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4to (210 x 135 mm). French manuscript on paper. 90 ff. Flemish Bastarda in black ink, 26 lines. Bound with 16 strictly contemporary specimens of Turkish silhouette paper, a series of 28 watercolours, heightened in gilt and two extensive, early 19th century manuscript additions (complete transcript of the the travelogue and a biography of the author). Slightly later vellum with ms. title. Unique, fascinating and unpublished manuscript containing the account of a diplomatic journey to the Ottoman Empire in 1570. Braeckle (1540-71), a Flemish physician, "assisted Charles Rym Baron de Bellem, Ambassador of Maximilian II in Constantinople, probably as a secretary. He wrote an account of his journey, which contains interesting details about the places he visited, the manners and customs of the inhabitants, incidents, etc." (Aug. Vander Meersch, in: Belgian National Biography II, 903). Leaving Prague on 13 March 1570, the mission passed through Vienna and then Hungary and Czechoslovakia before entering Ottoman territory, visiting the mosques and caravanserais of Sokollu Mehmed Pasha (c. 1505-79), Grand Vizier of Sultan Selim II (1524-74) who ruled the Turks at the time of Rym's and Braeckle's journey. Their stay in Constantinople lasted from 31 May to 12 August 1570, permitting the author to describe several monuments and works of art. During the journey back they travelled through Bulgaria, Serbia (they were held in Belgrade for nearly a month), and Hungary. The mission ended with their return to Germany on 23 October 1570. Jacques de Braeckle died shortly afterwards, in 1571. - The ms. is accompanied by a beautiful set of 28 original watercolours heightened in gilt. Showing Turkish people in traditional costumes, such illustrations were usually fashioned for sale to travellers in Constantinople or passed on to western merchants. However, as the present set includes the caravanserai of the diplomatic legation, it is extremely likely that these were created with the sole purpose of illustrating the diplomatic mission of Charles Rym, described within the present manuscript. The figures are captioned next to the subjects (16th century Italian script in black ink), indicating that the legends were recorded after the plates were collated and sewn together, or that they were included in books before insertion into the present volume. Among the illustrations are the caravanserai of the ambassadors to Constantinople, Sultan Selim II, the Mufti, costumes of Ottoman dignitaries and the military, a Persian, a Moor of Barbary, a lady in burqa, a Bulgarian, a giraffe, etc. The author of the Italian captions may have been the ambassador Edoardo Provisionali: he was responsible for several diplomatic missions and is known to have appreciated the Ottoman culture; furthermore, de Braeckle left Constantinople in his company (cf. Yerasimos). The manuscript is also bound with 16 remarkable specimens of 16th c. Turkish paper (title in French in pen on the first sheet: "papier de Turquie"). At the beginning of the volume is a transcription, calligraphed in an elegant French cursive of the early 19th century (18 unnumbered ff., black ink, 21 lines per page). The volume ends with a short biography of the author (2 pp., black ink, with the arms of de Braeckle). Yerasimos provides a detailed chronology of the journey, listing the major cities visited as well as monuments and curiosities noted by the travellers. - Only three manuscript copies of the present travelogue are recorded, mostly restricted to family use: two copies are in the National Archives of Belgium in Brussels (Fonds 692 Lalang, 8f., cf. Yerasimos); a third copy is bound in a miscellany and kept at the communal Archives of Ghent. - Binding rubbed, spine detached, in excellent condition internally. - Stéphane Yerasimos, Les Voyageurs dans l'Empire Ottoman (XIVe-XVIe siècles), Ankara, 1991, pp. 286f. Not in Blackmer or Atabey.

Sangorski, Alberto (illustrateur). Small quarto. (11)ff., + 3ff. Signed at the colophon, after the certification statement, by Alberto Sangorski. A unique illuminated manuscript on vellum, in which Sangorski engages with and inserts himself into a genealogy of Neoclassicism. His devotion to the tradition of the medieval manuscript is at once classical and modern, and deeply entrenched in naturalistic aesthetics; the title page features a lush floral border surrounding a field of vines, and a similar border ornaments each page of text. Nine large illuminated initials are intertwined with the greenery, the language itself relying on and supporting the landscape of the page. Sangorski's four miniatures depict scenes of Classical Greek pastoral life, save for the title-page portrait of Gray. These images likewise seat Sangorski himself among the Romantics and Pre-Raphaelites, but also serve the greater purpose of establishing Gray's position as a sort of proto-Romantic. Although that title alone is too simple a reading of Gray's entire corpus, in the context of the specific poetry transcribed by Sangorsk,i the label bears out, the illustrations underscoring the Pindaric structure foundational to the text. The miniatures offer a further valence to the Romantic heritage Sangorski signalsâ "he has styled them rather obviously after Lawrence Alma-Tadema, being equally devoted to texture, reflective surfaces, and tableaux of ancient Greece. Uncommon to Sangorski's series of manuscripts is the penultimate leaf, which bears a short biography of Gray. Bound by Rivière & Son relievo-style, in full blue morocco with an inlaid red morocco and gilt-ruled border around a dense frame of gilt floral and leaf designs, grounded in pointillé and punctuated with dots in dark blue and petals in red. The frame on the upper cover surrounds an arabesque recessed panel containing molded a leatherwork design of a rose bush on which alight a bird, a butterfly, and bees with mother-of-pearl wings. The lower cover identically framed around an arabesque recess, this with molded leatherwork showing blue morning glories inhabited by a moth, a caterpillar, ladybugs, and more bees with mother-of-pearl wings. Spine in six compartments, two with titling in gilt and remaining four with borders of red and gilt around gilt panels. Maroon morocco doublures, blue silk flyleaves, edges gilt. Fine. Housed in a silk-lined box. A.e.g. Bookplate of Cornelius J. Hauck on front flyleaf. (Hauck 668, Lahey 63).

Hardcover. Etat : Very Good. Dust Jacket Included. 3 volumes, folio (20 1/4 x 14 1/4 in.; 51.4 x 36.2 cm). 120 hand-colored lithographed plates, 1 page of lithographed maps, and 17 pp. of subscribers' signatures, Volume I in state C with "War Dance" plate and "Red Jacket" plate in State D; vol II in state B; and vol III in state A. This copy has coloring darker and richer than is sometimes seen; a few plates toned, or with scattered light foxing, minimal offset from text to plates, first volume with "Kiontwogky" plate incorrectly pulled with text smeared below image, "Okeemakeequid" plate with slight shadow to text, "Buffalo Hunt" plate (lightly), and the subsequent text leaf, "Katawabeda" plate creased not affecting image, contents leaf creased. Early crimson half morocco over marbled boards, spine gilt-lettered and with Native American and tomahawk and peace pipe devices, by J. Wright; hinges cracked, all volumes with shelfwear to bindings, a few stray stains, joints and corners rubbed and with some flaking, some oxidation to gilt. Custom red cloth clamshell boxes. Soon after Thomas L. McKenney was appointed Superintendent of Indian Trade in 1816, he struck upon the idea of creating an archive to preserve the artifacts, implements, and history of the Native Americans. The Archives of the American Indian became the first national collection in Washington and were curated with great care by McKenney through his tenure as Superintendent and also when he served as the first head of the Bureau of Indian Affairs beginning in 1824. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to the archives. King would, for the following twenty years, capture the likenesses of the many visiting Indian dignitaries, as well as rework the less skillful watercolors created in the field by the less able James Otto Lewis. Many saw the great value in preserving what was already known to be a vanishing race, but others in government criticized the expenses incurred. The original paintings were deposited with the War Department and eventually transferred to the Smithsonian, where in 1865, a fire destroyed most of them. Consequently, their appearance in Indian Tribes is the only recorded likeness of many of the most prominent Indian leaders of the nineteenth century. McKenney was preparing to publish a collection of the Indian portraits when he lost his position at the Bureau during Andrew Jackson's house cleaning in 1830. Other setbacks befell the project: publishers went bankrupt, investors dropped out, and expenses soared mostly like as a result of the depression that followed the financial panic of 1837. McKenney finally enlisted Ohio jurist and writer James Hall to assist with the project. Hall completed the individual biographies of each subject and put the finishing touches on the general history. Meanwhile, James Otto Lewis, likely bitter that he would receive no credit for his portraits that King had reworked, published his own Aboriginal Port-Folio in 1835. Unfortunately for Lewis, the illustrations were of inferior quality and few of its later numbers were ever completed. By contrast, McKenney and Hall's work was a resounding artistic success-the lithographs were of such impeccable quality that John James Audubon commissioned James T. Bowen to produce the illustrations for a revised edition of his Birds of America. While an artistic tour de force, the work was a financial failure-its exorbitant price prohibited all but the wealthy and public libraries from subscribing to it. REFERENCES: BAL 6934; Howes M129; Reese Stamped with a National Character 24; Sabin 43410a; Viola The Indian Legacy of Charles Bird King. BAL 6934; Howes M129; Reese Stamped with a National Character 24; Sabin 43410a; Viola,The Indian Legacy of Charles Bird King. PROVENANCE: Bruce McKinney, his sale The American Experience: 1630-1890, Bonham's 2 December 2010, lot 223. Acquisition: Sotheby's New York, 21 May 1993, lot 103 (L64F11bisC).

Hardcover. Etat : Very good. First. THE MAJ. GEN. A.A. HUMPHREYS COPY. AN EXTRAORDINARY SUBSCRIBER'S SET WITH ALL 100 PART-WRAPPERS BOUND IN. 7 volumes. Voll. I-V: New York: J.J. Audubon and Philadelphia: J.B. Chevalier, 1840-1841-1841-1842-1842; voll. VI-VII: New York and Philadelphia: J.J. Audubon, 1843-1844. First octavo edition. Royal octavo (10" x 6 3/8", 255mm x 162mm). With 500 hand-colored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly et al., printed and colored by J. T Bowen. Bound by Bradstreet's (signed at the upper edge of the verso of the front free end-paper; late XIXc?; re-backed, with the original back-strips laid down) in contemporary half green crushed morocco over marbled boards. On the spine, five raised bands. Title gilt to the second panel, author gilt to the third, number gilt to the fourth and imprint gilt to the tail. Top edge of the text-block gilt. Marbled end-papers to match the boards. Re-backed, with the original back-strips laid down. Scuffed at the extremities, but altogether a solid set. Foxed mildly throughout, though mostly to the text. Damp-staining to the upper fore-corner of II.191-212 (pp. 113-128), not affecting the text. Part 28 rear wrapper (vol. II) with a repaired hole; scattered small splits and repairs to the remaining wrappers. First free end-papers of voll. 1, 2 and 6 detached. Ownership signature of A.A. Humphreys to many of the wrappers (sometimes obliterated). John James Audubon (1785-1851) was a larger-than-life figure; tall, wildly-dressed, bear fat as hair pomade. His project of illustrating the birds of America, which in its original double elephant folio format was issued in parts 1827-1838, electrified British and continental audiences, and it is from them that the subscriptions to sustain that Atlantean effort were drawn. Once his dominance of the field was established, Audubon could turn to the more natural audience for the subject: Americans. This is the only octavo edition Audubon himself issued, and it allowed him to establish his reputation with those who could not afford the folio edition. The octavo edition is, in a sense, the homecoming of the work. Audubon added 65 plates to the double elephant's 435, bringing the number to 500. Audubon's son John Woodhouse reduced the original plates using a camera lucida, separating out multi-species plates and in many cases recomposing the backgrounds. The original division of the Birds project as plates-only, with the Ornithological Biography issued as a quasi-separate work (in order to avoid copyright deposit requirements), has been cured, so to speak; Audubon's Synopsis of the Birds of America (1839) provided the framework for reorganizing and reintegrating text and image. The project was a success, attracting some 700 subscribers willing to pay $100 for the 100 parts (14 each in voll. I-VI, 16 in vol. VII) issued over five years. The present set is in many ways exceptional, not least for the preservation of the 100 parts' wrappers printed on blue, buff and grey paper (i.e., 200: front and back). The wrappers for the text and plates are bound continuously at the rear of their respective volumes. Rare Book Hub records copies with wrappers bound in coming to auction 12 times, usually incomplete. The present copy belonged to Major General Andrew Atkinson Humphreys (1810-1883), who eventually rose to be Chief Engineer of the United States Army; he is listed among the subscribers of Washington, D.C. Humphreys led his brigade at Antietam, Fredericksburg and, catastrophically, at Gettysburg. Acquired at the Sotheby's New York sale of John Golden (22 November 2022, lot 1). Mr. Golden, long a client of Arader's, has through his life worked in the field of printing. His collection, amassed over forty years, contains examples of finely printed works of natural history. Ayer/Zimmer, p. 22; Bennett, p. 5; Church 1352; McGill/Wood p. 208; Nissen, IVB 51; Reese, American Color Plates Books 34; Sabin 2364.

