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No binding. Etat : Near fine. First. "THE MOST DISTINGUISHED OF ALL PRINTS OF THE CITY OF PHILADELPHIA" [London:] Engraved by G. Vandergucht, Sep.br 1.st 1754. First state ("Skull" for "Scull" twice on sheet 3). Four sheets (ca. 29 1/2" x 23 1/2" each). Framed floating. An old transverse crease about 9" below the top edge, reinforced verso. Some small repairs to the sky. Tanning at the corners from an early mount. With good upper and lower margins throughout; sheets 1-3 trimmed to right-hand plate-mark; sheet 4 trimmed to left-hand plate-mark. Occasional very mild patches of tanning. An extraordinary set. From its founding in 1680 between the Delaware and Schuylkill Rivers, Philadelphia was strategically poised to be a hub of trade. By the mid-XVIIIc it had become the major Atlantic port, fueling a golden age of growth and eminence in the arts and sciences -- the Athens of America. The Penn family had long dominated the colony, and Thomas Penn, the founder's son, commissioned a grand view of the city in 1750 to commemorate and to enhance its stature (the Penn arms at the lower left corner of the third plate underscore their dominance). George Heap undertook the project; he had been Philadelphia's coroner. The ambition of the project matched the city's stature: it was the grandest illustrated view of an American city that had ever been attempted. Nicholas Scull (perhaps an uncle by marriage) superintended the work, and Heap began advertising for subscribers (20 shillings, 10 payable in advance) and with that money set sail for England (there being no means to print it in Philadelphia) with his drawings. Heap got only as far as Delaware, and died on-board; he was buried in Philadelphia on Boxing Day 1752. Thereafter Scull shepherded the vast work through the engraving and publishing process. The Dutch engraver Gerard Vandergucht was commissioned to cut the plates, which finally emerged in June of 1754 (the King hung it in his own apartments). Wainright begins his article on the prospect by hailing it as "the most distinguished of all prints of the city of Philadelphia in terms of age, rarity, and historic importance." In 1755 the view was shrunk by about two-thirds, and placed above a plan of the city and a view of the state house and the batter, engraved by Thomas Jefferys. This is far more common; of the Heap-Scull-Vandergucht view we have located only six copies in institutional collections: the American Philosophical Society (.748:P53:1754), Haverford College, Colonial Williamsburg, the Historical Society of Pennsylvania (second state), Independence National Historic Park and the New York Public Library (Stokes Collection, second state). Deák I:99 (second state). See Wainright, Nicholas B. "Scull and Heap's East Prospect of Philadelphia" in The Pennsylvania Magazine of History and Biography 73, no. 1 (January 1949) 16-25.

Etat : Fine. First edition. STUNNING LARGE HISTORIC PHOTOGRAPH OF TESLA, SIGNED AND INSCRIBED BY TESLA TO EDWARD EVERETT BARLETT. Albumen print, signed and inscribed by Tesla on the original gray mount: "To my friend E. E. Bartlett, New York, June 9, 1896, Nikola Tesla." The photograph shows Tesla in profile seated before the spiral coil of his high-voltage transformer at his East Houston St., New York, laboratory. The photograph, in addition to being arguably the most famous and dramatic portrait of Tesla, is scientifically significant, for it served as a demonstration of the power of his new technique of providing illumination with vacuum tubes. A reproduction of the photograph appeared in the May 20, 1896 issue of Electrical Review, alongside an article where a reporter interviewed Tesla about the novel circumstances of the creation of this photo: "As to his continuous efforts to improve his system of lighting by vacuum tubes, with which he has been identified during a number of years, Tesla said that he has been more successful than he had ever dared to hope. His methods of conversion from ordinary to high-frequency currents are rendered simple in the extreme, the devices are thoroughly reliable and require no attention. Last, but most important of all, he has succeeded in increasing the candle-power of the tubes to practically any intensity desired. "A remarkable and most telling result of the advances he has made in the last direction is a portrait, which he has reluctantly allowed us to use, and which was obtained by two seconds' exposure to the light of a single vacuum tube of small dimensions. Tesla stated further that photographs obtained by the light of such powerful tubes show an amount of detail which no picture taken by the sun or flash light is capable of disclosing. This feature is only faintly shown in the reproduction on this page. The photograph was made by Tonnelé & Company, artists' photographers, who aided Mr. Tesla in his attempts to photograph by the light of phosphorescent tubes about two years ago. "When asked, Mr. Tesla said, in explanation of the picture, speaking with deep feeling, that the volume he was reading was one of the 'Scientific Papers,' of Maxwell, given to him as a token of friendship by Professor Dewar; the chair a gift of his warmest friend, Mr. E. D. Adams; and as to the queer coil to his left, Mr. Tesla hesitatingly remarked that it was the object 'dearest of all in his laboratory,' having been a most valuable instrument in his many-sided investigations. "Mr. Tesla added, good humoredly, that, had it not been for the extraordinary manner in which the photograph was taken, he would not have given this explanation even to such an important personage as the representative of the ELECTRICAL REVIEW." Tesla was correct in insisting that the lighting from the vacuum tubes produced a high-level of detail in the photograph; the intricacies of the coil, in particular, appear remarkably sharp. Overall, the photograph has an orange tint, almost certainly the result of his novel lighting technique. Although this is the only signed example of this photograph we are aware of, it has been reproduced in recent years many times, including serving as the cover image for Marc J. Seifer's groundbreaking biography of Tesla, Wizard. Provenance: The recipient, Edward Everett Bartlett (1863-1942) was a celebrated New Yorker (both he and Tesla were featured in Moses King's Notable New Yorkers, 1896-1899), who founded Bartlett & Co., (later Bartlett Orr Press) on lower Broadway, in 1888. Variously described as an artist, illustrator, printer, and engraver, Bartlett was internationally known as "an expert on newspaper type, and he was credited with the development of much of the linotype type used in newspaper offices throughout the country"; additionally he published several works on the art of the book. (New York Times, Obituary, 1942). Size: Image, 7 3/4 x 9 1/2 inches; with mount, 8.5 x 11 inches. Archival matting and framed with UV-.

