Victories of Great Britain, from the Commencement of the War in the Year 1803 to 1816;

London: Printed by W. Lewis, 1820. The Naval Victories of Great Britain Scarce Large-Paper Issue with Forty-Two Hand Colored Aquatint Plates LEWIS, W. publisher. Naval Victories of Great Britain, from the Commencement of the War in the Year 1803 to 1816; Being a series of coloured views of naval engagements, from drawings by officers in the actions represented. London: Printed by W. Lewis, [1820]. Folio (14 x 10 1/4 inches; 356 x 260 mm.). Letterpress title and forty-two hand colored aquatint plates by Sutherland, Bailey, Lewis and others, all mounted on gray paper with pen-line borders. Manuscript list of plates loosely inserted. Contemporary half dark olive scored calf over brown pebble-grain cloth boards, ruled in gilt. Smooth spine elaborately decorated and lettered in gilt, brown endpapers, all edges gilt. Joints expertly repaired. A series of aquatints depicting British naval engagements during the Napoleonic Wars and the War of 1812, including such celebrated encounters as the Battles of Trafalgar on 21 October 1805 and single ship actions such as that between USS Chesapeake and HMS Shannon on 1 June 1813. The aquatint plates are similar in style and compositions to those used to illustrate James Ralfe's Naval Chronology of Great Britain (1818) and James Jenkins' Naval Achievements of Great Britain (1817), though possibly more scarce. This example is close in size to copies of the Naval and the Martial achievements that we have in our inventory. This issue appears to be untraced. The plates are arranged chronologically, and would appear to be collected from Ralfe's Naval Chronology (1820) and issued without the text, under the above title. OCLC locates just two examples (both with forty-two plates) in libraries and institutions worldwide: Yale University Library (CT/USA) and The Alexander Turnbull library (New Zealand). Bobins IV, 1283; Abbey, Life 342; Prideux, 348; Tooley, 392; (the last three referring to Ralfe's Naval Chronology of Great Britain). The Plates: 1. Frontispiece. Trafalgar - Statue & Columns [Untitled] 2. Defeat of Adml. Linois by Commodore Dance, Feby.15th 1804. 3. Defence of the Centurion in Vizagapatam Road, Septr. 18th 1804. 4. Sir Graham Moore's Action, Octr. 5th 1804. 5. Sir Graham Moore's Action off Cape St. Mary, Octr. 5th 1804. 6. Sir Robert Calder's Action, July 22nd 1805. 7. Situation of the hostile Squadrons on the Morning of the 23rd July, 1805. 8. Capture of La Didon, Augt. 10th 1805. 9. Situation of the Temeraire at half past 3 p.m. October 21st, 1805. 10. Sir Richd. Strachan's Action, Novr. 5th 1805. 11. Capture of La Gueriere - July 19th 1806. 12. Capture of the Maria Riggersbergen, Octr. 18th 1806. 13. The squadron under the command of Sir J.T. Duckworth forcing the narrow channel of the Dardanelles. February 19th 1807. 14. Destruction of the Turkish Fleet, Feby. 19th 1807. 15. Capture of La Thetis, Novr. 10th 1808. 16. The Theseus, Captn. J. Beresford, leading the British squadron of 4 sail of the line, near the Isle of Grouais, in the face of the Brest fleet of 8 sail of the line, obliging them to haul their wind & preventing their joining the l'Orient squadron then laying ready to put to sea, Feby. 24th 1809. 17. The Prometheus & Melpomene, standing into the Gulph of Riga, to meet the boats of the British Squadron, and prizes cut out during the night. August, 1809. 18. Capture of La Furieuse, Augt. 6th 1809. 19. Capture of La Furieuse, Augt. 6th 1809. 20. Capture of Le Sparviere, May 3rd 1810. 21. The Spartan, Captn. J Brenton, engaging a French squadron in the Bay of Naples, May 3rd, 1810. 22. Capture of the Island of Banda, Augt. 9th 1810. 23. Sir W. Hoste's Action off Lissa, March 13th 1811. 24. The Imperieuse & Shames attacking a Castle and Gun boats, Novr. 2nd 1811. 25. Capture of the Pomone. Novr. 29th 1811. 26. The Leviathan, Imperieuse, Curacoa, and Eclair attacking two towns on the coast of Genoa, June 27th 1812. 27. The Imperieuse & Cephalus engaging an enemy's squadron in sight of the town of Naples. Augst. 17th 1812. 28. Capture of the Argus, August 14th 1813. 29. Destruction of the Flibustier, Octr. 13th 1813. 30. The squadron under the command of Rear Adml. Stopford engaging three French frigates. 31. The Squadrons Becalmed. 32. The Northumberland, Captn. Hotham engaging two French frigates. 33. Capture of Curacoa. 34. The squadron under the command of Sir J. Brisbane attacking Fort Maurigio. 35. Surrender of Tamatave. 36. Destruction of the French frigates l'Arianne & l'Andromache. 37. The Rinaldo, Captn. J Anderson engaging four privateers. 38. Battle of Trafalgar. 39. Bombardment of Algiers. 40. The action renewed by night. 41. Capture of the Pomona. 42. Trafalgar Column - To Commemorate the Exploits of the British Navy [Untitled]. .