Folio (214 x 296 mm). 391 ff., lacking only the final blank, otherwise complete. With 19 large Maiblumen initials, large woodcut frontispiece and 275 woodcut illustrations, all in contemporary colour. Contemporary boards, original covering replaced in the 17th century with tooled Spanish leather, boards with supralibros and a complicated brocade design of parallel curved and straight lines, small squares and discs, fixed with a metallic film and glue, painted in reddish gilt, silver, and black; somewhat worn, joints restored, clasps removed, preserved in a dark green cloth Solander box. An influential early work on the lives of the Saints of Christendom, each woodcut in vibrant contemporary colour. The first edition with this illustration cycle; second German edition overall. - This stimulating work is a collection of biographies of the so-called Desert Fathers, both male and female: early Christian hermits who retreated from secular life into the deserts to practice ascetism and a life of devotion. The earliest versions of these "Vitae" were written in the third and fourth centuries and were extremely popular in early monastic circles. There was never a standardized order or set of these texts; rather, they were adapted according to the varying focuses of the convents for which they were made. A special appeal of the printed editions is the great number of often highly vivid woodcut illustrations, which made it easier and more enjoyable to read and hear these stories. Our copy is furthermore heightened with handsome contemporary colouring. - Transmitted under the Latin title of "Vitae sanctorum patrum" or "Vitas patrum", this collection consists of stories about early Christian hermits who, from the third century on, had retreated from cities and villages to the deserts of North Africa and Asia Minor to lead a life of devotion and ascetism. There was never a canonical combination of texts that formed the corpus of the "Vitas patrum"; instead, the choice of texts could vary according to the focus of the respective institution that owned the book. From the sixth century onward, the Rule of St. Benedict recommended the "Vitas patrum" as essential reading for monks. St. Dominic was ardently devoted to the lives of the Desert Fathers, and the influence of these texts on the development of Western monastic culture can hardly be overestimated. Virtually every monastery owned a copy of this "textbook for ascetism" (another designation for these compilations of narratives). In the Middle Ages, these accounts of the lives, deeds, and sayings of the Saints were attributed to St Jerome, although he in fact wrote only three of the biographies: he was responsible for the lives of SS. Hilarion, Malchus, and Paul the Hermit. - The present German edition was preceded only by the one printed in Strasbourg before 1482, by the unknown "printer of the Antichrist". That edition contained only a reduced number of exempla from the original collection, but boasted sayings from sources other than the "Vitas patrum", making this a different and shorter work. For the considerably extended Augsburg edition at hand, the printer Anton Sorg added the Bavarian "Verba seniorum", a collection of about 750 exempla originating in Bavaria, ca. 1400. The printer s purpose was clearly to offer the most complete combination of the German texts on the subject. Apparently, this edition satisfied the demand with regards to content, as later editions were not augmented. - This is one of the most lavishly illustrated incunables printed in Augsburg. It is adorned with 276 woodcuts printed from 204 blocks. The opening full-page woodcut depicts six of the hermits in a landscape; apart from the full-page title cut (195 x 140 mm) and the author portrait showing St. Jerome (100 x 80 mm), the text illustrations measure ca. 73 x 68 mm. - Many of the stories are long adventures, calling for more than one illustration. The story of Malchus the monk, for example, is accompanied by four illustrations: against the insistent warnings of the abbot, Malchus leaves his convent in the desert to visit his native town in Syria to comfort his widowed mother. On their way, the travel group is taken captive by the Saracens. The abductors keep Malchus as their slave and shepherd, after a while urging him to marry a young Christian woman among the other captives. Since she is still married to another man, Malchus is appalled and tries to refuse the alliance. His captors threaten him badly, however, so he yields, and he and his new wife live together in chastity, eventually deciding to escape from the Saracens' camp. In preparation, Malchus slaughters two of his goats, makes bags of their skin, and takes the meat as supplies for their flight. On their way to freedom, they must cross a wide river, and they inflate the goat bags, floating to the other side in safety. - This narrative is remarkable because it invites the illustration of nudity, which would normally be considered indecorous within a pious book from a medieval point of view. While Adam and Eve and perhaps tortured martyrs might appear nude, the theme did not extend much further. Our story, however, explains that the Saracens' slaves were often naked, since their garments would fall to pieces and they were not provided with new ones. - The master of the Sorg cuts knew and used the Strasbourg compositions as models. It is clear that he did not make mere copies, but rather had to adapt the composition from a horizontal image to one that was nearly square. The resulting composition, focused squarely on the bodies in flight, offers a more vivid, physical illustration of the escape. The models for the second part, the exempla, must have been adapted from another source, possibly a manuscript, as the Strasbourg edition provided only four pictures for this part. It is also conceivable that the talented artist who designed the illustrations for the first part also invented the designs for the remaining w.

Hardcover. Etat : Very Good. 1st Edition. 3 volumes, folio (19 ¾ x 14 in.; 50.2 x 35.6 cm). 120 handcolored lithographed plates heightened with gum arabic, including 117 portraits after C.B. King and 3 scenic frontispieces after Rindisbacher, leaf of lithographed maps and table, 17 pages of facsimile signatures of subscribers, leaf of testimonials regarding the genuineness of the portrait of Pocahontas, state C of vol. 1 title-page, state D of the War Dance frontispiece and state F of Red Jacket, vol. 2 title-page in state B, vol. 3 title-page in state A; vol. 3 frontispiece plate trimmed and repaired, faint text offsetting to 4 plates in same, WITHAL AN IMMACULATE, BRIGHT COPY WITH VIVID COLORING. Half green morocco over pebbled green cloth, gilt titles in decorative border on upper covers, the spine in 7 compartments gilt (2 lettered), yellow-coated endpapers; rebacked and recornered to style; covers rubbed, a few water spots on front cover of vol. 2, dampstaining to flyleaves in all three volumes. FIRST EDITION, "OF THE GRANDEST COLOR PLATE BOOK ISSUED IN THE UNITED STATES UP TO THE TIME OF ITS PUBLICATION AND ONE OF THE MOST IMPORTANT OF THE CENTURY" (Reese), with Volumes I and 2 in the second issue, and Volume 3 in the first issue. Its long publication history spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers, but the final product is one of the most important and distinctive books in Americana. Soon after his appointment as Superintendent of Indian Trade in 1816, Thomas L. McKenney struck upon the idea of creating an archive to preserve the artifacts and history of Native Americans. The Archives of the American Indian became the first national collection in Washington and were curated with great care by McKenney throughout his tenure as Superintendent and then in 1824 as first head of the Bureau of Indian Affairs. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to the Archives. For the next twenty years, King would capture the likenesses of the many visiting Indian dignitaries who had come to Washington to meet the "Great Father" (i.e., the president), as well as rework the less skillful portraits of James Otto Lewis. The original paintings were deposited with the War Department and eventually transferred to the Smithsonian, where in 1865, a fire destroyed most of them. Consequently, their appearance in Indian Tribes is the only recorded likeness of many of the most prominent Indian leaders of the nineteenth century. McKenney was preparing to publish a collection of the Indian portraits when he lost his position at the Bureau during Andrew Jackson's house cleaning in 1830. Other setbacks befell the project: publishers went bankrupt, investors dropped out, and expenses soared mostly like as a result of the depression that followed the financial panic of 1837. McKenney finally enlisted Ohio jurist and writer James Hall to assist with the project. Hall completed the individual biographies of each subject and put the finishing touches on the general history. Meanwhile, James Otto Lewis, likely bitter that he would receive no credit for his portraits that King had reworked, published his own Aboriginal Port-Folio in 1835. Unfortunately for Lewis, the illustrations were of inferior quality and few of its later numbers were ever completed. By contrast, McKenney and Hall's work was a resounding artistic success-the lithographs were of such impeccable quality that John James Audubon commissioned James T. Bowen to produce the illustrations for a revised edition of his Birds of America. While an artistic tour de force, the work wasn't a financial success. Its exorbitant price prohibited all but the wealthy and public libraries from subscribing. REFERENCES: BAL 6934; Bennett 79; Field 992; Howes M129; Lipperheide Mc4; Reese, Stamped with a National Character 24; Sabin 43410a; Viola, The Indian Legacy of Charles Bird King (L64F11bisE).

Etat : Very good. First edition run of all 24 novels in the Tarzan series, including TARZAN OF THE APES in the rare original dust jacket and five inscribed books - along with Burroughs's rare 1917 AUTO-BIOGRAPHY and two further Tarzan titles. Tarzan is one of the most recognizable pop cultural icons of the 20th century. Beginning with the novels, but quickly translating to film and beyond, Tarzan soon had his own merchandise, piracies, and international adaptations (including Bollywood films and Japanese manga). Tarzan's relationship with the movies - beginning in 1918, during the early years of popular film - was especially rich. One producer of Tarzan films, Sol Lesser, described Tarzan's global market saturation with only slight hyperbole that "there is always a Tarzan picture playing within a radius of 50 miles of any given spot in the world - in Arab villages, African bush theatres and in pampas settlements down the Argentine way" (quoted in Abate & Wannamaker, 3). But Tarzan enjoyed many revivals in print as well; in 1963 "one out of every thirty paperbacks sold was a Tarzan novel" (Torgovnick, 42). For over 100 years, Tarzan has remained a vivid figure in our popular imagination. Tarzan's world is not all boyhood innocence: it also "embodies a powerful emblem of past white Western imperialism and, correspondingly, of the present colonialization of the world by American culture" (Abate & Wannamaker, 5). But alongside this, Tarzan has remained internationally beloved as a potent mix of the Rousseauian "noble savage" and the Swiftian "stranger in a strange land," - a mythic figure like Romulus and Remus (one of Burroughs's inspirations) or Robinson Crusoe (also an early literary phenomenon). Above all, the books were fun: as Ray Bradbury recollected, "we may have liked Verne and Wells and Kipling, but we loved, we adored, we went quite mad with Mr. Burroughs" (intro to Porges, xviii). This complete collection of the Tarzan novels features one of the rarest and most sought after books in Modern Firsts collecting: a first edition of TARZAN OF THE APES in the original dust jacket. Of the five books inscribed by Burroughs, two are among the earliest in the series: BEASTS OF TARZAN (#3) and SON OF TARZAN (#4). In addition to the novels of the main series, this collection includes the scarce early piece of Burroughsiana, a short memoir commissioned by the Republic Motor Truck Company on one of Burroughs's transcontinental journeys; only a few copies were bound in the deluxe suede binding, apparently for the personal use of the author. The final two included books are TARZAN AND THE TARZAN TWINS, which collects two Tarzan novellas for younger children; and THE OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA, published by Burroughs as a manual for organizing and running a Tarzan fan club. Altogether, these books form an exceptionally comprehensive monument to the Tarzan phenomenon. 27 volumes, most 7.25'' x 5''. Original cloth bindings. All in original dust jackets except RETURN, BEASTS, and SON; EARTH'S CORE in a later Grosset & Dunlap jacket. TARZAN OF THE APES in rarest state, per Currey: title page cancel, W.F. Hall imprint in Gothic lettering, binding without acorn. Additional first editions outside the Tarzan novels: AN AUTO-BIOGRAPHY (1917); TARZAN AND THE TARZAN TWINS (1963); and OFFICIAL GUIDE OF THE TARZAN CLANS OF AMERICA (1939). Jackets of TARZAN OF THE APES, JEWELS, TERRIBLE, GOLDEN LION, and ANT MEN restored; a few others with tape repairs or chipping to edges. Condition ranges from fine copies (TRIUMPHANT, FORBIDDEN CITY) to very good minus (JUNGLE TALES, LORD); overall very good. Five inscribed books: BEASTS, SON, GOLDEN LION, INVINCIBLE, and LEOPARD MEN. AUTO-BIOGRAPHY and FOREIGN LEGION in custom clamshell boxes. A full inventory is available upon request.