Unbound. Etat : Near Fine. A remarkable collection of letters and limited edition books from Franklin Delano Roosevelt to his longtime friend and personal secretary, Marvin H. "Mac" McIntyre. The collection includes 10 Inscribed books (each issued in an edition of 100 copies or less), a large, early Inscribed portrait, nine Typed or Autograph Letters Signed, and several additional items related to their long friendship and professional relationship. The collection is overall near fine. McIntyre (1878-1943) was born in Kentucky and studied at Vanderbilt. While working as Special Assistant to Secretary of the Navy Josephus Daniels, he befriended then-Assistant Secretary of the Navy Franklin D. Roosevelt. McIntyre went on to work on Roosevelt's 1920 Vice Presidential campaign; this collection includes a striking 1920 portrait of Roosevelt warmly Inscribed: "For the only Mc [sic], in memory of our work together, past present, and to come. Franklin D. Roosevelt. August 3, 1920." McIntyre remained in Washington during Roosevelt's subsequent tenure as governor of New York, but as Roosevelt's 1932 campaign gained steam, he tapped Mac to be his Press Officer. Upon taking office in March 1933, Roosevelt appointed McIntyre as his Appointments Secretary, essentially putting him as close to the President as Missy LeHand or Grace Tully. McIntyre was away from the White House from 1938-1941 due to illness, but returned to his post in 1941. McIntyre died in December 1943, in the middle of Roosevelt's third term. McIntyre had several titles over the years: Assistant Secretary in Charge of Appointments, Traveling Secretary, Appointments Secretary, and Correspondence Secretary, and it is clear that the two men were close. In addition to warmly Inscribed copies of Roosevelt's cruise logs and famed "Christmas books" (including the highly sought-after *Addresses of Franklin D. Roosevelt and Winston Churchill* of 1942), the correspondence, some of it written during McIntyre's convalescence in North Carolina, shows Roosevelt's esteem for the man. In 1938 he writes: "I am often touched, but seldom have I been so touched as by your letter to Miss Le Hand. It was one of a very small number of letters which occasionally she shows to me. Both of us were dissolved in tears. Your one hundred per cent support in the mountains of North Carolina means more to me than carrying Vermont." The letters, four four Autograph Letters Signed and five Typed Letters Signed which span the years 1933-1942, are brief and very cordial catch-ups; FDR writes of his confidential travel plans, a fishing expedition, and thanks him for a Christmas gift. One letter was sent from the London Economic Conference sometime in July 1933, and another is a Signed copy, of a letter of thanks that FDR sent to the Dean of Atlanta Law School, who was conferring an honorary doctorate on McIntyre. All of the letters save one are in their original envelopes; the envelopes show light wear, the letters, aside from a single original fold, are fine. Also included are four notes Initialed by Roosevelt and five typed carbons of letters from FDR to McIntyre (likely made by the family), the originals not present here. Another testament to their friendship is that several items were gifted to McIntyre's widow after her husband's death. Roosevelt Inscribes his 1943 "Christmas book" to her: "For Dodie McIntyre - This was on the list for good old Mac, and I want you to have it in his memory. Franklin D. Roosevelt." He would also send her an Inscribed copy of the following year's "Christmas book," sadly his last. Also included is a holiday letter written by FDR's long-time Press Secretary Stephen T. Early to McIntyre's widow Dodie five years after his passing: "I treasure your friendship as one of my most satisfying possessions." Dodie was also invited to the White House for a 1966 presentation of a portrait of Eleanor Roosevelt to the White House collection; this invitation is also included. A remarkable collection of rare and desirable Roosevelt publications, warmly Inscribed, and letters and related material, the fruit of a longtime personal and professional relationship.