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Book number: 05570

Catalogue: Color-Plate Books

Keywords: English History Naval and Military

LIÈVRE, Édouard; HOLLOWAY, binder

Works of Art in the Collections of England

London: Holloway and Son, 1873. One of a Very Few Copies Specially Bound by Holloway LIÈVRE, Édouard. Works of Art in the Collections of England. Drawn by Édouard Lièvre author of: "Collections Célébres D' Oeuvres D'Art en France" and engraved by Bracquemond, Courtry, Flameng, Greux, Le Rat, Lhermitte, J. Lièvre, Muzelle, Rajon, Randall and Valentin. London: Holloway and Son, [1873]. One of 100 Proof Copies printed on fine paper. Large folio (19 15/16 x 13 5/8 inches; 507 x 345 mm.). [i, half-title], [ii, limitation leaf], [iii, title-page, printed in red and black with India Paper portrait affixed], [iv, photograph of lady on horseback affixed to page], [v-viii, list of subscribers, printed in red and black], [ix-x, contents leaf, printed in red and black], [1-50, text leaves printed in red and black]. Fifty proof plates on India Paper, each one interleaved with a blank. Some very light intermittent foxing to a few leaves, otherwise fine. Publisher's Deluxe Binding of full green morocco (stamp-signed in black on front turn-in) "Bound by Holloway". Covers very elaborately decorated in gilt, spine with five raised bands, also elaborately decorated and lettered in gilt in compartments. Double-ruled gilt board edges, elaborate gilt tooled wide turn-ins, all edges gilt. Armorial Shield "Advance With Courage" stamped in gilt on front paste-down. Slight fading to front cover edges and spine, still a very fine example. "The objects of art selected for representation are from many of our most famous collections, including those of Her Majesty, Sir Richard Wallace, Sir Dudley Marjoribanks, Barons Lionel and Anthony de Rothschild, and the British and South Kensington Museums. The examples have been chosen with judgment, and what with the exquisite beauty of the original objects, and the wondrous accuracy and art of their reproduction on paper, this rare portfolio is well worthy of a place among the chief treasures of any art library, public or private." "This very beautiful book was issued for Subscribers only; a few copies were printed in excess,of which there remains a limited number.. The objects suitable for reproduction have been carefully selected from the celebrated Collections, several of the most distinguished Amateurs having placed their treasures at the disposal of the artists and publishers." Published 1873 @ £15.15.00). (Bernard Quaritch's October 1883 Catalogue of Works on the Fine Arts, the Galleries, etc.). This copy was a sometime purchased from Bernard Quaritch of London (their collation marks in pencil at back). .

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Book number: 04399

Catalogue: Illustrated Books

Keywords: HOLLOWAY, binder Fine Bindings Classical History Limited Editions Art

LINCOLN, Mary J.

Mrs. Lincoln's Boston Cook Book

Boston: Roberts Brothers, 1888. One of the First American Cook Books To Provide Scientific Information about Nutrition and the Chemistry of Cooking LINCOLN, Mary J. Mrs. Lincoln's Boston Cook Book. What to do and what not to do in cooking. By. Mrs. D.A. Lincoln, of the Boston Cooking School. Boston: Roberts Brothers, 1888. Fifth printing (the same pagination as the 1884 first edition). Small octavo ( 7 3/8 x 4 7/8 inches; 187 x 124 mm.). xiv, [2, adverts], 536, [8, adverts] pp. Several woodcut illustrations in the text. Publisher's half brown cloth over marbled boards, spine ruled in black and lettered in gilt, pale gray endpapers. Small piece (3 x 7/8 inch) torn away from front free endpaper. Binding extremities a little rubbed, otherwise a very good copy. The milestone cookbook from Mary J. Lincoln (1844-1921) the first principal of the Boston Cooking School and a student of Maria Parloa. The work was "undertaken at the urgent request of the pupils of the Boston Cooking School, who have desired that the receipts and lessons given during the last four years in that institution should be arranged in a permanent form." Considered one of the earlier American cookbooks to provide scientific information about cooking and nutrition, it helped set the pattern of rational organization for cookbooks to come. Lincoln was also the teacher of Fannie Farmer who based her own book, the Boston Cooking School Cookbook, largely on this work. Mary Johnson Bailey Lincoln (1844-1921) was an influential Boston cooking teacher and cookbook author. She used Mrs. D.A. Lincoln as her professional name during her husband's lifetime and in her published works; after his death, she used Mary J. Lincoln. Considered one of the pioneers of the Domestic Science movement in the United States, she was among the first to address the scientific and nutritional basis of food preparation. During her years at The Boston Cooking School, she researched and wrote Mrs. Lincoln's Boston Cook Book: What to Do and What Not to Do in Cooking, published by the Boston firm of Roberts Brothers in 1884. She later observed, "This was done primarily to meet the need of a textbook for our pupils and save the copying of recipes .." It was one of the first American cook books to provide scientific information about nutrition and the chemistry of cooking. It also help set a pattern for the rational organization of cookbooks, and was among the first in America to provide recipes formulated with consistent measurements. It should be seen as the fore-runner to the world-famous Boston Cooking-School Cook Book by Fannie Merritt Farmer, Mrs. Lincoln's most prominent student who eventually succeeded her as principal of the Boston Cooking School. In addition, Mrs. Lincoln's Boston Cook Book included extensive advice for those who wished to operate a school of cooking in a chapter entitled "An Outline of Study for Teachers." Mrs. Lincoln touted her book as "not only a collection of recipes," but a book "which shall also embody enough of physiology, and of the chemistry and philosophy of food, to make every principle intelligible to a child and interesting to the mature mind.". .