3 volumes, folio. (19 3/8 x 13 1/4 inches). 120 hand-coloured lithographic plates after Karl Bodmer, Charles Bird King, James Otto Lewis, P.Rhindesbacher and R.M.Sully, drawn on stone by A.Newsam, A. Hoffy, Ralph Trembley, Henry Dacre and others, printed and coloured by J.T. Bowen and others, vol.III with 2 lithographed maps and one table, 17pp. of lithographic facsimile signatures of the original subscribers. Expertly bound to style in black half morocco over original cloth-covered boards, spines gilt in seven compartments with raised bands, lettered in the second and fourth compartments, the others with repeat decoration in gilt made up from various small tools First edition of "One of the most costly and important [works] ever published on the American Indians"(Field), "a landmark in American culture" (Horan) and an invaluable contemporary record of a vanished way of life, including some of the greatest American hand-coloured lithographs of the 19th century. A fine copy. After six years as superintendent of Indian Trade, Thomas McKenney had become concerned for the survival of the Western tribes. He had observed unscrupulous individuals taking advantage of the Native Americans for profit, and his vocal warnings about their future prompted his appointment by President Monroe to the Office of Indian Affairs. As first director, McKenney was to improve the administration of Indian programs in various government offices. His first trip was during the summer of 1826 to the Lake Superior area for a treaty with the Chippewa, opening mineral rights on their land. In 1827, he journeyed west again for a treaty with the Chippewa, Menominee, and Winebago in the present state of Michigan. His journeys provided an unparalleled opportunity to become acquainted with Native American tribes. When President Jackson dismissed him from his government post in 1839, McKenney was able to turn more of his attention to his publishing project. Within a few years, he was joined by James Hall, the Illinois journalist, lawyer, state treasurer and, from 1833, Cincinnati banker who had written extensively about the west. Both authors, not unlike George Catlin whom they tried to enlist in their publishing enterprise, saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. The text, which was written by Hall based on information supplied by McKenney, takes the form of a series of biographies of leading figures amongst the Indian nations, followed by a general history of the North American Indians. The work is now famous for its colour plate portraits of the chiefs, warriors and squaws of the various tribes, faithful copies of original oils by Charles Bird King painted from life in his studio in Washington (McKenney commissioned him to record the visiting Indian delegates) or worked up by King from the watercolours of the young frontier artist, James Otto Lewis. All but four of the original paintings were destroyed in the disastrous Smithsonian fire of 1865 so their appearance in this work preserves what is probably the best likeness of many of the most prominent Indian leaders of the early 19th century. Numbered among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. This was the most elaborate plate book produced in the United States to date, and its publishing history is extremely complex. The title pages give an indication of issue and are relatively simple: volume I, first issue was by Edward C. Biddle and is dated 1836 or more usually 1837, the second issue Frederick W. Greenough with the date 1838, and the third issue is by Daniel Rice & James G. Clark dated 1842. Volume II, first issue is by Frederick W. Greenough and dated 1838 and the second issue by Rice & Clark and dated 1842. Volume III, first issue is by Daniel Rice & James G. Clark and dated 1844. BAL 6934; Bennett p.79; Field 992; Howes M129; Lipperhiede Mc4; Reese Stamped With A National Character 24; Sabin 43410a; Servies 2150.

Folio; 3 vols. (20 1/16 x 14 1/4 inches). 120 hand-colored lithograph plates, map, and 17-page subscriber list present. State "A" of volumes one and three, state "B" (issued with part 16) of volume two. 19th-century half-Morocco to style over marbled boards, spines gilt. Within individual chemises and slipcases. First edition of this Americana highspot, a profusely illustrated record of prominent nineteenth-century Native Americans, which was "the grandest color-plate book issued in the United States up to the time of its publication." (Reese) Thomas McKenney, a Quaker, was Superintendent of Indian Affairs from 1816-1822. While in this post he became concerned for the survival of Western tribes after observing unscrupulous people taking advantage of Native Americans for profit. McKenney decided to create an archive to preserve the artifacts and history of Native Americans whose culture was disappearing due to settler-colonialism. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to his archive. McKenney helped start the first national collection in Washington, the Archives of the American Indian, and served as curator of this archive while he was Superintendent of Indian Affairs and head of the Bureau of Indian Affairs. Perhaps surprisingly, in his government role, McKenney advocated for Indians to be removed to somewhere west of the Mississippi and the portraits he commissioned make reference to the benefits of missionary and "civilizing" work. He was instrumental in the passage of the 1830 Indian Removal Act, but also criticized some government policies toward Indians, which led President Jackson to dismiss McKenney from his post in 1830. After leaving government, McKenney was able to turn more of his attention to his publishing project recording biographies and portraits of Native Americans. Within a few years, he was joined by James Hall, a journalist, lawyer, and the Illinois state treasurer, who had written extensively about the West. Both authors saw their book as a way of preserving an accurate visual record of a rapidly disappearing culture. The text, which was written by Hall based on information supplied by McKenney, takes the form of a series of biographies of leading figures among the Indian nations, followed by a general history of the North American Indians. The work is famous for its color-plate portraits of chiefs, warriors, and women of various tribes, which are faithful copies of original oils by Charles Bird King. King painted the illustrious Indians from life in his studio in Washington, D.C., where McKenney commissioned him to record visiting Indian delegations from 1821 to 1837. At times King's paintings were worked up from the watercolors of the young frontier artist, James Otto Lewis. All but four of the book's original paintings were destroyed in the disastrous Smithsonian fire of 1865; their appearance in this work preserves what is probably the best likeness of many of the most prominent Indian leaders of the early 19th-century. Among King's sitters were Sequoyah, Red Jacket, Major Ridge, Cornplanter, and Osceola. This was the most elaborate plate book produced in the United States to that date, and its publishing history is complex. Its production spanned eight years, multiple lithographers, and was funded by 1,250 subscribers. The title pages give an indication of issue: Volume I, first issue was by Edward C. Biddle and is dated 1836; the second issue was by Frederick W. Greenough with the date 1838; and the third issue is by Daniel Rice and James G. Clark and dated 1842. Volume II, first issue is by Frederick W. Greenough and dated 1838; and the second issue is by Rice and Clark and dated 1842. Volume III, first issue is by Daniel Rice and James G. Clark and dated 1844. American Color Plate Books, 24; BAL 6934; Bennett, 79; Best of the West, 68; Bowers, 339-40; Field 992; Howes M-129 ("d"); Lipperhiede Mc4; Sabin 43410a; Servies 2150; Stack, 5.

Etat : Very good. History of the Indian Tribes of North America by Thomas McKenney and James Hall. (illustrateur). First Edition, First State. Large Folio (560 x 400mm), in three volumes. Original binding, leather overlay on spine with raised bands, title in gilt on all volumes, restoration to spine and wear at corners. 120 hand colored lithographic plates, with 117 after the portraits of C. King and 3 frontispieces after Rindisbacher and Bodmer, leaf of statements noting the genuineness of the portrait of Pocahontas, 17pp of facsimile signatures of subscribers, uncolored lithographic sheet with two maps and chart of "Localities of all the Indian Tribes of North America in 1833," "Present Localities of the Indian Tribes west of the Mississippi, " and "Statement showing the number of each tribe of Indians." Marbled endpapers, with repair to front free endpaper of Volume 1. Some foxing throughout to text and individual plates, light transference on specific plates. Detailed description of individual plates available. A brilliantly colored set of this important first edition. Original tan paper printed wrappers for all 20 parts included, with 1-19 numbered and #20 noting "Agents For The Indian Biography." All individually sealed in protective mylar covers. According to BAL 6934, the parts offered here were from the following editions: Title Pages (Volume 1, State A - Volume 2, State B - Volume 3, State A), "The War Dance Plate" with 'State A' formatting, the "Red Jacket Plate" with 'State C' printing and the text of "War Dance" with second printing formatting (footnote at bottom of Pg. 3). Considered to be the most important collection of Native American imagery ever compiled, History of the Indian Tribes of North America was the life work of Colonel Thomas McKenney. The book was published in 20 parts, beginning in 1836, and sent to subscribers, who are noted in Volume III of the book. From there, subscribers were to have the book bound by local bookbinders, which accounts for some of the variations in pagination that is common with this work. After the 1865 fire at the Smithsonian, this book became the only record of the likeness of many of the Indian Leaders who are depicted in this work. (Howes M129) (Sabin 43410a) (BAL 6934).