The Russell Collection contains over 300 books, broadsides, and pieces of ephemera produced between the waning decades of the ancien regime and the fall of Napoleon Bonaparte. The collection was assembled in the early 1950s by William F. Russell (1890 - 1956), President of Columbia University's Teacher's College from 1949 to 1954. With material spanning the 16th to the early 20th century, the majority of the collection was produced between 1775 and 1800. Highlights include early editions of the 1791 and 1793 French Constitutions, letters written and signed by pioneering economist Anne Robert Jacques Turgot, and official documents signed by Robespierre and other members of the Comite du Salut Public. The Collection is comprised of the following components: 1) The French Monarchy and the Ancien Regime; 2) Ideological Roots of Revolution; 3) The Transition to Republicanism and Collapse of the Monarchy; 4) The National Convention and the Committee for Public Safety; 5) Historical and Contemporary Context; and, 6) Miscellanea (Ephemera, Manuscripts, and Books). Most of the printed material was published by one of the two major publishing houses in Limoges. This concentration of material from a single city offers perspective on the publication and distribution of political and governmental texts in a particular city or departement (one which was especially impacted by the Crown's frequently shifting tax and trade policies). It also provides important insight into the early work and career of Anne Robert Jacques Turgot, who served as intendant of Limoges from 1761 - 1774. Limoges was home to several printing houses which, at various times during the Monarchy and Revolution, were designated as official printers of government documents for the region. Most notable among these were the Barbou and Dalesmes families. Both families had been established printers for centuries, but the Barbou appear to have been too closely aligned with the ecclesiastical hierarchy - after 1791, all of the officially published material printed in Limoges was released by members of chez Dalesme. 1) The French Monarchy and the Ancien Regime A significant portion of the collection is made up of documents from the reign of Louis XVI, issued by the crown, members of the regime, and the Parisian Parlement in the two decades leading up to the Revolution. These items, ranging from royal decrees to trial testimonies, illustrate governmental practice under the monarchy, especially as it relates to trade policy and criminal justice. 2) Ideological Roots of Revolution The Russell Collection includes a number of books and tracts from writers crucial to the development of revolutionary thought and discourse in France during the 18th-century. First or early editions by Mirabeau, Raynal, Mounier, Marat, and Condorcet, written before and during the upheavals of the early 1790s, reveal the increasingly liberal and radical intellectual currents among France's intelligentsia. First or early editions of works by Jacques Necker and Turgot also appear, shedding light on abortive efforts at modernization during the various governments under Louis XVI. 3) The Transition to Republicanism and Dissolution of the Monarchy The full span of the National Assembly, from its foundations during the Brienne and Necker governments to its ceding of legislative authority to the National Convention, is captured through official printed documents (Royal and republican), periodicals, regionally-drafted complaints and instructions, and published addresses. Also included are first or early editions of the French Constitutions of 1791 and 1793, as well as various edicts and documents issued by Louis XVI during l'Assemblee Nationale. The formal inauguration of the National Convention (and the removal of all executive powers from the King) is represented both by an Extrait of the relevant Assembly session, and in an officially published broadside explaining "des motif d'apres lesquels l'Assemblee Nationale a proclame la convocation d'un Convention nationale, et prononce la suspension su Pouvoir executive dans les mains du Roi." 4) The National Convention and the Committee for Public Safety; A substantial component of the Russell Collection is comprised of material created by, or related to, the Convention Nationale and the Comite du Salut Public. Nearly 90 official decrees from the legislative body are present, in addition to numerous printed addresses, departmental complaints, and two officially published broadsides related to the trial of Louis XVI. Other highlights include printed decrees and orders from the Committee for Public Safety, a document issued by the Parisian Communards, and an order signed by seven members of the Committee. 5) Historical and Contemporary Context; A subset of the Collection is made up of books and pamphlets responding to the events of the Revolution, from contemporaneous accounts to late 19th-century histories. The works published during the 1790s and early 1800s, whether biographies of revolutionaries or socio-political commentaries, reveal the mix of horror, regret, enthusiasm and hope stirred up among emigres, international observers, and participants in the revolutionary melee. The texts printed after 1840 reflect the intensive, documentary approach of the French historians in the latter half of the century. 6) Miscellaneous Documents (regional, subject-specific, etc.). Also included are a number of items (ephemera and manuscripts) that are either subject specific and tangentially related to the French Revolution (i.e.; treatises on the French language, moral philosophy deduced from botanical studies, 17th century medicine), or specific to Limoges and the Haute-Vienne. The latter includes several 16th and 17th century manuscripts from Limoges and Orleans. Several 20th century books, inscribed to the collector W.F. Russell, appear in the collection as well. All items are in good or better condition, unless otherwise stated. To view.

Plate legend: Long-billed Curlew. Numenius Longirostris. 1 Male 2 Female City of Charleston Robert Havell. London, 1834 37 ½ x 24 ¾ inches sheet, 49 ½ x 37 inches framed. First edition aquatint engraving with original hand color, annotated with title and description on bottom margin, numbered on top right corner (excellent condition). Guidance: Guernsey s, May 11, 2013 - $109,800 Christie s, June 25, 2004- $89,625 This work is a first edition elephant folio engraving from Audubon s awe-inspiring series Birds of America, the single most important visual study of North American ornithology ever produced. It features a life-size portrait of North America s largest shorebird, the long-billed curlew, whose distinguishing feature is its exceptionally elongated bill, which rivals that of the Far Eastern curlew as the the longest bill of any shorebird. The present composition shows two adult curlews (one male, one female) feeding near a shore with tall grass. We look up at their striking poses from a "worm s-eye view," which heightens our sense of their impressive stature (Olson, 280). The birds oblong heads, slender necks, soft and patterned plumage, scaled legs, and powerful gaze are all rendered with remarkable precision and detail (Audubon, 35). Across the water is a cityscape painted by the talented naturalist George Lehman, which provides a charming view of early 19th century Charleston. Visible on the left is the historic Castle Pinckney, a fort garrisoned during numerous military conflicts, including the War of 1812 and the Civil War (Sanders and Ripley, 73). Audubon encountered the curlews in November 1831 while on a trip with friends at Cole's Island, about twenty miles outside of Charleston, South Carolina (Audubon, 36). It was here that he found the birds used as models for the present composition (Low, 133). In his study of these and other birds, Audubon s work was considerably enriched by his friend and collaborator Reverend John Bachman. A Lutheran minister and avid scholar of natural life, Bachman contributed a wealth of knowledge to Audubon s ornithological investigations, including discovering the now likely extinct Bachman s Warbler, which Audubon named in his honor (Sanders and Ripley, 38). The South Carolina native also provided lodging to Audubon and his two assistants in his Charleston home during a crucial period of artistic production. In fact, it was in Bachman s study on the ground floor of the house that Audubon painted many of the original watercolors for The Birds of America (Sanders and Ripley, 37). Of his time with Bachman in Charleston, Audubon wrote in 1831: "the extraordinary hospitality which awaited us there.led to.a few of the happiest weeks I ever passed" (Sanders and Ripley, 33). It is arguable that Audubon would not have achieved his towering reputation as the preeminent North American natural history artist had it not been for his collaborator Bachman s scholarly devotion to scientific truth. As Sanders and Ripley note: "Bachman s concern for accuracy kept the sometimes-hasty Audubon out of hot water on several occasions" (Sanders and Ripley, 38). With respect to the present work, it was Bachman who accompanied Audubon to Cole s Island to observe the curlews. Bachman also enlightened the artist about the birds breeding and nesting habits, having studied their breeding grounds first hand on the islands along the coast of South Carolina, and provided ample material for Audubon s descriptions of these birds in Bird of America s accompanying text, Ornithological Biography (Audubon, 36). References: John James Audubon, The Birds of America: From Drawings Made in the United States and their Territories Vol VI (New York, 1861); Roberta, J. M. Olson, Audubon s Aviary ( New York, 2012); Albert E. Sanders and Warren Ripley, Audubon: The Charleston Connection (The Charleston Museum, 1985); Susanne M. Low, A Guide to Audubon s Birds of America, (New Haven and New York, 2002). Catalo.