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Book number: 05766

Catalogue: Food

Keywords: Cookery

LISLE, Joseph

Joe Lisle's Play Upon Words

London: Thomas M'Lean, 1828. A Delightful Gallimaufry of Visual Wordplay, Corniness, and Puns in Caricature Forty Hand Colored Aquatint Plates LISLE, Joseph. Joe Lisle's Play Upon Words. London: Thomas M'Lean, 1828. First edition. Small oblong quarto (6 5/8 x 10 3/8 inches; 169 x 268 mm.). Letterpress title-page. Forty hand colored aquatint plates. Title-page and plates watermarked "1825". Bound ca. 1920 by Bayntun of Bath (stamp-signed on verso of front free endpaper). Full crimson straight-grain morocco, covers with decorative gilt borders. Spine with five raised bands decoratively tooled and lettered in gilt in compartments, decorative gilt turn-ins, marbled endpapers, all edges gilt. With the armorial bookplate of Harry Lawrence Bradfer-Lawrence (1887-1965) on front paste-down. Some very occasional marginal soiling, the fifth color plate with a short (one inch) repaired lower marginal tear, otherwise a near fine copy. Here, then, is a charming collection by a journeyman satirical caricaturist who, if not a peer of his contemporaries Cruikshank, Seymour, Heath, Alken, and Woodward, left a notable mark, however small, in the field. As such, any work by Lisle should be considered for any serious collection of British caricature. As to why so little is known and so little produced by Lisle, one can only speculate that he was, as many journeyman artists and tradesmen of his time, perhaps a little too familiar with the inside of a bottle of ardent spirits. OCLC/KVK record only four copies in institutional holdings worldwide. Joseph Lisle (1798-1839) was a comedian, actor and artist who enjoyed a moderately successful career as a caricaturist in London during the 1820s and 30s. Based upon a small collection of individual caricatures found in the British Museum, Joseph Lisle specialized in visual wordplay and social satire. Humorous prints bearing his name began to appear the late 1820s in the windows of several London print-sellers, with Thomas McLean, G.S. Tregear and George Hunt being amongst his most noteworthy patrons. His caricatures usually dealt in pun-based humor and were chiefly rendered in etching and aquatint. George Hunt, who was an engraver as well as a print-seller, helped Lisle to realize several of his designs on copper, although intriguingly did not publish all of the plates he etched. Typical examples of his work include The Man of Taste (c.1828 - 1830), which shows a man asking a butcher to cut him some boiled beef with "a Ham'y Knife to give it a Relish." And Cheap Music (1820 - 1828), in which the owner of a music shop advises a frugal customer that the only "cheap fiddles" to be had in the area are the phoney elixirs sold by the quack doctor next door. His most substantial endeavor in the field of pun-prints was Joe Lisle's Play Upon Words, a series of 40 engravings published in a collected edition by Thomas McLean in January 1828. Muggy Weather, the seventeenth plate in the series, sets the tone for what follows, showing group of laborers downing large mugs of beer to refresh themselves on a warm day. The humor my be decidedly old old fashioned by our standards but it undoubtedly appealed to his contemporaries, as another notice from The Weekly Dispatch makes clear: Lisle was seemingly less preoccupied with overt forms of political or social satire, although his few forays into this field are worthy of consideration. The World. When a man is down - keep him down (1830) for example, offers a bleak view of the hardships of contemporary life and hints at Lisle's Radical sympathies. The pro-Radical journal Figaro in London also recommended one of his political prints to its readers. The Plates: 1. A Stage Manager 2. A Stable Character 3. My Hog & I. (Mahogany) 4. Elegant Extracts 5. Sootable (Suitable) Characters 6. A Charger 7. A Sophist-Ical Argument 8. An Action off Spit-Head 9. Taking a Galloway. (Girl Away) 10. The Dread-Nought taking A Smack 11. Moore's (Blackamoors.) Loves of the Angels 12. A Pioneer. (A Pie-on-here) 13. Misadvised. (Miss-advised) 14. A Dutch Place. (Plaice) 15. May we meet more numerous & never less respectable 16. Metaphysics. (Met-he-Physics?) 17. Muggy Weather 18. (History) His-story 19. A Diving Belle 20. The Infant in Arms 21. A Man Milling her. (Milliner) 22. Mistaken. (Miss-taken) 23. Canon Law. (Cannon) 24. A very amusing Company. (Ham-using) 25. A Common Sewer. (Sower) 26. Empailed. (Him pailed) 27. Mutual Civility 28. An Armless (Harmless) Character 29. Coming off with a claw (éclat) 30. A Grenadier. (Granny-dear) 31. A Coal Meter. (A Coal meet-Her) 32. A Rain Bow. (Beau) 33. An Officious Character. (O-Fish's) 34. A Jewel. (A Jew-Ill.) 35. A Sub-Lime Character 36. A Cutlass. (Cut-Lass) 37. A Chaste Character. (Chased) 38. An Ad-mired Character 39. Lath 40. Plaister Bobins II, 684; Not in Abbey, Prideaux or Tooley. .