Hardcover. Etat : Fine. An excellent, complete copy bound in late 18th c. russia, gilt, hinges neatly repaired, corners bumped. Illustrated with a full page woodcut on leaf A1 showing an assembly of saints and martyrs, and 85 woodcuts in the text. Wynkyn de Worde's woodcut printer's device (incorporating Caxton's initials) on verso of final leaf. Text printed in Black Letter, in 2 cols of 46 lines. Title and imprint from colophon. Provenance: George Henry Arnold of Ashby Lodge (1791-1844), bookplate on front paste-down. The text is in very fine condition with minor blemishes as follows: scattered light spotting, discreet marginal repairs on leaves Q6, Q8, and Oo4. Tiny single wormhole in the opening leaves, short worm-trail and small wormholes in blank margins of closing gatherings. Other tiny wormholes in the text of the last few gatherings. A few minor marginal repairs. Full-page woodcut, first text leaf, and verso of final leaf lightly soiled, nearly-invisible repair to blank upper margin of first leaf. William Caxton's English rendering of one of the most popular and influential books of the Middle Ages: Jacopo da Voragine's 13th c. collection of lives and legends of the saints, the "Legenda Aurea"(ca. 1267). Caxton tells us that for his English version, first printed in 1483, he drew on Jean de Vignay's (ca. 1282-ca. 1340) French translation, Voragine's Latin original, and the medieval English version known as the "Gilte Legende". Caxton also added new text authored by himself. These included a series of Old Testament lives, beginning with Adam and Eve, and a life of St. Rocke, to which he appended the note, "translated out of Latin into English by me, William Caxton." Caxton's English versions of the biblical stories are of great importance. They are, in essence, the first English translations of sections of The Bible to appear in print. "The most comprehensive of all versions of the 'Legenda', Caxton's 'Golden Legend' augments by about one-third the original Latin. The most obvious difference between the Latin text and Caxton's edition is the greater comprehensiveness of the English work. Although four of the one hundred and eighty-two chapters now regarded as constituting Voragine's work are omitted in Caxton's version, he more than supplies for this deficiency by adding ten chapters on feasts represented in the post-Voragine accretions to the 'Legenda' and fifty-nine legends not found in the Latin. Of the one hundred and seventy-eight chapters of Voragine represented in Caxton's version, seventeen are quite divergent."(Jeremy, "Caxton's Golden Legend", Speculum 1946) "He also restructured the work. Caxton collected the stories of Christ's life together, separating the feasts of the 'sanctorale' [feasts of saints] from the the 'temporale'[the other major days of the liturgical year], although certain fixed feasts that often belonged to the 'temporale'-including Stephen, John the Evangelist, Holy Innocents, Thomas Becket, and Candelmas-remained within the 'sanctorale' portion; he included new saints and new feasts, notably Corpus Christi; and he added a collection of Old Testament lives to be read on particular days of the year, beginning on Septuagesima, with Adam, and concluding on the last Sunday in October, with Judith."(Ring, "Annotating theGolden Legendin Early Modern England", Ren. Qtrly, Vol. 72, No. 3) The Printer: Wynkyn de Worde The book is a fine example of printing by Wynkyn de Worde, (d. 1534) William Caxton's protégé and eventually successor. De Worde worked for Caxton at Cologne, Bruges, and Westminster from 1471 until Caxton's death in 1492, at which point he took over Caxton's business. De Worde thrived as a printer and publisher, moving from Westminster to London (where he operated two presses) and established a dynamic marketing network. "Caxton'sdeath early in 1492 changedWynkyn'slife.Caxton'swill is not extant and althoughCaxtonhad a daughter,Wynkyntook over the business. The sacrist's rolls for Westminster Abbey indicate that from 1491/2Wynkynrented the shop by the chapter house, formerly rented byCaxton, at10s.a year. He paid this rent until 1499.Besides the premises formerly occupied byCaxton,Wynkyn rented rooms just outside the abbey from 1495/6 until 1499/1500. He began, afterCaxton'sdeath, by usingCaxton'sdevice, founts, and woodcuts. In 1500/01Wynkynleft Westminster for London, where he settled at the sign of the Sun in Fleet Street in St Bride's parish. By 1509 he also had a shop at St Paul's Churchyard at the sign of Our Lady of Pity [where this 1527 edition of the 'Golden Legend'.]"(Oxford Dictionary of National Biography) De Worde first printed an edition of Caxton's "Golden Legend" in 1493, omitting the stories from the Bible. From 1498 onward, De Worde published complete editions of the text. NINTH ENGLISH EDITION (1st 1483). Title and imprint from colophon.

Folio (29.5 x 20 cm.), contemporary blind-tooled morocco over boards, complex interlacing roll alternating with rows of circular punches between sets of 3 parallel lines; expertly rebacked, and corners mended; metal clasps refurbished. Magnificent large woodcut on first leaf of a scholar at his desk in a carefully depicted study, above the title (which runs to 6 lines of gothic type), all within woodcut borders. On verso of first leaf, a large Crucifixion above a smaller vignette of the Last Supper, all within woodcut borders. Full-page woodcut logical charts on ff. 54r and 119v. Text in 2 sizes of gothic type (for the Aristotle text and the commentary), woodcut initials, 2 columns. An extremely rare work, in very fine condition. Contemporary ink notations on front pastedown. 128 ll. [xciii misfoliated xcix, cxvii misfoliated cxviii], signed a4, b-q8, r4. *** First edition in this form of Aristotle's logical work De interpretatione, with commentary by Dullaert. It was edited by Dullaert's pupil Juan Martínez de Siliceo, who later became one of Spain's most famous Renaissance scholars. According to the Dictionary of Scientific Biography, Dullaert's commentary on De interpretatione was first published in Paris, 1509; the only copy of that edition we have been able to trace is located at the B.U.-Lille. The Catálogo colectivo lists Dullaert's commentary published by Étienne Baland (active in Lyons) in 1515, apparently edited by one Clodoaldus: the title-page reads, "a magistro Clodoaldo cenalis . de nouo puribus mendis absterse." This Salamanca, 1517 edition, according to the title-page, was edited by Juan Martínez Siliceo "ut paulo tersiora quaeque fuerint excuderentur." We have located no other edition of Dullaert's commentary edited by Martínez Siliceo.Aristotle's Peri hermeneias, also known under its Latin title De interpretatione, deals with language as the expression of mind, beginning with the definition of noun, verb, denial, affirmation, proposition and sentence. Although at least one early authority doubted its authorship, there is strong external evidence that it is by Aristotle (i.e., Theophrastus and Eudemus wrote works that presuppose it), and the style and grammar seem genuinely Aristotelian. It is generally considered an early work of Aristotle, still showing Plato?s influence.The magnificent title-page woodcut had already been used at Salamanca late in the fifteenth century. The Crucifixion - Last Supper cut on the verso is closely copied after the material used in the missals printed for Lucantonio Giunta at Venice. The complex diagrams are probably original blocks for this publication.Jean Dullaert (1470-1513), an Augustinian friar born in Ghent, is known for his contributions to logic and natural philosophy. "The logical subtlety of Dullaert's endless dialectics provoked considerable adverse criticism from Vives and other humanists, but otherwise his teachings were appreciated and frequently cited during the sixteenth century" (DSB IV, 237). He published commentaries on Aristotle's Physica and De caelo in 1506 (subsequent editions in 1511 and 1512) and on Aristotle's Meteorologica in 1512 (reissued by Vives in 1514), as well as editions of works by Jean Buridan and Paul of Venice.The editor, Juan Martínez Siliceo (ca. 1486-1557), was an outstanding pupil of Dullaert's; the Dictionary of Scientific Biography notes that he and Juan de Celaya were "both important for their contributions to the rise of mathematical physics." In this posthumous edition of Dullaert's commentary, Martínez Sicileo apparently cut some parts he felt were repetitive or unnecessary. A native of Villagarcía in Extremadura, he studied and taught at the Sorbonne before moving to the University of Salamanca, and then serving as tutor to the the Infante D. Felipe. In 1541 he was named bishop of Cartagena, and in 1545, bishop of Toledo. The year before his death he was raised to the rank of cardinal, an event celebrated with an eighty-foot arch and an elaborate procession that was so well attended that several people were asphyxiated. Aside from his commentaries on Aristotle, he published several important works on mathematics, including Arithmetica, Paris 1526.The binding closely resembles one done in Salamanca, ca. 1503, illustrated in Penney's Album of Bookbindings (plate VII). Three different sizes of the interlacing roll used in the Hispanic Society's binding are used on our binding.NUC lists no edition of this commentary by Dullaert, and only one copy each of a few of his other works: his commentary on Aristotle's Meteorologica, Paris 1514, at NN; and editions of his commentary on Aristotle's Physics, (Paris) 1506, at NNAM and (Lyons 1512) at MH. A microfilm copy of the British Library's copy of Dullaert on Aristotle's Physics (Paris: G.L. Nicolaus Depratis, 1506) is at NNC.*** Norton 507: citing copies at Barcelona-Biblioteca Universitaria; León-San Isidoro; Oviedo-Biblioteca del Cabildo; Seville-Biblioteca Universitaria; Lisbon-Biblioteca Nacional; and an incomplete copy at Burgos, Biblioteca Provincial. Ruiz Fidalgo 117: adds a copy at Salamanca-Biblioteca Universitaria; on Juan de Porras, see I, 37-43. Witten, Catalogue Six: One Hundred Important Books and Manuscripts 32 (1975). Not in Palau. Not in the Catálogo colectivo, which locates Dullaert's commentary edited by Clodoaldus, (Lyons): Bland, 1515, at the Biblioteca Pública of Palma de Mallorca (D.1638). Not in Adams. This work not listed with Martínez Siliceo's others by Simón Díaz (cf. XIV, 361-2). Cf. Picatoste y Rodríguez, Biblioteca científica española pp. 183-5 for other works by Martínez Siliceo. See also Lohr, Latin Aristotle Commentaries, II: Renaissance Authors, pp. 128-9; 246. CCPBE locates three copies: Oviedo Cathedral, Biblioteca Pública del Estado en Burgos, Real Colegiata de San Isidoro-León. Not located in Jisc. Not located in KVK worldwide (51 databases searched). Not located in NUC.

Couverture rigide. Etat : Très bon. 800x600 Normal 0 21 false false false FR X-NONE X-NONE MicrosoftInternetExplorer4 Exceedingly rare first French edition dedicated to Anne of Brittany and first issue of ?De la louenge et vertu des nobles et clères dames? by Giovanni Boccaccio printed on the 28th of April 1493 by Antoine Vérard. BMC VIII 79 ; B.n.F. Rés. G-365 ; Brunschwig 280 ; CIBN B-519 ; Fairfax Murray, FB 50 ; Goff B-719 ; GW (+ Accurti I) 4490 ; HC 3337 ; IGI 1769 ; Macfarlane 25 ; Pell. 2478 et 2478 A ; Hain-Copinger, n° 3337 ; Proctor n° 8425 ; Brunet, I, 990. This copy is the only one complete to appear on the international market since 30 years. The first Latin edition was published in 1473 under the title De Claris mulieribus (some famous women), in Ulm. ?The work, written between 1360 and 1362, amplified and modified in the following years, contain the biography of 104 renowned ladies of all times, from Eve to the Queen Joanna of Naples; it is dedicated to the very beautiful Andrée Acciaiuoli, sister of the Grand Seneschal Nicolas Acciaiuoli, second wife of an Altavilla Count. The model of Petrarch and of his treaty of Notorious Men greatly influenced Boccaccio, as he admitted himself. The narrative vein is expanding there with a certain, freedom, like in the pages dedicated to the life of the Popess Joan, to the voluptuous lengths on the loves of Thisbe, to the history of the naïve Paulina, Roman woman loved by God Anubis, recalling quite closely the tale of Lisette and Angel Gabriel from the Decameron. ( ) As a whole, the volume is a compromise between the historical scholarship and the tale, a pleasing erudition book, aimed not only at men but also women, - whom, declares Boccaccio, as an excuse, being used to hear stories have a greater need of it and enjoy themselves with a copious story.? T.F. G. Rouville. The volume is illustrated with 11 woodcuts that, since repeated, form an iconographical cycle of 80 engravings. Most of them measure 87 x 80 mm and represent a queen with a child in her arms (23 times), a queen standing with some ladies in front of her (22 times), a woman breastfeeding twins in front of a landscape (17 times). Two other engravings come from the Chevalier délibéré, printed in 1488. Two engravings of different sizes, 140 x 86 mm, show a bishop at his writing case topped with a sage and a woman; they come from the ?Ars moriendi? printed by Le Rouge for Vérard, in 1492. Nine of these engravings were specially executed for this book and are therefore here in first issue. ?Extremely rare volume, illustrated with a certain number of beautiful woodcuts which are among the most interesting ones from the works published by Vérard?. (Rahir n°263). Copy including the signs of the first issue: - The title is printed with the mistake « nouellemet », corrected in the copy of the Pierpont Morgan Library. The Gesamt Katalog, Pellechet Polain 2478 and Hain mention « nouuellemet » with two U. - Leave i4 is signed hIIII. First great Italian prose-writer, Giovanni Boccaccio (1313-1375) was very famous in France, more than Dante and Petrarch, and this since the beginning of printing. He wrote as much for the people, who enjoyed the entertaining reading of the Decameron, as for the aristocracy who, in the De casibus virorum illustrium (translated into French Le cas des nobles malheureux), found a kind of ethical encyclopedia of the great men from the Antiquity. This first edition was printed by Antoine Vérard who dedicated the work to Anne of Brittany, wife of King Charles VIII. It was for the most part due to writers engaged by Anne of Brittany, or attracted by the possibility of her patronage, as Antoine Vérard could be, that literature to the praise and defense of women was promoted in the French court. The title only contains two lines of text. On the back of the title begins the translator?s preface, suppressed in some copies and supplemented with a miniature. In this copy it is coming with a woodcut showing the Queen Anne of Brittany seated.