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.

Etat : Very Good. First Edition. First edition. 306 pp. Bound in recent three-quarters leather over marbled boards. Very Good, page 96/97 lacking and provided in facsimile, several leaves either remargined or repaired at the gutter. Soiling, staining, creases and wear to contents throughout, contemporary former owner names to front free endpaper and top of title page, and vintage private ownership label to top margin of contents page. A truly scarce landmark of American literature, many times more rare in commerce and at auction than many of the 19th century ex-slave narratives with which is often compared such as Narrative of the Life of Frederick Douglass. It was long thought to be fictional, utilizing the narrative techniques of the sentimental novel as it does and published under a pseudonym, until the 1980s when historian Jean Fagan Yellin established it was Harriet Jacobs' autobiography. In particular, the attention Jacobs called to the sexual abuse and exploitation of female slaves was quite ahead of its time, not to mention effective at making her abolitionist and feminist argument in a visceral way readers could not ignore. One of the major documents with which we understand the 19th century American experience.

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).

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.

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.

Etat : Very Good+. First British Edition. First British edition, first printing of the scarce feminist narrative of escape from slavery, and the first published slave narrative by a woman. 306 pp. In a recent half faux-leather over marbled boards, new endpapers. Very Good+. Former owner bookplate and penciled "[Linda M. Brent]" to front pastedown. Contents tanned, thumbed and sporadically spotted, with an occasional corner crease. A truly scarce landmark of American literature, many times more rare in commerce and at auction than many of the 19th century ex-slave narratives with which is often compared such as Narrative of the Life of Frederick Douglass. It was long thought to be fictional, utilizing the narrative techniques of the sentimental novel as it does and published under a pseudonym, until the 1980s when historian Jean Fagan Yellin established it was Harriet Jacobs' autobiography. In particular, the attention Jacobs called to the sexual abuse and exploitation of female slaves was quite ahead of its time, not to mention effective at making her abolitionist and feminist argument in a visceral way readers could not ignore. One of the major documents with which we understand the 19th century American experience.

Numerous woodcuts (some full-page & some half-page) in the text. 6, 3, 40 folding leaves. 8vo, old, possibly orig. wrappers (with several repairs, one of which touches but does not obscure the text), orig. block-printed label on upper cover, new stitching. [Beijing: 2nd Preface dated 1614]. First edition, and very rare, of this work on the gnomon, one of the first astronomical measuring instruments, and its uses in astronomy and surveying. This work is important in the history of astronomy as it states here for the first time in China the doctrine that "the earth is spherical" (di ben yuanti å °æ å "é«"). Ursis is also the first to state in China, in the present work, that the earth is divided into spaces separated by meridians and parallels. He uses geometrical analysis of planetary motions and the Euclidean geometry necessary for applying it to gnomonics, stereographic projections of the astrolabe, and in surveying. The beginning of the text discusses the five questions regarding latitude. In one of the woodcuts, the earth is depicted as casting a shadow as the sun revolves around it. In another of the woodcuts, Ursis shows two boats taking opposite routes from the Atlantic Ocean ("Da Xiyang") to the Indian Ocean ("Xiao Xiyang") with the endpoint of their journeys shown at the bottom of the earth. Europe, Asia, and Africa are depicted on a spherical globe, rather than as a square image. In the following woodcut, we see the same two ships leaving the Atlantic but now North and South America are shown. This is the first depiction of the Americas in a Chinese-printed book. The fact that ships could leave the same point, going in opposite directions, and yet arrive at the same destination demonstrated the earth is round. The remainder of the book is concerned with the height of the sun, the length of shadow caused by a moving sun, geographical matters, the summer and winter solstice, and surveying problems using the gnomon. One of the two prefaces was written by Xiong Mingyu (1579-1649), the most senior member of the Fang School. He was one of the first of the late Ming scholars to accept the Jesuits' notion of the shape of the earth. He states in his preface that the Chinese already had had the same concept of the spherical globe in the time of the Yellow Emperor but social disruptions and the destruction of many books within China caused this knowledge to be lost. Sabatino de Ursis (1575-1620), a member of a prominent family in Naples, arrived in Peking in 1607 in order to help Matteo Ricci in his scientific work. He also worked together with Xu Guangqi and Ricci on the translation of Euclid's Elements into Chinese. Following the death of Ricci in 1610, Ursis became the principal Jesuit astronomer in China. Ursis was involved in the reform of the Chinese calendar (based on his prediction of a solar eclipse on 15 December 1610 which the Chinese had not anticipated), translated the hydraulics portions of Ramelli's book into Chinese (1612), and wrote a work on the armillary sphere (1611). These were later gathered and published in Peking in 1629 in a multi-volume encyclopedia of western astronomical science. Ursis's Chinese name was Xiong Sanba ç ä æ ", where Xiong, literally "bear," translated Latin Ursis (from Ursus, "bear"), and Sanba was short for "Sabatino." This book was "translated orally" (kouyi å £è ) by Ursis into Chinese and written down in literary style by Zhou Ziyu å å æ and Zhuo Erkang å "ç ¾åº (1570-1644). Zhuo is also known as a scholar of the Yijing æ "ç " [Change Classic]. Zhou was later included in Ruan Yuan's influential Chouren zhuan ç 人å [Biographies of Calendrical Experts] from 1799. The text of Explanation of the Gnomon itself was included in the Qianlong emperor's voluminous imperial manuscript library Siku quanshu å 庫å æ [Complete Writings of the Four Repositories], albeit without the Prefaces seen in our copy. The editors of Siku quanshu commended the work for the "quick method" (jiefa æ æ ) that it presented, which allowed for easy use of the gnomon. They further noted that the book was "replete with illustrations furnished with legends, providing reliable proof." Fine copy and extremely rare. â § Cordier, L'Imprimerie Sino-Européene en Chine, 315-2. Needham, Science and Civilisation in China, Vol. 3, pp. 437-46. Qiong Zhang, Making the New World their Own: Chinese Encounters with Jesuit Science in the Age of Discovery (2015), pp. 167-78.