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Book number: 05684

Catalogue: Color-Plate Books

Keywords: Fine Bindings Caricatures

LOUTHERBOURG, Philipp Jakob de

Romantic and Picturesque Scenery of England and Wales, the

London: Printed for Robert Bowyer.. by T. Bensley, 1805. Eighteen Fine Hand Colored Aquatint Views Of England and Wales LOUTHERBOURG, P.J. de. The Romantic and Picturesque Scenery of England and Wales, From drawings made expressly for this undertaking by P.J. de Loutherbourg, Esq. R.A. With historical and descriptive accounts of the several places of which views are given. Engraved by William Pickett, and coloured by John Clark. London: Printed for Robert Bowyer.. by T. Bensley, 1805.   First edition, first issue. Folio (18 3/8 x 13 1/4 inches; 467 x 333 mm.). [2], [36] leaves. Two title-pages and two leaves of descriptive text for each plate (titles and text in both English and French; the French text in double-columns). Eighteen hand-colored aquatint plates. Text and plates watermarked J. Whatman 1801 and 1805. A few light marginal stains to some text leaves, overall a near fine copy. Recently rebound to contemporary style in full dark green straight-grain morocco. Covers with gilt ruled borders enclosing a decorative gilt border. Spine richly gilt decorated and lettered in compartments, decorative gilt turn-ins, marbled end-papers. First issue copies contain a signature and imprint underneath each plate and watermarks no later than 1805. Abbey, Scenery, 9. Tooley 305. . .

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Book number: 02690

Catalogue: Color-Plate Books

Keywords: Topography Views

LUND, F[rederik] C[hristian]; KITTENDORFF, Johann Adolf

Danske Nationaldragter

Copenhagen: [C.W. Stinck], 1862. Danish National Costumes Thirty Superb Hand Colored Lithographs LUND, F[rederick]. C[hristian]. (illustrator). Danske Nationaldragter. [Lithographerede af Ad. Kittendorff]. Copenhagen: [C.W. Stinck], 1862. [Second enlarged edition]. Large folio (17 1/8 x 12 7/8 inches: 435 x 327 mm.). Title page with outline map of Denmark printed in black, title, author and date calligraphed in red. Thirty mounted, exquisitely hand colored lithograph plates with very detailed backgrounds, a few heightened with gum arabic. All plates within a wide gold frame with captions in Danish, three of which are signed and dated 1861. A few plates with very minor foxing. The plates lithographed by Johann Adolf Kittendorff (1820-1902). Bound ca. 1920 by Anker Julius Kyster (1864-1939) in half brown morocco over patterned green cloth boards, smooth spine decoratively tooled and lettered in gilt, 'watered silk' endpapers and paste-downs, all edges gilt. Unidentified Ex Libris book-plate of verso of front flyleaf. A wonderful example of an extremely rare and beautiful color-plate costume book. Unrecorded 'Large Paper' edition, with eighteen additional plates not found in the first edition of 1850, and preceding the second edition of 1890 noted by Hiler, Colas, and Lipperheide. The actual plate sizes are 9 7/8 x 6 7/8 inches; 251 x 175 mm.). OCLC /KVK note only two copies, at Yale and the Boston Athenaeum. There are, incredibly, no copies at Det Kongelige Bibliotek, Denmark. Frederick Christian Lund (1826-1901) was a Danish soldier and genre painter. He began sketching local country people in their best Sunday attire while serving in the army during the First Schesvig War (1848-1851). His representations, a valuable record of regional dress in the first half of the nineteenth century, met with such success that after the war and after Denmark had lost the provinces of Schvesvig and Hostein to the Prussians in that conflict. Lund was commissioned in 1864 to complete drawings depicting the traditional costumes of the other Danish regions. The Plates: 1. En Pige fra Valby. 2. En Skovshovedpige. 3. En Fisker fra Skovshoved. 4. En siaellandsk Bonde. 5. En Hedebopige. 6. En Amager Pige. 7. En Mand fra Amager. 8. En Kone fra Haudrup. 9. En Pige fra Refsnaes. 10. En Pige fra Laeso. 11. En Mand fra Fuur. 12. En Mand fra Mors. 13. En Kone fra Salling. 14. En Pige fra Ringkiobing Egnen. 15. En Mand fra Randers-Egnen. 16. En Pige fra Blaavandshuk. 17. En Kone fra Fano. 18. En Kone fra Romo. 19. En Kone fra Amrum. 20. En Pige fra Fohr. 21. En Kone fra Ostenfeldt. 22. En Pige fra Dannevirke. 23. En Pige fra Aero. 24. En Kone fra Avernako. 25. En Kone fra Dreio. 26. En Kone fra Falster. 27. En Kone fra Bornholm. 28. En Kirkedragt fra Bornholm. 29. En Pige fra Ofjord. 30. En Pige fra Modrevallis. Bobins IV, 1244; Cf. Colas 1917-1918; Cf. Hiler p. 554-555; Cf. Lipperheide 1048. .