Hardcover. Etat : Good. First octavo edition of John James Audubon's Seminal work. Audubon created 65 new images for the octavo edition of 1827-38; the original configurations were altered so that only on species is depicted per plate. The Octavo edition of Audubon's Birds was probably the greatest commercial success of any color plate book issued in the 19th century America. While Audubon had become internationally famous in the course of producing the double-elephant folio edition of the Birds in London between 1826 and 1839, it was the octavo version, issued at $100, which achieved widespread circulation and brought the work into the homes of many well-to-do Americans. The text is a revision of the ornithological Biography rearranged according to Audubon's "A Synopsis of the Birds of North America" 91839) Ayer/Zimmer p22; Bennett p5; Mcgill/Wood, p208; Nissen IVB 51; Sabin 2364; Stamped with National Character 34Seven Volumes, royal octavo (256 x 163mm). Subscribers' lists present in all volumes. 500 hand- colored lithographed plates after Audubon by W. E. Hitchcock, R. Trembly and others, printed and colored by J. T. Bowen, wood engraved anatomical diagrams in text (without half-titles,toned, some foxing chiefly to tissue guards and text but occasionally to plates, pl254 inverted, pl. 471 and pls. 486-490 bound out of order, with some nearby text pages also mis-ordered. 19th century green half morocco gilt, all edges gilt9rubbed vol I, V and VI with text blocks detaching, text blocks cracked in a few places with some leaves near ends working loose, S. H. Perkins inscribed in all volumes each dated 1885.Sold by Christie's of The private Collection of William S. Reese May 26, 2022.

Folio (13 1/2 x 20 inches). 118 (of 120) hand-colored lithographed plates, 3 plates by George Catlin ("The Ballplayers," "Wi-Jun-jon," and "The Killing of the Buffalo") printed on card and mounted on heavier stock (bound without the map and plate of Billy Bowlegs, some marginal foxing on plate of Red Jacket, light text offsetting affecting about 7 plates, a few minor spots and stains, repair to short tear on index leaf, 2 tissue guards torn, 1 guard creased, the Catlin plates toned and stained). Full red morocco janséniste by Sangorski & Sutcliffe (some minor water damage to lower dentelle). Provenance: Supra libros of H.H. Baxter (Horace Henry Baxter (1818-1884)) Memorial Library, Rutland Vermont ; Herbert G. Wellington. A REMARKABLY BRIGHT AND ATTRACTIVE COPY. An interesting edition referring on the title-page to the devastating fire of January 1865 that destroyed the Indian Gallery at the Smithsonian in Washington where the original portraits painted from life or copied by Charles Bird King hung. Published after 1873 when D. Rice & Co., moved to 508 Minor Street, Philadelphia. Thomas McKenney, appointed Superintendent of Indian Affairs in Washington in 1824, began travelling west in 1826 to observe the fading cultures of the Chipewa, Winebago and other tribes. Dismissed from this post by President Jackson in 1839, McKenney conceived of collecting the portraits of notable Native Americans, begun by Charles Bird King in 1824, and pairing them with biographies written by the popular author of western topics, James Hall. Bird was commissioned by McKenney to execute portraits of visiting Indian delegates in his studio in Washington, with some famous sitters including Red Jacket and Major Ridge, as well as a portrait of Pocahontas paired with contemporary quotations attesting the accuracy of the likeness. Most of Bird's paintings were destroyed in the Smithsonian fire of 1865, and given that this work is most commonly encountered in 3 bound volumes in later states, the present parts offer the most original experience of this "MOST DISTINCTIVE AND IMPORTANT BOOKS IN AMERICANA" (Reese). From the distinguished library of Herbert G. Wellington whose fine collection of Indian art was exhibited at the Metropolitan Museum of Art in 1983. Without two volumes of text. American Antiquarian Association G460 M155 H87- F.

Half-Leather. Etat : Very Good. 1st Edition. Folio (38.5 x 28 cm.): total of 57 hand-colored lithographed plates mounted on stubs, bound in three-quarters red morocco, the upper cover gilt stamped "Aboriginal Port-Folio/James O. Lewis" (cover sunned, the spine dried and scuffed and with a detached portion present, the hinges strengthened). Contents comprise a manuscript title page in color listing the three 19th century editions of the book (1836/1840/1853); the title page, several text leaves and two hand-colored lithographed plates from the 1853-1856 New York edition published by N. Currier; approximately fifty-five hand-colored lithographed plates from the 1835-36 Philadelphia first edition published by Lehman & Duval; an original oil painting, "Indian Squaw with her Papoose," by G. Albert Lewis (ca. 1844) inlaid at front and measuring 10 x 6 3/4 inches; and two manuscript leaves in the hand of G. Albert Lewis, the first a letter dated 1902 explaining the oil painting present here and the second a manuscript biography of James Otto Lewis, each measuring approximately 38.5 x 28 cm. (15 x 10 7/8 inches). The title, text and first print from the 1853 edition trimmed and inlaid to larger sheets, the second print from this edition laid-in, both are trimmed close to image and somewhat worn; most plates generally clean but with some spotting and occasional marks, a few worn and one with a marginal repair, some trimmed close with loss of imprint, a few strengthened on the verso, some show-through of adhesive from mounting. PROVENANCE: By descent in the family of James Otto Lewis' brother John Frederick Lewis (1791-1858), both the sons of Hessian soldier Johann Andreas Philipp Ludwig who had come to America in 1777. Later in the 19th century the book descended to George Albert Lewis, compiler of the volume, and ultimately from Frederick Lewis Allen to his son Oliver Ellsworth Allen. A LARGE GROUP OF RARE FIRST EDITION PLATES WITHIN A FAMILY COPY OF LEWIS S SEMINAL ABORIGINAL PORT-FOLIO, THE "FIRST ATTEMPT MADE IN THE UNITED STATES AT A LARGE SCALE WORK DEVOTED TO THE AMERICAN INDIAN" (REESE). Lewis began publishing the work in 1835, promising 10 parts with 8 images each, but the work was not a financial success, and most copies of the work present today do not contain the full complement of plates issued. Present here are about 55 plates from that edition. Lewis s portfolio is the pioneering work of a genre and was in production in the United States before those by of McKenney & Hall and George Catlin. The present copy also contains the title, preface, and the text descriptions that accompanied the six plates issued with the 1853 New York third American edition of the book, a notable rarity in itself as no copy of this edition appears in the auction record (of the 1844 2nd edition only two copies appear in the auction record). Lastly, the original oil painting mounted in the volume, "Indian Squaw and her Papoose," was painted in 1844 by G. Albert Lewis, nephew of James Otto Lewis, and in the letter Lewis reports that this painting was rolled up with the original plates given to him as a youth and was inserted "in this new bound volume, as a relic of childhood s days, and want of thought of the future value of such original pictures of these now fast perishing Indians of our country." REFERENCES: Field 936; Howes L315; Reese 23; Sabin 40812. Book.

Manuscript in French on paper, in ink, by a neat hand. In contemporary calf, gilt turn-ins and spine with five raised bands, gilt compartments, and red morocco title label with gilt lettering. Edges gilt. Marbled endpapers. Calligraphic title in a floral frame, colored in blue, red, and gold. [2 (blank)] [119] [3 (blank)] p. An 18th-century manuscript copy of this exceedingly rare and principal document of the French experience in Florida, the account of Dominique de Gourgues' revenge on the Spaniards in Florida in 1568. In 1564 a French colonial settlement, Fort Caroline (today Jacksonville), was established in Florida, serving partly a territorial claim in French Florida and partly a safe haven for Huguenots during the French Wars of Religion. However a French presence in the New World did not sit well in Spain, thus Phillip II, King of Spain, who considered the Huguenots to be dangerous heretics, ordered Pedro Menéndez de Avilés, the Spanish admiral and founder of the nearby settlement St. Augustine, to eliminate them. On September 20, 1565, Fort Caroline was sacked by Spanish troops under Menéndez and slaughtered everyone in the fort except for the women and children. As a response, in April 1568, a French Catholic nobleman and soldier Dominique de Gourgues led a French force against the Spanish-held Fort Caroline, which had been renamed Fort San Mateo, and with the help of Indian allies, he captured the fort and murdered the Spanish prisoners as an act of revenge for the slaughter of his Protestant compatriots. According to Gourgues' biographer Jeannette Thurber Connor, his extraordinary expedition to the east coast of Florida and its dramatic and picturesque narrative "La Reprise de la Floride" was supposedly penned during the year 1570 either by de Gourgues himself or his lifelong friend and executor of his will Pierre de Vaquieux, but historians disagree on the authorship of the text. (Connor, 1968 p. 199) Contemporary and near-contemporary manuscript copies of the text are held only in two libraries, the Bibliotèque national de France (BnF), and at the Library of Congress (part of the Hans P. Kraus Collection of Hispanic American manuscripts; item no. 144/27, part of a collection of manuscript materials regarding Dominique de Gourgues and his family). Leland in his Guide (Leland, 1932) just as Bennett in the introduction to Connor's Gourgues-biography report about five existing manuscript copies (Bennett, 1968). The latest reference we could find on the matter is in Jonathan DeCoster's 2013 paper in the Florida Historical Quarterly, who reports about seven (DeCoster, 2013). J. Benedict Warren in his Guide claims that besides the copy in the Kraus Collection, only "[s]ix other manuscript versions are known to exist, all of which are now in the Bibliotheque Nationale in Paris", of which the oldest, dates from the late 16th century (MSS Fr. 20794), three are of the late sixteenth or early seventeenth century and are from the hand of the copyist Robert Leprevost (MSS Fr.: 2145, 6124, and 19899), a copy from later in the 17th century which contains notable variants from the earlier readings (MSS Fr.: 3884) and "[t]he last one, Nouvelles acquisitions 14755, is a 19th-century copy of one of the others and can be left out of the discussion" (Warren, 1974), the priors agree with Leland's list. Until the mid-19th-century only summarized versions of the text appeared in printing, a variant under the title Histoire memorable de la reprinse de l'isle de la Floride was published already in 1568 (La Rochelle, Barthélemy Berton) of which only one copy survived and kept at the Bibliotèque Mazarine in Paris. Another abridged versions was printed in La Popelinière's Les Trois Mondes (Paris, 1582) and in René Laudonnière's L'Histoire Notable de la Floride (Paris, 1586). Complete French editions were printed in the 19th century, the first in 1835 by Jules Antoine Taschereau in Revue retrospective ((based on MSS Fr.: 3884), later by Henri Ternaux-Compans (Recueil de pièces sur la Floride, 1841; based on MSS Fr.: 19899), Tamizey de Larroque (La Reprise de la Floride, 1867; based on MSS Fr.: 2145) and Paul Gaffarel (Histoire de la Floride française, 1875; based on MSS Fr.: 2145, 3884, and 6124) (Warren, 1974). The first English translation was made by Jeannette Thurber Connor, based on MSS Fr.: 20794, and published in Bennett's Settlement of Florida, in 1968. Provenance: With a handwritten ex-libris vignette "DeHansy", likely a member of the Paris-based bookseller and publisher Dehansy family, e.g. Claude III (1696-1742), Théodore (1700-1771), Honoré-Clément (1736-1808) or another descendant. Literature: Bennett, Ch. E.: Settlement of Florida. Gainesville: University of Florida Press, 1968.; Connor, J. Th.: The Connor Biography. In: Bennett, Ch. E.: Settlement of Florida. Gainesville: University of Florida Press, 1968. pp. 186-202; DeCoster, J.: "Entangled Borderlands: Europeans and Timucuans in Sixteenth-Century Florida." The Florida Historical Quarterly. 91.3 (2013): pp. 375-400.; Leland, Waldo Gifford: Guide to Materials for American History in the Libraries and Archives of Paris. Vol. 1. Washington: Carnegie Institution of Washington, 1932.; Warren, J. B.: Hans P. Kraus Collection of Hispanic American Manuscripts: A Guide. Washington: Library of Congress, 1974. Binding slightly rubbed at the extremities. Front free endpaper with old restoration, barely visible. Sporadic foxing throughout. Otherwise in very good condition. In contemporary calf, gilt turn-ins and spine with five raised bands, gilt compartments, and red morocco title label with gilt lettering. Edges gilt. Marbled endpapers. Calligraphic title in a floral frame, colored in blue, red, and gold Manuscript in French on paper, in ink, by a neat hand.