First edition of Purchas his Pilgrimes, with the preferred, greatly enlarged, fourth edition of the Pilgrimage; together this is the desired state of the complete set of Purchas's remarkable collection of travel and exploration narratives from ancient times up to and including the recent accounts of Virginia by John Smith. This is a most attractive set. The Pilgrimes was conceived as a continuation of the work of Richard Hakluyt - Purchas's "great predecessor in the memorializing of English travel narratives" (ODNB) - based in part on Hakluyt's remaining manuscripts, which Purchas had acquired about 1620, augmented by almost 20 years' collecting oral and written accounts of travels in Europe, Asia, Africa, and the Americas. Although, as ODNB notes, "unlike Hakluyt, Purchas attempted to construct an argument upon geographical and historical evidence that was cosmopolitan, pan-European, global, and transhistorical. John Locke even-handedly advised in 1703 that for 'books of travel. the collections made by our countrymen, Hakluyt and Purchas, are very good'". "Today, Pilgrimes remains an indispensable resource for geographers, anthropologists, and historians alike, providing, among other things, prime sources for the early history of the Jamestown colony, and perhaps the best defence ever composed to justify England's claims to North America" (Kelly, p. 985). The four-volume folio took over three years to print; at the time of its publication, it was the largest book ever seen through the English press and was entrusted to the highly experienced William Stansby, whose establishment was probably the second largest in London after the royal printing house. Stansby was responsible for a number of works by leading figures of the age, including Ben Jonson's Workes (1616) and books by John Donne, Sir Walter Raleigh, and Sir Francis Bacon. The engraved title page of Pilgrimes is a rare, finely engraved facsimile of the original, which, as usual, is absent here. It was made by John Swaine (1775-1860) in 1846 and was presumably inserted when the set was attractively rebacked in the late nineteenth century. Swaine is "best known for his facsimile prints after contemporary and old master works, particularlyMarten Droeshout'sportrait ofWilliam Shakespeare,William Faithorne'sportrait ofThomas Stanley, andDavid Loggan'sfrontispiece to theBook of Common Prayer. His painstaking and accurate workmanship was admired by many" (ODNB). The map of Virginia in volume IV is in the tenth state according to Verner, just shaved at the head (it is often trimmed more noticeably). The Pilgrimage is the fourth edition, issued concurrently as a supplement and it has the points for the usual issue: the first quire reset, the title beginning "Purchas" (the other setting has "Purchase"), and the added dedication to King Charles. First published in 1613, the Pilgrimage gives Purchas's account of the various religions encountered throughout the world, but in this edition includes Sir Jerome Horsey's account of Russia, William Methold's "A Relation of Golconda", a "brilliant account of that part of India" (ODNB), and the translation by Thomas van Erpe (also known as Erpenius) of a history of the Saracens by the 13th century Christian Coptic historian Jirjis al-Makin Ibn al-'Amid (anglicized here as George Elmacin). Provenance: F. Hobill Cole MD, collector, with his bookplate; Sir Tom Ramsay (b. 1907), son of William Ramsay who created "Kiwi" shoe polish, with his neat blind stamp to preliminary blanks; Fred. Z. Eager, motor sport enthusiast and managing director of E. A. Eager & Son Limited, a Queensland car dealership, with his neat blind stamp to preliminary blanks. Alden & Landis 625/173; Borba de Moraes II, pp. 692-3; Church 401A; Hill 1403; Sabin 66682-6; STC 20509 & 20508.5; Streeter I 36. James William Kelly in Speake, ed., Literature of Travel and Exploration, 2003; Coolie Verner, "The First Maps of Virginia, 1590-1673", The Virginia Magazine of History and Biography, vol. 58, no. 1, January, 1950. Together 5 volumes (the supplemental Pilgrimage comprising the fifth volume), folio (317 x 2o5 mm). Early 19th-century calf, skilfully rebacked in the late 19th century, richly gilt spines, red morocco twin labels, sides with border of paired gilt fillets enclosing a central frame comprised of blind and gilt fillets joined at the corners by foliate sprigs, blind palmette cornerpieces, gilt edge roll, Shell pattern marbled endpapers. Engraved additional title page to vol. I (the fine engraved facsimile of the original made by John Swaine in 1846, with the date some time erased), 88 engraved maps (7 double-page or folding: the Virginia map in volume IV, which has been laid down, in Verner's state 10; 81 half-page in the text), numerous illustrations, mostly woodcut, but some engraved. Neat bookseller's ticket of A. H. Spencer, Melbourne, Australia, on each front pastedown. Bindings professionally refurbished with particular attention to spine ends and joints, retouching of gilt in places, repair to top fore corner of preliminary blank in vol. I, a few skilful paper repairs, minor small stains, occasional marginal worming, short tears to some folded maps. A very good set, with the medial blank R4 in vol. I and the terminal colophon leaf in vol. II.