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Book number: 05685

Catalogue: Color-Plate Books

Keywords: KITTENDORFF, Johann Adolf Costume Fashion

BULWER-LYTTON, Edward; LIMITED EDITIONS CLUB; MARDERSTEIG, Giovanni, printer; CRAEMER, Kurt, illustrator

Last Days of Pompeii, the

Verona: Printed for the members of The Limited Editions Club at the Officina Bodoni Verona, 1956. The Pen is Mightier than the Sword" BULWER-LYTTON, Edward. The Last Days of Pompeii. With an Introduction by Edgar Johnson & Illustrations by Kurt Craemer. Verona: Printed for the members of The Limited Editions Club at the Officina Bodoni, 1956. Limited to 1,500 copies signed by Giovanni Mardersteig and Kurt Craemer, this being no. 1483. Royal octavo (10 7/8 x 7 inches; 276 x 178 mm.). 538 pp. Illustrated throughout with designs by Kurt Craemer. Publisher's full light-gray linen printed with an overall design in dark-gray, spine with red cloth label lettered in gilt, top edge stained yellow, others uncut. A fine copy in the original light-gray dust jacket, spine lettered in black. Housed in the publisher's light-gray slipcase, spine with white label printed in black. The Last Days of Pompeii is a novel written in 1834. The novel was inspired by the painting The Last Day of Pompeii by the Russian painter Karl Briullov, which Bulwer-Lytton had seen in Milan. The book culminates in the cataclysmic destruction of the city of Pompeii by the eruption of Mount Vesuvius in AD 79. The novel uses its characters to contrast the decadent culture of 1st-century Rome with both older cultures and coming trends. The protagonist, Glaucus, represents the Greeks who have been subordinated by Rome, and his nemesis Arbaces the still older culture of Egypt. Olinthus is the chief representative of the nascent Christian religion, which is presented favorably but not uncritically. The Witch of Vesuvius, though she has no supernatural powers, shows Bulwer-Lytton's interest in the occult - a theme which would emerge in his later writing, particularly The Coming Race. Edward George Bulwer-Lytton, 1st Baron Lytton (1803-1873), was an English novelist, poet, playwright, and politician. He was immensely popular with the reading public and wrote a stream of bestselling novels which earned him a considerable fortune. He coined the phrases "the great unwashed", "pursuit of the almighty dollar", "the pen is mightier than the sword", "dweller on the threshold", as well as the well-known opening line "It was a dark and stormy night". Kurt Craemer (1912-1961) was a German artist who studied under Paul Klee. Limited Editions Club Bibliography, 270. .

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Book number: 03678

Catalogue: English Literature

Keywords: LIMITED EDITIONS CLUB MARDERSTEIG, Giovanni, printer CRAEMER, Kurt, illustrator Illustrated Books Classical History Nineteenth-Century Literature Signed Limited Edition