Original boards. Etat : Very Good. First edition. RARE FIRST EDITION OF FRANK LLOYD WRIGHT'S MAGNIFICENT WASMUTH PORTFOLIO, COMPLETE WITH ALL 100 LARGE FOLIO PLATES. Known the world over as the Wasmuth portfolio, the immensely influential Ausgeführte Bauten und Entwürfe (1910) was a project conceived by Ernst Wasmuth-a Berlin publisher of high-end art books who "intended to publish a complete portfolio of Wright's work to that date [.] that would become a collector's item" (Secrest, Biography, p. 203). In contrast to the compact Frank Lloyd Wright: Ausgeführte Bauten, the Wasmuth portfolio is a grand expression of Wright's architectural vision, containing 100 lithographs of his most successful projects completed by 1910, including: Unity Temple, I.L.; the Robie House, I.L.; the Westcott House, O.H.; and the Cheney House, I.L. (the project on which he met his lover Mrs. Mamah Borthwick Cheney). The extraordinary portfolio showcased here presents an exceptional opportunity to own first-rate architectural drawings compiled by Wright himself and crafted in exquisite detail by Wasmuth. The Wasmuth portfolio is rare in any form, with many partial copies surviving today. Wasmuth produced only 650 copies, 500 of which were sent to Wright for circulation in the U.S. A fire on August 15, 1914, however, at Wright's home and studio, Taliesin, caused the destruction of over 400 of these copies, with Wright noting that only 30 damaged portfolios were salvaged. Thus, less than 200 copies are speculated to exist, fewer in fine or complete condition. Le Corbusier is one of the known owners of the portfolio, and its influence on twentieth-century European architects, namely Walter GropiusandLudwig Mies van der Rohe, was immediate. However, in addition to encapsulating Wright's burgeoning impact on the history of modern architecture, the portfolio captures a tender moment in Wright's life, sitting at the centre of his affair with Mrs. Cheney. The voyage to Germany to collaborate with Wasmuth offered Wright a glimpse at life with his newfound partner. Such joy, tragically, was short lived. The aforementioned Taliesin fire was in fact an act of arson, committed by one of the house's servants, that took the life of Mrs. Cheney, her two children as well as four others. Thus, any copy of the Wasmuth portfolio carries a deeply sentimental weight amidst a complex personal history. The portfolio includes 72 high-quality plates and 28 tissue overlays. Each plate and overlay is embossed in blind with "FRANK LLOYD WRIGHT" and a sigil of two squares one in another. The plates are printed on either a bright, eggshell-coloured paper or a darker paper that allows white highlights and darker shades to be added. Two plates (I: The Winslow Villa in River Forest, Illinois; and LXII: The Richard Bock Atelier in Oak Park, Illinois) are decadently lined in gold, adding a further dimension of depth to the drawings. Note: The text booklet is often lacking but is here present, though incomplete and in an unusual state, perhaps indicating a trial or unsold version. Containing an Introduction by Wright in German, but with pp. 1-4 as unfolded folio sheets, missing pages 5-16 (three sheets). The rest of the pamphlet folded in booklet form. With Index from pp. 21-30; Acknowledgement from Wright on p. 31; all in German. ALSO WITH (as an extra): Wright, Frank Lloyd. Ausgeführte Bauten. Berlin: Ernst Wasmuth, 1911. Often known as "Little Wasmuth" this small format edition was published after the large portfolio. With color frontispiece of Unity Temple and black and white illustrations throughout. Original stiff wrappers. Fragile front wrapper split and almost detached. Text in German. References: Anthony Alofsin, 'Wright, Frank Lloyd', in American National Biography, 24 vols (Oxford: Oxford University Press, 1999), XXIV, pp. 15-20. Meryle Secrest, Frank Lloyd Wright: A Biography (New York: Knopf, 1992). WRIGHT, FRANK LLOYD. Ausgeführte Bauten und Entwürfe von Frank Lloyd Wright. Large oversized folio (25 x 16 inches) sheets (7.

3 parts in 3 vols. 4to. Woodcut pictorial title with architectural border to each vol. (the first showing the waking of the souls of dead artists, the remainder with the Medici arms), portrait of Vasari and 144 woodcut portraits after designs by Vasari or his pupils, each with title and within six differing borders of female figures representing the arts (woodcut portrait of Giulio Genga in vol. III with cancel slip correcting title), historiated or decorated woodcut initials and head- and tail-pieces throughout. Full seventeenth-century Italian red morocco, boards with gilt-tooled borders and gilt rules to surround central armorial vignettes, banded spine with title and decoration in gilt, turn-ins with gilt tooled borders, a.e.g. [PROVENANCE: Bookplates of Adélaïde Suzanne de Laborde (1753 - 1832) to front pastedown of each vol. with the text 'Bibliothèque de Madame de la Borde'; Jean Gardiner Kinnear (1794 - 1865) with his arms to front and rear boards of each vol. - for additional detail see below]. The second edition of Vasari's famous 'Vite' but the first complete edition with much new material and the first to be illustrated. A magnificent copy in seventeenth-century Italian red morocco with large margins of the first Western history of art and one of the most important books of the Renaissance. First published in three parts in two volumes in 1550 by Lorenzo Torrentino, Vasari had provided biographies - with the exception of that for Michelangelo whom Vasari and his contemporaries idolised - of deceased artists only. Eighteen years were to pass before Vasari issued this second edition and he added so much new information that this second edition is considered preferable to the first. This second edition features woodcut portraits of the artists, adds a further 28 lives (including that of Titian), Vasari's own biography, a technical treatise on painting and updates much of the information in the previous edition to the year 1567. This copy with the variant title for vol. I (see Mortimer) with blank verso and without the Medici arms; in copies without the variant, the block for the title, here incorporated within the woodcut frame of the title, is printed on the verso. 'Vasari's excellent sense of narrative . and lively style combined with his wide personal acquaintance makes his 'Lives' a vital contribution to our understanding of the character and psychology of the great artists of the Renaissance, a term (rinascita) which he was the first writer to use . It [the 'Lives'] became a model for subsequent writings on the history of art . For its period it has remained the chief authority . '. (Printing and the Mind of Man). This copy was in the collection of Adélaïde Suzanne de Vismes (1753 - 1832), a poet and intimate of Queen Marie-Antoinette, who married the composer Jean-Benjamin de Laborde, a favourite of Louis XV and son of the financier Jean-François de Laborde, who became a 'fermier général'. In the nineteenth-century the Vasari passed into the collection of John Gardiner Kinnear (1794 - 1865), the Scottish financier, who had his arms stamped on the boards of each volume. [PMM 88; Brunet V, 1096; Cicognara I, 2391; Mortimer Italian II, 515; Arntzen H48a].

Hardcover. Etat : Fine. 1st Edition. First edition of the most distinguished atlas published in the United States during the engraving period (Ristow). Tanner s greatest work, A New American Atlas was painstakingly produced and issued in installments between 1818 and 1823. Few complete sets have survived. Tanner s use of a uniform scale of 15 geographical miles to the inch and his careful selection of sources resulted in a comprehensive American atlas of unprecedented detail and reliability which was the standard by which American atlases were measured until the modern era. This was by a considerable margin the greatest American atlas up to its time. The spectacular folding map of North America is a high point of American cartography. The map was a landmark a great cartographic achievement [and] was the progenitor of a long line of famous maps (Wheat). This tremendous map, measuring 58 x 45 inches, reflects the extent of the Lewis and Clark discoveries and presents findings of the expeditions of Pike, James, and the other great early overland surveys. Tanner was endowed with that combination of scientific and artistic sense that spells the true cartographer and that led him ultimately to produce for his time the outstanding map representations of the territory of the United States. No modern atlas of relatively equal merit is available to the American public today (Dictionary of American Biography). Phillips 1374. Wheat, Mapping the Transmississippi West 350. Large folio. Complete with engraved title with historical vignette, 18 large double page or folding maps (constructed from 22 sheets). A minor tear, a few very slight abrasions, occasional minor dust soiling. Fine contemporary tree calf gilt, boards with elaborate gilt tooling at edges, joints repaired. Maps in fine bright condition, original hand coloring throughout. A wonderful copy.