First Edition. "(JEFFERSON, Thomas) STEPHANO, Carolo (ESTIENNE, Charles). Dictionarium Historicum, Geographicum, Poeticum. Oxford: Gul. Wells & Rob. Scott, 1671. Small folio (8 by 12 inches), contemporary full dark brown calf rebacked with original gilt-decorated spine panels neatly laid down, raised bands. Housed in a custom cloth clamshell box. $80,000.A superb Presidential association copy Thomas Jefferson's personal copy with his characteristic ownership markings of an important historical dictionary based on Estienne s famous 16th-century Dictionarium, "the first French encyclopedia." This is an early reissue of editor Nicholas Lloyd s Oxford 1670 edition, in Latin, an updated and improved edition of Estienne s work that was "superior to any of the previous editions." From the renowned Americana collection of Mrs. Philip D. Sang, in contemporary calf. Rare and desirable. This volume was in Jefferson's final "Retirement Library" when he died, and it contains Jefferson's characteristic ownership identification marks he has penned a "T" before the signature mark "I" on page 33 (the letter "J" not being used in signature markings) and a "J" after the signature mark "T" on page 73, thereby marking his initials twice in the volume. Jefferson built three collections of books in his lifetime. The first burned in a fire at his childhood home, Shadwell, in 1770. In 1815, Jefferson sold his second collection of books to the government in order to help rebuild the collection of the Library of Congress, which had been destroyed in 1814 when the British burned Washington and the Capitol building during the War of 1812. The third collection was dispersed after Jefferson's death in 1826, largely through auction to satisfy creditors. Jefferson owned two copies of the 1671 edition of this work. He sold one copy to Congress in 1815 (Sowerby 141). The other (this copy) he purchased in 1817 from a French bookseller; the original invoice is at the Massachusetts Historical Society and has been transcribed in the Papers of Thomas Jefferson. This copy was listed in Jefferson's retirement library catalogue as "Caroli Stephani Dictionarium Histor. Geograph. Poeticum. Lloydii. fol." (page 6, item 63), and it was sold at the 1829 Nathaniel Poor auction of Jefferson's library as item 62 in that catalogue. According to a typed card laid into this volume, "The last owner in the Jefferson family was Mrs. C.R. Randolph, University Station, Charlottesville, Virginia." Carolina Ramsay Randolph (1828-1902) was a great granddaughter of Thomas Jefferson; her father was Thomas Jefferson Randolph. This copy was in the renowned Americana collection of Mrs. Philip D. Sang until 1985. This is an early reissue (with new 1671 title page) of Lloyd's updated, expanded, and improved 1670 Oxford edition of Estienne's historical dictionary of classical and Biblical people, places, and other proper names, the "first French encyclopedia." (Sowerby 141). Lloyd's edition was published after thirty years' labor. In 1553, "Estienne printed the first edition of his 'Historical Dictionary,' the first book to which this title was given, and the first that purported to be a universal Dictionary of Biography, modern as well as ancient In 1670, Nicholas Lloyd published at Oxford an edition of the 'Dictionarium Historicum' of Charles Estienne, but with numerous additions, corrections, alterations, and omissions, a book which gave the author a high reputation, not only in England, but on the Continent, where it was acknowledged as superior to any of the previous editions of the book of Charles Estienne" (Quarterly Review). Estienne was also known by the Latin name of Carolus Stephanus; his name appears on the title page of this work as Carolo Stephano. Estienne's Dictionarium first appeared in France in 1553. This Oxford edition is a reissue of the 1670 edition, with a new title page.Sowerby 141. Eight pages bear contemporary ink corrections or annotations in another hand.Occasional foxing, light wear to covers, corners expertly restored. A very good copy, with an extraordinary provenance, most rare from Jefferson's library and with his ownership marking.".

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.

The complete run of The Forerunner, three volumes inscribed by the author to her husband George Houghton Gilman, her "most-Essential Co-Worker in this Production". The journal was the couple's first joint venture, published by "Charlton": a portmanteau of their names. Volumes I, II, and VI are inscribed by Gilman on the front free endpapers as follows: Vol. I, "To my dear husband; and most-Essential Co-Worker in this Production with grateful love - Charlotte Perkins Gilman / Dec. 1910"; Vol. II, "Special for a Husband - from a loving wife. Call it Xmas 1910"; and Vol. VI, "For The Husband, still helping it along - from C.P.G."; Vol. III has her ownership inscription: "C. P. Gilman, 627 W. 136. New York City". Gilman was previously unhappily married to the artist Charles Walter Stetson, who enforced a "rest cure" on her while she was suffering from postpartum depression, depriving her of reading, writing, painting, and any mental or physical stimulation. Her haunting short story The Yellow Wallpaper (1892) is based on this experience of confinement. Gilman's daughter, and only child, Katharine Beecher Stetson, became a well-regarded artist and sculptor with close ties to other American suffrage activists. At the age of 24, she designed the front cover for The Forerunner, and later she inherited this set, inscribing the front free endpaper of Vol. I, "To Walter Stetson Chamberlain - my dear son - these seven volumes written by my mother (including advertisements) with lovely design by Katharine Beecher Stetson - Pasadena Jan 1954 - from Katharine S. Chamberlain"; and inscribing the subsequent volumes on the front free endpaper, "Wallace Stetson Chamberlain, from his mother, Jan. 1954". In her second marriage, Gilman finally found a partner who offered her the companionship, support, and respect for which she campaigned. In 1893, she became reacquainted with her first cousin, the Wall Street attorney Houghton Gilman, and in 1900 they were married. Together, they founded a publishing company to publish Charlotte's works, which were deemed too controversial by many commercial publishers. Houghton Gilman provided financial backing and his Wall Street address as the office for both the Charlton Company and The Forerunner. Gilman's inscriptions are a testimony to the success of their partnership. Gilman wrote all the material in The Forerunner, even (as her daughter notes in her inscription) the advertisements. This amounted to around 21,000 words per month. Across her editorials, articles, reviews, essays, poems, and stories, Gilman consistently encourages her readers to campaign for women's liberation from society's sexist constraints. She advocates for women's employment outside of the home, men's participation in domestic duties, economic emancipation for women, and equal education for all. Significantly, her feminist utopian trilogy - Moving the Mountain (1911), Herland (1915), and With Her in Ourland (1916) - appears in print for the first time here. At its peak, The Forerunner had an audience of 1,300 subscribers, and it remains a landmark work of early American feminism. Cynthia Davis, Charlotte Perkins Gilman: A Biography, 2010. 7 volumes, tall octavo. Original orange cloth, spines and front covers lettered in black, front covers with black pictorial block of a family supporting the world. Spine of Vol. III cocked, covers silverfished, extremities rubbed with a few spots of wear, top edges foxed, first few volumes damp stained with spots of mould at head, inner hinges tender, a few cracked but firm, Vol. I with fore edge of rear cover slightly chewed away, front free endpaper professionally stabilized, internally fresh and well preserved: a very good set.