MACKENZIE, Colin

Mackenzie's Five Thousand Receipts in All the Useful and Domestic Arts

Philadelphia [&] Pittsburgh: James Kay, Jun. and Brother; C.H. Kay & Co., 1829. A Compendium of Practical Knowledge MACKENZIE, Colin. Mackenzie's Five Thousand Receipts in all the Useful and Domestic Arts: Constituting A Complete Practical Library relative to [and including] Agriculture, Bees, Calico printing, Carving at table, Cements, Confectionary, Cookery, Crayons, Dairy, Diseases, Distilation, Dying, Enamelling, Engraving, Farriery, Food, Gardening, Gilding, Glass, Health, Inks, &c, Jewellers pastes, Lithography, Medicines, Metallergy, Oil colours, Oils, Painting, Pastry, Perfumery, Pickling, Pottery, Preserving, Scouring, Silk, Silk worms, Silvering, Tanning, Trees of all kinds, Varnishing, Water colours, Wines, &c, &c, &c. A new American from the latest London Edition. With numerous and important additions generally; and the medical part carefully revised and adapted to the climate of the U. States; and also a new and most copious index by an American Physician. Philadelphia: James Kay, Jun. and Brother.. Pittsburgh: C.H. Kay & Co. [1829]. Fourth American edition. Octavo (8 5/8 x 5 1/2 inches; 220 x 140 mm.). Text printed in double columns. [1]-455. [1, blank] pp. Pages 419-425 contain 26 woodcut illustrations. Several gatherings quite browned, some foxing and staining throughout. Contemporary tree calf, smooth spine, decoratively tooled in gilt in compartments, red morocco label lettered in gilt, inner hinges strengthened. Top of spine expertly repaired. Pages 419-425 "Instructions in the Art of Carving" contain twenty-six wood engravings showing various meats and fish. Mackenzie's Five Thousand Receipts serves as a compendium of practical knowledge for 19th-century households, covering a wide spectrum of subjects. It reflects the practical concerns and interests of individuals during that period, offering insights into domestic and agricultural practices, culinary arts, health, and various useful arts. Bitting p.299; Cagle 505 Oxford p. 152 (citing the 1823 London edition). .

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Book number: 05774

Catalogue: Medicine

Keywords: Food Cookery

MADOU, Jean-Baptiste; HAMELRYCK, Jean-Louis Van

Costumes Belgiques, Civils, Militaires, Religieux, Anciens Et Modernes

Bruxelles: J.B.A.M. Jobard, 1825. A Superb Set in the Original Wrappers of Madou & Van Hamelryck's Costumes of Belgium Complete with 124 Fine Hand Colored Lithograph Plates MADOU, Jean-Baptiste, and [Jean-Louis Van HAMELRYCK]. Costumes Belgiques, Civils, Militaires, Religieux, Anciens et Modernes. Dessinés par Madou. Vingt-cinq livraisons de cinq planches, et une feuille de texte. Bruxelles: J.B.A.M. Jobard & Jobard Freres, 1825, 1826, 1827, 1828 & 1830. First edition in the original twenty-five parts as issued. Folio (12 3/8 x 9 1/2 inches; 314 x 241 mm.). [i-ii, engraved vignette title-page, verso blank], [iii]-iv, Introduction, [1-9]; [10-17]; [18-25]; [26-33]; [34-41]; [42-49]; [50-57]; [58-65]; [66-73]; [74-81]; [82-89]; [90-97]; [98-105]; [106-113]; [114-121]; [122-129]; [130-137]; [138-145]; [146-153]; [154-161]; [162-169]; [170-177]; [178-185]; [186-193]; [193-196], [i]-iv, table. pp. Paper fault on lower margin of pp. 58-59 (part 11), not affecting text. Complete with 124 fine hand colored lithograph plates, the first 55 signed by Madou, plates 56-124 signed by Van Hamelryck. Plate 68 (part 14) with small stain just touching image; plates 69 & 70 with blank lower right hand corner torn away, not affecting images; Plate 94 (part 17) with stains to outer blank margins, not affecting image; Plate 96 (part 20) with very slight marginal foxing, plates 97, 98 & 100 with light marginal staining, none affecting images; Plate 111 (part 23) with light marginal staining, not affecting image; Plates 116, 117, 119 & 120 (part 24) with light marginal staining, not affecting images; Publishers lithographed blue/gray wrappers with advertisements on back covers. Wrapper of part 14 with small tear to lower corner of spine. Aside from the aforementioned minor faults this is a near fine set. A remarkable survival, housed in a tan cloth chemise within a full red straight-grain morocco folding case, smooth spine decoratively ruled and lettered in gilt in compartments, marbled edges. "Some of the first plates are drawn by Madou, while the last 60 bear the letters V.H. or the full name Van Hemelryck with the dates 1828 to 1830. Cf. Vinet No. 2208, where the work is listed under J. Madou." (Von Lipperheide II, 963). Jean-Baptiste Madou (1796-1877) was a Belgian painter and lithographer. Madou was born in Brussels. He studied at the Brussels Academy of Fine Arts and was a pupil of Pierre Joseph Célestin François. While draftsman to the topographical military division at Kortrijk, he received a commission for lithographic work from a Brussels publisher. It was about 1820 that he began his artistic career. Between 1825 and 1827 he contributed to Les Vues pittoresques de la Belgique, to a Life of Napoleon, and to works on the costumes of the Netherlands, Costumes Belgiques, Civils, Militaires, Religieux, Anciens et Modernes (1825-1830), XII dessins lithographies pour 1833 and later made a great reputation by his work in La Physionomie de la société en Europe depuis 1400 jusqu'à nos jours (1836) and Les Scenes de la vie des peintres and Soixante-Dix Vues Pittoresques de la Hollande, de la Belgique et du Grand-Duche de Luxembourg (1842). Madou was also the lithographer for most of the hand-colored plates in Jean Joseph de Cloet's rare Voyage Pittoresque en Belgique.. collection comprenant plus de 200 vues interessantes.. (1835). "His works would appear to be scarce on the market" (Bobins II, p. 46). Jean-Louis Van Hamelryck (active 1825-1850) was a Belgian painter and lithographer. Several of his works are in the Rijks Museum, Amsterdam. Bobins II, 538; Brunet III, 1289; Colas, 1932; Hiler, p. 560; Lipperheide II, 962. .