editor, translator]. MONTANUS, Arnoldus [author]. America: Being The latest, And Most Accurate Description Of The New World; Containing The Original of the Inhabitants, and the Remarkable Voyages thither. The Conquest Of The Vast Empires Of Mexico and Peru, and Other Large Provinces and Territories, With The Several European Plantations In Those Parts. Also Their Cities, Fortresses, Towns, Temples, Mountains, and Rivers. Their Habits, Customs, Manner, and Religions. Their Plants, Beasts, Birds, and Serpents. With An Appendix, containing , besides several other considerable Additions, a brief Survey of what hath been discover'd of the Unknown South-Land and the Arctick Region. Collected from the most Authenntick Authors, Augmented with later Observations, and Adorn'd with Maps and Sculptures, by John Ogilby, esq; His Majesty's Cosmographer, Geographick Printer, and Master of the Revels in the Kingdom of Ireland. London: Printed for the Author, 1671. First edition, first issue in English of this classic early work on the Americas including one of the first views of New York City. Folio (16 3/16 x 10 3/4 inches; 411 x 274 mm). [2, blank], [2, frontis], [vii], [1, blank] 674, [1, binder's instructions], [3, blank] pp. Title printed in red and black. Complete with fifty-eight engraved plates, including engraved frontispiece, two folding maps, two folding plates, six full-page plates and forty-seven double-page plates. Also with sixty-six inter-textual plates. Also with numerous engraved head- and tail-pieces and initials There is some confusion over the correct number of plates and maps, Sabin calls for a total of 65 but then gives a breakdown of portraits maps, views and plans which totals 55, the present copy includes 57 which accords with the plate list given at the end of the volume, and one additional plate, a map of Barbados, has also been included in this volume, but is not called for on the list of plates. There are two issues of this work. The earlier includes a view titled `Arx Carolina' between pp.204 and 205 (as in this copy), in the later issues this is replaced by a map of Carolina. Contemporary mottled calf, rebacked preserving the original spine. Brown morocco spine label, lettered in gilt. All edges marbled. Leaf E4 with a small, closed tear. Leaf R4 with a 1 1/2-inch tear to top margin, not affecting text and a 2 1/2-inch closed tear at the bottom of the page. Leaf Iii6 with a paper flaw at the top margin, not affecting text. Plate between pages 466 and 467 with a 2-inch tear at the top margin, not affecting illustration. Some rubbing to boards. Some browning and toning to leaves and a few dampstains, but overall a superior copy of a book not usually found in such an unsophisticated state. John Ogilby (1600-1676) is described by the Dictionary of National Biography as a "miscellaneous writer" of a good family. He apprenticed to a dance master and was soon reputed to be "one of the best masters in the profession." He suffered a number of misfortunes in his lifetime, including being shipwrecked in his passage from Ireland while fleeing the outbreak of the Civil War in 1641 and losing his house in the Great Fire of London in 1666. He translated, edited, and published many books, including several illustrated geographical works. These included America and ones on China, Japan, Africa, Asia, and Britain. In 1671, Ogilby published the 'America', translated from Arnold Montanus' Dutch text. However, Ogilby added fresh material on the English colonies, supplied by the Proprietors of the various colonies. Earliest issues contain only the Dutch maps and views, with the new English text. Later issues had a number of important maps, draughted from English materials, added, including a map of the Americas and very early depictions of the Carolinas, Maryland, Jamaica and Barbados. Sabin 50089. Wing O165. HBS 64766. $58,500.

3 volumes, folio (20 x 14 1/2 in.; 50.8 x 36.8 cm). 120 handcolored lithographed plates heightened with gum arabic after Charles Bird King, Karl Bodmer, James Oto Lewis, P. Rindisbacher, and R. M. Sully, drawn on stone by A. Newsam, A. Hoffy, Ralph Trembley, Henry Dacre and others, printed and colored by J.T. Bowen and others, leaf of testimonials regarding the genuineness of the portrait of Pocahontas, leaf of lithographed maps and table and 17 pages of facsimile signatures of subscribers in vol. 3, BAL State C of vol. 1 title-page, State B of vol. 2 title-page, State A of vol. 3 title-page, War Dance frontispiece (in vol. 1) in State D, Red Jacket plate in State F; dampstaining and occasional scattered foxing to text, most pronounced in vols. 1 and 3, most plates cockled, some marginal dampstaining, occasional toning or mottling of plates, light to moderate text offsetting to plates throughout. Contemporary half green morocco gilt over brown marbled boards, the spines in 7 compartments gilt-filleted, lettered and numbered with raised bands, nonpareil marbled endpapers, marbled edges; extremities rubbed, several scrapes to boards (some with rudimentary repairs), lower edge of vol. 1 front board slightly bumped. FIRST EDITION, "OF THE GRANDEST COLOR PLATE BOOK ISSUED IN THE UNITED STATES UP TO THE TIME OF ITS PUBLICATION AND ONE OF THE MOST IMPORTANT OF THE CENTURY" (Reese), with Volumes I and 2 in the second issue, and Volume 3 in the first issue. Its long publication history spanned twelve years and involved multiple lithographers (mainly Peter S. Duval and James T. Bowen) and publishers, but the final product is one of the most important and distinctive books in Americana. Soon after his appointment as Superintendent of Indian Trade in 1816, Thomas L. McKenney struck upon the idea of creating an archive to preserve the artifacts and history of Native Americans whose culture was rapidly disappearing. The Archives of the American Indian became the first national collection in Washington and were curated with great care by McKenney throughout his tenure as Superintendent and then in 1824 as first head of the Bureau of Indian Affairs. A visit to the studio of artist Charles Bird King inspired McKenney to add portraits to the Archives. For the next twenty years, King would capture the likenesses of the many visiting Indian dignitaries who had come to Washington to meet the "Great Father" (i.e., the president). Counted among King's sitters were Sequoyahas, Red Jacket, Cornplanter, Major Ridge, and Osceola. Additionally, he reworked the in-situ watercolors of frontier artist James Otto Lewis. The original paintings were deposited with the War Department and eventually transferred to the Smithsonian, where in 1865, a fire destroyed most of them. Consequently, their appearance in Indian Tribes is the only recorded likeness of many of the most prominent Indian chiefs, warriors, and squaws of the nineteenth century. McKenney was preparing to publish a collection of the Indian portraits when he lost his position at the Bureau during Andrew Jackson's house cleaning in 1830. Other setbacks befell the project: publishers went bankrupt, investors dropped out, and expenses soared mostly like as a result of the depression that followed the financial panic of 1837. McKenney finally enlisted Ohio jurist and writer James Hall to assist with the project. Hall completed the individual biographies of each subject and put the finishing touches on the general history. Meanwhile, James Otto Lewis published his own Aboriginal Port-Folio in 1835. Unfortunately for Lewis, the illustrations were of inferior quality and few of its later numbers were ever completed. By contrast, McKenney and Hall's work was a resounding artistic success-the lithographs were of such impeccable quality that John James Audubon commissioned James T. Bowen to produce the illustrations for a revised edition of his Birds of America. While an artistic tour de force, the work wasn'.

First edition of the second series of the writings of Gandhi. Octavo, original cloth with gilt titles to the spine and front panel. Signed and dated by Gandhi on the front free endpaper, "MK Gandhi 3:4:29." Gandhi founded and published the weekly periodical in English, Young India, from 1919 to 1931 to spread the philosophy and principles of the Satyagraha Movement and urge readers to participate in it. In near fine condition. Housed in a custom half morocco clamshell box made by the Harcourt Bindery. Exceptionally rare and desirable signed and in this condition. Mohandas Karamchand Gandhi led the 32-year struggle for Indian Independence against British rule employing the use nonviolent civil disobedience, inspiring movements of civil rights and freedom throughout the world. Gandhi lived a modest lifestyle and was held as a political prisoner for many years throughout the course of the movement. In 1948, only two years after the British reluctantly granted independence to the people of the Indian subcontinent, Gandhi was assassinated on his way to a prayer meeting in the Birla House garden. His death was mourned nationwide; over two million people joined the five-mile long funeral procession in his honor.

Hardcover. Etat : Fine. 2nd Edition. FIRST COMPLETE, FIRST ILLUSTRATED, AND MOST SOUGHT AFTER EDITION OF THE FIRST MODERN HISTORY OF ART. [The Second Edition overall.] An exceptional copy, very handsomely bound. Vasari's "book contains the biographies of Italian painters, etc. from the thirteenth to the sixteenth century. They are based on earlier written and printed sources, on oral accounts, on his knowledge of works of art and his own collection of large drawings. Vasari traveled extensively to collect personal information, meeting most of the artists of his time. Michelangelo was his great hero. The Lives are freely laced with stories and anecdotes, some of which are certainly apocryphal. Vasari's excellent sense of narrative, however, and lively style combined with his wide personal acquaintance makes his 'Lives' a vital contribution to our understanding of the character and psychology of the great artists of the Renaissance, a term ('rinascita') which he was the first writer to use. It also contains an autobiography and a valuable treatise on the technical methods employed in the arts. It became a model for subsequent writings on the history of art. For its period it has remained the chief authority and new editions are published regularly" (Printing and the Mind of Man, 88). This second edition-the first illustrated and the preferred edition-comprises 161 lives, 28 more than the first edition of 1550 and it brings the biographies up to date from 1550 to 1568. The portraits were designed by the author himself (to his contemporaries he was first and foremost a painter and architect) and executed by or under the supervision of Maestro Christofano, probably either Christophoro Coriolano or Christoforo Chreiger. They are accurate and characterful representations of their subjects. Engraved with "architectural title-border, with figures and putti, on the title page of each of the three volumes. The inner border includes a shield with the Medici arms and a cartouche which contains. a view of Florence. The first volume of part three has a Giunta lily device on the title-page. On the verso of the title of the first volume is an allegorical woodcut. repeated at the end of part three. Portrait of Vasari printed as a plate. One hundred forty-four medallion portraits of the artists. set within borders with female figures representing the arts. There are six different border designs. [and] grotesque, arabesque and dolphin tailpieces" (Mortimer, Harvard). Florence: Appresso I Giunti, 1568. Quarto, early eighteenth-century full polished calf with elaborately decorated gilt spines. Three volumes. Light occasional foxing, title border a little shaved (as usual). Elegant early engraved bookplate in each volume. An early issue with illustrations in uncommonly strong, clear impressions. Third volume slightly smaller, light wear to bindings. All three volumes in exquisite uniform early calf.

Hardcover. Etat : New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided after the shipment.Hardcover. Publisher: Beijing Yanshan Press.Four Satisfaction guaranteed,or money back.

First American edition of Camus' first novel and masterpiece. Octavo, original beige cloth. Presentation copy, inscribed by the author on the half-title page, "A Vincent Sheean pour le remercier de savoir si bien parler de Stendhal Sympathiquement Albert Camus." The recipient, Vincent Sheean was an American journalist and novelist. Sheean's most famous work was Personal History, which won one of the inaugural National Book Awards: the Most Distinguished Biography of 1935. Film producer Walter Wanger acquired the political memoir and made it the basis for his 1940 film production Foreign Correspondent, directed by Alfred Hitchcock. Sheean wrote the narration for the feature-length documentary Crisis (1939) directed by Alexander Hammid and Herbert Kline. He translated à ve Curie's biography of her mother, Madame Curie (1939), into English. Sheean wrote Oscar Hammerstein I: Life and Exploits of an Impresario (1955) as well as a controversial biography of Dorothy Thompson and Sinclair Lewis, Dorothy and Red (1963). He studied at the University of Chicago, becoming part of a literary circle which included Glenway Wescott, Yvor Winters, Elizabeth Madox Roberts and Janet Lewis while he was there. Near fine in a near fine dust jacket. Jacket design by Warren Chappell. Translated by Stuart Gilbert. Housed in a custom half morocco clamshell box. Presentation copies of The Stranger are rare, with only one appearing at auction in the past 70 years. Exceedingly scarce and desirable. Through the story of an ordinary man unwittingly drawn into a senseless murder on an Algerian beach, Camus explored what he termed "the nakedness of man faced with the absurd." With the publication of this first novel Lâ Etranger (The Stranger), Camus introduced his lifelong attempt to reconcile a philosophy of heroic nihilism with â the ideal of human fraternityâ (Encyclopedia of Philosophy). It remains one of the classic works of the twentieth century.