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.

First edition, first state (p. 135, vol. 1, uncorrected, reading "gve"), of the most famous biography in any language. The immense task of compiling the thousands of notes Boswell had recorded on "the great man's talk, habits and opinions" was begun after Johnson's death in 1784. Made up of trifling incidents as well as the significant events in Johnson's life, the work remains a masterpiece of portraiture. "The Life of Johnson was no single book miraculously produced by an inexperienced author. It was the crowning achievement of an artist who for more than twenty-five years had been deliberately disciplining himself for such a task" (Pottle, p. xxi). "Homer is not more decidedly the first of heroic poets, Shakespeare is not more decidedly the first of dramatists, Demosthenes is not more decidedly the first of orators, than Boswell is the first of biographers" (Macaulay). This copy has p. 135, vol. 1, in the uncorrected first state, reading "gve". Some copies were corrected in the press to "give", and 1,750 copies in either state were available on publication day, 16 May 1791 (800 were sold in the first two weeks). Courtney 172; Grolier, English 54; Rothschild 463; Pottle 79; Tinker 338. 2 volumes, quarto (approx. 295 x 230 mm). Uncut in original blue paper boards backed with buff paper, original printed spine labels. Housed in a black cloth folding case. Portrait frontispiece engraved by James Heath after Sir Joshua Reynolds, 2 engraved facsimile plates by H. Shepherd. Text printed on pale blue paper. Two prelims (pp. ix-xii) intended for vol. I misbound in vol. II immediately after the title leaf. Significant loss of paper to spines, the labels rubbed but largely intact, some stripping of paper sides exposing boards beneath, still a most desirable copy in unrestored original condition.

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.

custom folder. Etat : Very Good. First edition. A REMARKABLY REVEALING LETTER: TOLKIEN DISCUSSES HIS SPECIFIC FEARS ABOUT THE TWO TOWERS AND DEFINES "THE FOUNDATION" OF THE LORD OF THE RINGS AND CONNECTS IT TO HIS LIFE'S WORK. The Fellowship of the Ring (the first volume of The Lord of the Rings trilogy) was published on July 29, 1954. There were a number of rave reviews (mostly notably from Tolkien's friend C.S. Lewis) but there were also enough harsh or critical assessments (particularly the reviews in the Daily Telegraph and Sunday Times) to concern Tolkien and make him anxious about the reception of the second volume, The Two Towers. Professional reviews were one worry, but Tolkien always seemed even more eager to discover if his works connected with "regular" readers as well. One such reader whose opinion he held in high regards, was one of his early supporters, Miss F.L. Perry, whom he had corresponded with earlier about The Hobbit and The Fellowship of the Ring. The present letter was written on November 22, 1954 -only eleven days after the publication of The Two Towers - but the opening of the letter implies that Tolkien has already written her for her thoughts on his new book ("I did not mean to put you to any trouble") and has been eagerly awaiting her reply. Then, in a revealing passage that gives insight into Tolkien's thinking on potential failures of The Two Towers, he confesses that he worried about how his readers would accept the return of Gandalf (who was presumed dead at the end of The Fellowship of the Ring), and more generally, "would feel a falling off on a failure of their expectations," or "feel they had had enough after the novelty had worn off, and perhaps regret the decrease of hobbitry and elfishness as the darkness increases and war and terror come out of the East." With relief - and evidently pleased with Miss Perry's previous response - he writes that "All this is answered! Though by no means all are so satisfied by Gandalf." It's clear that Miss Perry was curious to learn more about Tolkien's writing and the history of Middle-earth, for Tolkien then goes on a wonderful digression first focusing on The Lord of the Rings before shifting to a discussion of his previously published work grounded in Anglo-Saxon history (noting, interestingly, that he is at his best when he is writing "verses arising from the emotions of a story, and written to represent the feelings of other 'characters' than myself"). He concludes with an important statement identifying the theme that unites all his work, both reality-based and fantasy-based. The historical work, he writes, "is really on the theme which has always engrossed me and is the foundation of 'The Lord of the Rings': the noble and the ignoble. For hobbitry you have the plain farmer-soldier; for the chivalry, a young minstrel or poet." He concludes his letter with the hope that Miss Perry will stay with him through volume III, "when all the complicated plot, and many characters, must be drawn together." The text reads in full: Nov. 22nd 1954 Dear Miss Perry It was very nice indeed of you to write; but I did not mean to put you to any trouble, specially not when unwell. Still, I was anxious about one or two points: specially about the return of Gandalf; and generally whether my friends would feel a falling off on a failure of their expectations; or feel they had had enough after the novelty had worn off, and perhaps regret the decrease of hobbitry and elfishness as the darkness increases and war and terror come out of the East. All this is answered! Though by no means all are so satisfied by Gandalf. However, all the reviews of the T.T. so far have been good, and Edwin Muir (Observer) is much less patronizing. As for the Chronicles: it has been impossible to include all that I have written or sketched out in this book. But there is really quite a lot of stray information about Arwen scattered about. It was the northern Númenórean realm of Isildur with its capitals at Annúminas and Fornost of which a good deal is said in the 'Council of Elrond.' The King of Angmar becomes the Lord of the Ringwraiths, who appears in Book 1, and will appear again. I have written a good deal of verse (of very varying merit), and some of it has been published here and there. But I have never collected it. I think I am best at the kind of thing seen in the present book - verses arising from the emotions of a story, and written to represent the feelings of other 'characters' than myself. The very long narrative poems, I do not suppose will be ever published. They may! Of longer things a 'Breton Lay,' Aotrou and Itroun was published in the 'Welsh Review' (now deceased); and on Dec. 3 you can hear (if you wish) a dramatic dialogue in alliterative verse concerning the 'Battle of Maldon (fought A.D. 991), broadcast by the B.B.C. It might interest you since it concerns one of the most heroic events in Anglo-Saxon history, and is the history of Essex; the death of the great Duke Byrhhnoth of Essex in battle with the Vikings of Anlaf (Olaf Tryggvason) of Norway. And also because it is really on the theme which has always engrossed me and is the foundation of 'The Lord of the Rings': the noble and the ignoble. For hobbitry you have the plain farmer-soldier; for the chivalry, a young minstrel or poet. I hope you will soon be better. And I hope, too, that you will continue to approve of Vol III, when all the complicated plot, and many characters, must be drawn together. Thank you once more for your kindness in writing, and for the great encouragement you have given. Yours sincerely, [signed] J.R.R. Tolkien Autograph Letter Signed. Four pages on two sheets (170 x 132 mm) of Tolkien's 76 Sandfield Road stationery. Custom presentation folder. Usual mailing folds, a few spots, particularly on last page; visually very attractive, showcasing Tolkien's famous calligraphic handwriting. As far as we can tell, this letter is unpublished. References: Carpenter, Humphrey. J.R.R. Tolkien: A Biography. Boston: Hou.