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Book number: 05473

Catalogue: Color-Plate Books

Keywords: HAMELRYCK, Jean-Louis Van Books in French Books in Parts Costume

MALO, Charles

Voyage Pittorèsque de Paris Au Havre

Paris: Louis Janet, 1828. A Color-Plate Tour Down the River Seine [MALO, Charles]. Voyage Pittorèsque de Paris au Havre sur les Rives de la Seine. Paris: Louis Janet, [1828]. First edition. Sixteenmo (5 3/4 x 3 1/2 inches; 146 x 89 mm.). [viii], [1]-207, [1, blank] pp. Hand colored copper-plate vignette title-page of a steam ship on the Seine and ten charming hand-colored copper plates depicting a journey down the Seine from Paris to Le Havre. Beautifully bound ca. 1960 in full maroon straight-grain morocco, covers richly decorated in gilt with an inlaid central oval of olive green morocco and four small red flowers in corners. Spine with five raised bands, decoratively ruled and lettered in gilt and with inlaid red or olive green oval panels decorated in gilt. Decorative gilt ruled board edges, decoratively ruled turn-ins, marbled endpapers and original? pink paper wrappers bound in. All edges gilt. A truly wonderful copy of this charming little tour down the river Seine. "An anonymously published travel account by Paris historian and man of letters, Charles Malo. It has been suggested that the publisher was possibly Jules Didstaire. Historian Malo's work has been described as "one of the most charming of almanacs from French publisher Louis Janet." The handcoloured copper engraved plates show St. Denis, Poissy, Triel, Mantes, La Roch Guyon, Le Petit Andelys, Elbeuf, Rouen, the mouth of the Seine and Le Havre." (Bobins). Barbier IV, 1094; Bobins III, 947; Querard, La France Litteraire V, 476; Hoefer xxxii; Not in Abbey or Tooley. .

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Book number: 04876

Catalogue: Color-Plate Books

Keywords: Books in French French History Voyages and Travels

MAMOULIAN, Rouben; ROGERS, Richard; HAMMERSTEIN, Oscar 2nd

Oklahoma!

New York: Random House, 1943. First Edition, Warmly Inscribed by Rouben Mamoulian The Director of the Pulitzer Prize Winning Musical - Oklahoma [MAMOULIAN, Rouben, director]. ROGERS, Richard. HAMMERSTEIN, Oscar 2nd. Oklahoma! A Musical Play by Richard Rodgers and Oscar Hammerstein, 2nd. Based on Lynn Riggs' Green Grow the Lilacs. Book and Lyrics by Oscar Hammerstein, 2nd. New York: Random House, [1943]. Inscribed on the front free endpaper "For Ken - With thanks for the warm enthusiasm with which he appreciates the right and the beautiful wherever he finds it. Rouben [Mamoulian]". First edition. Small octavo (8 x 5 3/8 inches; 203 x 137 mm.). [x], [1]-146 pp. Photogravure frontispiece and four photogravure plates. The last few leaves slightly creased at lower corner. Publisher's light gray cloth, front cover with a pair of cowboy boots in blue and brown, spine blocked in brown and blue and lettered in white. A near fine copy in the original pictorial dust jacket, slightly worn at extremities. Oklahoma! is the first musical written by the duo of Rodgers and Hammerstein. The musical is based on Lynn Riggs's 1931 play, Green Grow the Lilacs. Set in farm country outside the town of Claremore, Indian Territory, in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancée, Ado Annie. The original Broadway production opened on March 31, 1943. It was a box office hit and ran for an unprecedented 2,212 performances, later enjoying award-winning revivals, national tours, foreign productions and an Oscar-winning 1955 film adaptation. It has long been a popular choice for school and community productions. Rodgers and Hammerstein won a special Pulitzer Prize for Oklahoma! in 1944. Between the world wars, roles in musicals were usually filled by actors who could sing, but Rodgers and Hammerstein chose, conversely, to cast singers who could act. Though Theresa Helburn, codirector of the Theatre Guild, suggested Shirley Temple as Laurey and Groucho Marx as Ali Hakim, Rodgers and Hammerstein, with director Rouben Mamoulian's support, insisted that performers more dramatically appropriate for the roles be cast. As a result, there were no stars in the production, another unusual step.[8] The production was choreographed by Agnes de Mille (her first time choreographing a musical on Broadway), who provided one of the show's most notable and enduring features: a 15-minute first-act ballet finale (often referred to as the dream ballet) depicting Laurey's struggle to evaluate her suitors, Jud and Curly.[11] Rouben Zachary Mamoulian (1897-1987) was an American film and theater director. Mamoulian was also the first to stage such notable Broadway works as Oklahoma! (1943), Carousel (1945), and Lost in the Stars (1949). .