5 volumes: 4 text volumes, 4to., (11 7/8 x 8 6/8 inches); Atlas volume, folio (22 x 17 inches). Engraved frontispiece portrait of Galaup after Alex Tardieu in the first of the text volumes. Engraved title-page, fine large engraved double-page folding map of "Mappe Monde ou Carte Reduite du Parties commes de Globe pour servir a Voyage de la Perouse. 1785,86,87,88.", 30 maps, including 20 folding, and 36 of 38 views, plans, and plates depicting flora, fauna and boats (without half-title to the Atlas, and plates 11, the view of Easter Island, and 23 the plate of the costumes and inhabitants of Port des France on the North-West coast of America). Text volumes bound in contemporary tree calf, spines elaborately decorated in gilt, Atlas volume uniformly bound in half calf marbled paper boards (extremities of text volumes scuffed, Atlas volume extremities worn). First edition. The voyage of La Perouse is "one of the most important scientific explorations ever undertaken to the Pacific and the west coast of North America" In 1783 the French government resolved to send an expedition to the Pacific to complete Captain James Cook's "unfinished work, and in particular to explore the passages in the Bering Sea, which had been a mystery to Europeans since the sixteenth century. King Louis XVI himself took a hand in drafting the plan and itinerary, a copy of which is in the Municipal Library at Rouen, France, and when La Pérouse was selected to lead the fleet gave him an audience before he sailed. In command of two ships, La Boussole and L'Astrolabe (Commandant de Langle), he left Brest on 1 August 1785 making for Brazil. Doubling Cape Horn he refitted in Chile, then sailed to the Sandwich Islands and thence to Alaska, where he turned south exploring and surveying the coast as far as California. After a short refit at Monterey, he sailed across the Pacific, discovered uncharted islands, and visited Macao and Manila. After six weeks reprovisioning and refreshing he left on 10 April 1787 to survey the coasts and territories north of Korea, which had been described and commented on by Christian missionaries. He sailed up the Gulf of Tartary, naming several points on both its shores and learned that Sakhalin was an island. In September he put in to Kamchatka to replenish his supplies. From there he dispatched an officer, Lesseps, overland to Paris with accounts of his discoveries, while he turned south making for New Holland. In December, at Tutuila, Samoa, which Bougainville had called the Navigator Islands when he explored them in 1768, natives suddenly attacked a party from L'Astrolabe seeking water and killed de Langle and eleven others. La Pérouse left without taking reprisals and sailed through the Pacific Islands to Norfolk Island and to Botany Bay. He was sighted off the coast there on 24 January 1788 but bad weather prevented his entering the bay for two days. By then Governor Arthur Phillip had sailed to Port Jackson, but John Hunter had remained with the Sirius and the transports, and assisted La Pérouse to anchor. He established a camp on the northern shore, now called after him, and maintained good relations with the English during his six-week stay. He sailed on 10 March and was not heard of again. His disappearance led the French government in 1791 to equip another expedition under Bruny d'Entrecasteaux to look for him, but the search was fruitless" (Leslie R. Marchant for Australian Dictionary of National Biography online). The expedition and this atlas are especially regarded for superb mapping of the Alaskan and Californian coasts. Maps include San Diego, Monterey, and the whole of the Northwest coast. "It is one of the finest narratives of maritime exploration ever written, and certainly deserves to hold a place of high honor among the great travel accounts of the 18th century" (Howell). Ferguson 251; Hill 972; Lada-Mocarski 52; Sabin 38960; Smith 2109; Staton & Tremaine/TPL 596; Streeter sale VI:3493; Wickersham 6611; Zamo.

Hardcover. Etat : Fine. 1st Edition. First edition of the first comprehensive collection of Whitman s work. This is the rare deluxe issue printed on Japan vellum, number 2 of only 10 such sets, in the magnificent original morocco binding. Bound in is a fine autograph letter signed by Whitman (2pp, Camden, 30 January 1876) to Jeanette Gilder, then literary critic of the New York Herald. After discussing personal matters, the poet writes out for Gilder a letter he has written to the Herald s editor seeking to promote his new book, Two Rivulets. Writing that letter in full, Whitman states: Editor Herald. Would like to have say a four or five column article for the paper embodying the poems, &c. of my new book Two Rivulets, to publish say eight or ten days before their issue by me? making a resume of the book in advance giving the principal pieces, (hitherto unpublished & to be first printed in said article.) If so, I will make out such an article & send you, for your determination. The price would be $200. I have thought that as you like to have things in advance & also to give variety to the paper such a proposition might be acceptable. If not, no harm done. WW. Whitman left his literary legacy in the hands of the three men who had been among his closest companions and fiercest champions during the last twenty or so years of his life: Horace Traubel, Richard Maurice Bucke, and Thomas Harned. In their zeal to ensure what they saw as Whitman s rightful place in American literature, immediately following Whitman s death they began to publish from among the letters, manuscript notes, prose fragments, and other writings Whitman had left behind. Their efforts culminated ten years after Whitman had died in the first comprehensive collection of Whitman s work: the ten-volume Complete Writings of Walt Whitman, published by G.P. Putnam s Sons in 1902, illustrated with manuscript facsimiles and numerous photographs and paintings of the poet. The executors also supplied an authorized biography of Whitman for the first volume, and Oscar Lovell Triggs contributed a bibliography and other critical apparatus for the last volume. See Graham in Walt Whitman Encyclopedia. This magnificent edition of Whitman s works is noteworthy for its importance, limitation, paper, binding, and accompanying letter. A more desirable Whitman set cannot be found. 10 volumes. Ten frontispieces and five plates, each in three states. Publisher s certificate of limitation stating that this is set number 2 of 10 printed on Japan vellum. Notarized certificate signed by Jeanette Gilder concerning the accompanying Whitman letter. Magnificent original green morocco gilt with red, white and black floral morocco onlays, t.e.g., others uncut; velvet doublures and linings. Very minimal wear. A stunning set. Signed by Author(s).

Physics (illustrateur). 8vo. later 19th/early 20th century quarter cloth over heavy hardstock binding, printed label on upper cover. [iv], 72 pages. First edition of the first comprehensive statement of the law of conservation of energy, one of the classic texts in the history of science. Minor bump to front upper board. Minor shelfwear. Paper label on cover with minor chipping at edges. Small focused discoloration to the outer margins of pages 5-26, not affecting the text. Else a near fine copy housed in a lovely later clamshell box. 'On the basis of this short paper, written when he was only twenty-six, Helmholtz is ranked as one of the founders, along with Joule and Mayer, of the principle of conservation of energy' (Norman Catalogue). This work was 'an outcome of [Helmholtz's] interest in the problem of perpetual motion. Leaning heavily on the value of experience in the formulation of ideas, he concluded that perpetual motion was impossible without the continued replenishment of energy from some source. Analyzing different forms of energy and different types of force and motion, Helmholtz grouped them into two categories - active (kinetic) and tension or dead (potential) forces. He gave the mathematical expression to the energy of motion as being the product of half the mass times the square of the velocity of motion. This provided an experimental measure in research of all forces including muscular and chemical' (Dibner). Helmholtz 'was able to derive a general equation that expressed the kinetic energy of a moving body. This equation could be applied in many fields to show that energy is always conserved and it led to the first law of thermodynamics, which states that the total energy of a system and its surroundings remains constant even if it may be changed from one form of energy to another' (Hutchinson's Dictionary of scientific biography p318). This classic paper was presented ot the Physikalische Gesellschaft of Berlin on July 23, 1847, and submitted to Poggendorff for publication in the Annalen but was turned down by him. Helmholtz then had it printed privately. Provenance: traces of stamp on verso of title and with bookplate 'Joh. Krebs' pasted over; Franz Sondheimer, with bookplate; n 697 in the Professor Franz Sondheimer collection of rare books on chemistry. Sondheimer was renowned for hitting two jackpots in his research career: firs the synthesis of the biologically active steroids, and then the preparation and study of polyunsaturated hydrocarbon rings, the annulenes. Sondheimer's family came as refugees from Germany in 1937, when he was 11 years old, and spoke no English. He graduated in Imperial College, then worked first with Sir Ian Heilbron, and then with Sir Ewart Jones and Ralph Raphael, on acetylene chemistry. In 1948 he went to work with R.B. Woodward at Harvard. Their research on the steroids set new standards in organic synthesis, and Franz provided much of the drive and experimental skill that brought this work to a successful conclusion and established it as one of the classics of organic synthesis. He continued in this field after he succeeded Karl Djerassi, the inventor of the Pill, at Syntex in 1952, and developed routes to the compounds related both to cortisone and to the sex hormones. After he had moved to the Weizmann institute in 1956, he picked up again the work on acetylenes that he had done at Imperial College. He was able to couple terminal diacetylenes to give cyclic Oligoacetylenes, which could then be manipulated to give macrocyclic analogues of benzene, the first being (18) annulene, (CH)18. The properties of the annulenes, particularly their NMR spectra, povided a brilliant endorsement of the molecular orbital model of the principles of aromaticity and Hückel's 4n+2 rule. He moved to Cambridge in 1963, and then came to UCL, with Peter Garratt, in 1967. Peter still carried the scars which showed the hazards of working with metal acetylides. Franz died tragically in 1981 while he was spending a sabbatical period at Stanford. Dibner 159; Evans 41; Garrison and Morton 611; Horblit 48; PMM 323; Norman 1039; Parkinson p 132; Sparrow 96. later 19th/early 20th century quarter cloth over heavy hardstock binding, printed label on upper cover.

Etat : Buono (Good). Folio (281 x 178mm). Text of Aesop and Gabrias in Greek and Latin, the others in Greek. Aldine anchor on title and verso of final leaf. Late 18th-century diced russia with gilt crest of Sir Richard Colt Hoare on spine, gilt tooling on covers and gilt edges. Neat marginal repair to wormhole in last three leaves, occasional light spotting and soiling, extremities lightly rubbed, spine neatly restored, overall a very fine copy from the libraries of Sir Richard Colt Hoare (1758-1838; his crest on spine, Stourhead sale 1883, lot 164) ? W.R. Jeudwine (bookplate; sale Bloomsbury 18 September 1984, lot 30) ? Helmut Friedlaender (booklabel; sale Christie's, 24 November 1993, lot 92) ? Livio Ambrogio (bookplate). First and only Aldine edition of Aesopus' Fables, both in Greek and Latin, in an heterogeneous compilation including two fable collections (one in prose, attributed to Aesop, one in verse, attributed to Gabrias, i.e. Babrius), a biography of Aesop by the Byzantine scholar Maximus Planudes, some short treatises on the interpretation of myths and the genre of the fabula, and a collection of proverbs. ?This edition may be considered among the rarer and more beautiful productions of the Aldine press.' (Frognall Dibdin). Aesopus' Fables are here increased in number in comparison to the editio princeps and are provided with a new Latin translation by Aldus, which would have enjoyed great fortune in the decades following its appearance. A special mention should be given also to two of the seven works being published here for the first time, the poetic fables erroneously attributed to Gabrias and Horapollo's Hieroglyphica, the only systematic essay on the interpretation of Aegyptian hieroglyphics to survive in its entirety from Classical Antiquity. In producing this edition, Aldus was confronted with the problem of putting together the Greek text and the Latin translation and with the resulting problem of the numeration of pages and leaves. The Greek text is thus numerated from page 17 to page 142 (with the only exception of pages 129-130), while the Latin translation presents no numeration at all and pages 142- 173 present a numeration in columns. Aldus was not, apparently, interested in editing Aesopus' Fables as an indipendent text; rather, the edition was intended as an anthology of poetic forms considered useful for grammar school exercise. In particular, by connecting the animal fables with tales on myths and anthropomorphic gods, he provided his reader with a refined linguistic and thematic inventory, susceptible to undergoing a reuse in the field of rhetoric. ?Aldus' edition of Aesop is essentially a collection of ?fabulae' (in the rhetorical definition of implausible narratives) and their interpretations; it closely corresponds to the forms recommended by Quintilian for the grammar school, especially in that it begins with the fables and ends with the proverbs? (W.P. Weaver, Untutored Lines. The Making of the English Epyllion, Edinburgh 2012, p. 50). Adams A-278; Ahmanson-Murphy 93; Renouard Alde, 49-50. Book.