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Book number: 05884

Catalogue: Books into Film

Keywords: ROGERS, Richard HAMMERSTEIN, Oscar 2nd Inscribed Copies Music Theater Film

MANSION, André Léon Larue

Fancy Ball Dress

London: Printed by Englemann, Hullmandel or Lefevre for W. Spooner, 1831. Mansion's Fancy Ball Dress Complete with Thirty Magnificent Hand Colored Lithographs of the Highest Quality Depicting the Costumes of Europe and Russia MANSION, aka André Léon Larue. [Fancy Ball Dress]. [London: W. Spooner, 1831-32]. First edition. Large folio (18 3/8 x 12 3/8 inches; 467 x 314 mm. Image size 10 1/8 x 8 inches; 258 x 203 mm.). Thirty magnificent hand colored lithograph plates, all heightened with gum arabic, depicting the regional costumes of Europe. The plates were variously printed by Engelmann & Co. C. Hullmandel, Lefevre & Co. and Meifred, Lemercier & Co. All plates mounted on heavy gray paper and captioned in manuscript. All plates with tissue guards. First plate with small offset from leather bookplate, some light marginal foxing, generally not touching the images. Bound ca. 1835 in three-quarter maroon morocco over marbled boards, ruled in gilt. Front cover with rectangular maroon morocco label decoratively bordered and lettered in gilt. Spine with five shallow raised bands decoratively tooled in gilt, marbled endpapers. With the small leather bookplate of French genealogist Gustave Chaix d'Est-Ange (1863-1923) on first blank leaf and his small circular acquisition label dated "12-12-36" on final blank leaf. A superb example of this exceedingly rare and very beautiful costume book. According to Hiler twenty-seven of the color lithographs are by Mansion, one by R.W. Buss, & two are unsigned. These magnificent plates show the costumes of Europe and Russia, but particularly beautiful are those of some of the Cantons of Switzerland. André Léon Larue aka Mansion (1785-1834) was a French Nineteenth Century Artist who is well known for his Costumes of the Royal Navy & Marines (1831-1833), Officers of the British Army (1833-1836), Fancy Ball Dress (1831-1832) and Letters upon the Art of Miniature Painting (1823). Rare: OCLC & KVK locate just one copy in libraries and institutions worldwide: Harvard University Library (MA, US). This exceptionally rare suite of plates when issued, was reviewed by The Spectator where it was described as following on from a series of superb costumes "entitled "Fancy Ball Dresses," of which we have had occasion to speak in terms of admiration, and with whose style most of our readers are familiar, having seen the plates in the prire shop windows for these few months past. The same clever artist (who is a Frenchman, by the way) has commenced a new series of female costumes, denominated "National Ball Costumes," which are got up in the same splendid style of colouring, and are equally distinguished for richness of effect and costliness of materials and ornament. (The Spectator. 3rd December 1831, pp. 20-21). The Plates: 1. Ragusa (L.M.) 2. France Loire Interieure (L. Mansion) 3. North Holland (L. Mansion) 4. Illyrian (L. Mansion) 5. Poland (L. Mansion) 6. Alps (L. Mansion) 7. Spain Catalonia (L. Mansion) 8. Neapolitan (L. Mansion) 9. Saxony (L. Mansion) 10. Tyrolian (L. Mansion 1831) 11. Upper Carniola (L. Mansion 1831) 12. France Provence (L. Mansion) 13. Caucasus (L. Mansion) 14. Greece (L. Mansion) 15. Archangel Russia (L. Mansion) 16. Hungary_Nograd (L. Mansion) 17. Switzerland - Canton of Lucerne 18. Grecian Archipelago; Milo 19. Hungarian (L. Mansion) 20. Wallachia (L. Mansion) 21. Villa Badissia Naples Province de Matera (L. Mansion 1832) 22. Spain - Murcia (L. Mansion 1832) 23. Finland (L. Mansion) 24. Asiatic Turkey Diarbekir (L. Mansion) 25. Russia Novgorod (L. Mansion) 26. Corfu (L. Mansion) 27. Tartary _Tchouvache (L. Mansion) 28. Spain - Madrid (L. Mansion) 29. Tyrol_ Zillerthal (L. Mansion) 30. Persia (L. Mansion) Bobins II, 489; Hiler, p. 567; Not in Colas or Lipperheide. .

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Book number: 05616

Catalogue: Color-Plate Books

Keywords: Costume Dance Women