First Edition. A COLLECTION OF 40 SIGNED HOLOGRAPHIC LETTERS SPANNING THE YEARS 1964 THRU 1993; 14 from Edith Tolkien (wife of J.R.R.) dated 1964 thru 1971 and 26 from Priscilla (only daughter of J.R.R. & Edith) dated 1969 thru 1993; most in fine condition, many multi-page; all but two with original envelope when called for and all addressed to long time family friend Professor W. Meredith Thompson of Canada. Some details/highlights: Edith thanks Meredith for naming her the dedicatee of his book and receipt of same; mentions that her and J.R.R. give nicknames to those people they are fond of (indeed in all 14 letters from Edith, she refers to the recipient as "My Dear Merrie Tom"); notes that the pirated edition (Ace paperback publication) of THE LORD OF THE RINGS is causing her husband extra work and delaying work on his next book; the reasons leading up to leaving and selling their Oxford residence; J.R.R.'s fall down the stairs and complicated knee surgery and later thrombosis as well as other serious ailments; referring to various titles by J.R.R., Priscilla mentions and thanks the recipient for the good times spent by him with her parents; how neither of her parents are very practical people despite being so different from each other; the sudden death of her mother, Edith, and the causes and last days as well as who was able to see her and who was not and the funeral services in Bournemouth, but the actual burial in Oxford; how her father held up during these times; the return of her father to Merton College and how he was welcomed with lodging there; his much needed socialization in Oxford; his trip to London with her and brother John to receive the C.B.E.; thanks Meredith for the copy of THE LAST UNICORN but states "although perhaps rather obviously imitative of Tolkien in style, it (does) not contain the interest because (it's) a rather more crude fairy tale;" a trip to Edinburgh, one of her favorite cities, where her father received an honorary degree and held up well with banquets and festivities; how she was helped so much by his (Meredith Thompson) sympathy and kind words concerning her fathers passing; that her father was lonely without his wife but was bolstered by all those back at Oxford and happy to be in familiar surroundings; that just prior to his death he began hemorrhaging while spending time in Bournemouth due to an ulcer but had excellent medical care; how she and brother John were able to spend precious time with her father while still conscious but that brothers Michael & Christopher were alas unable to do so but were there for the funeral; that Christopher was named Literary Executor; that Michael had a near nervous breakdown perhaps precipitated by his fathers death; that brother John was coping well and a great comfort to her; that the younger members of the family were likewise supporting; she extends an invitation for Christmas this year (1973); that she encloses a photo (here present) of her father next to his favorite tree along with two of his grandchildren, among the last photos ever taken of him; that enclosed newspaper cuttings of her fathers death are his to keep (likewise here present): thanking the recipient for his hospitality when she went to see him; that her brother Christopher has to yield his teaching fellowship to begin work on the publication of THE SILMARILLION; the excitement of the on going preparation of the Tolkien biography by Humphrey Carpenter; the recently released Caedmon recordings of her father reading from both THE HOBBIT & LORD OF THE RINGS; cousins living in Canada; slowly going through her fathers papers to give to the Bodleian Library; the 50th anniversary celebration of THE HOBBIT and exhibition of manuscripts and drawings at the Bodleian Library along with window displays at new bookstores; etc. All in all, very chatty, informational and personal letters about the above as well as state of health, vacationing in different places, welfare of children and grandchildren, thank y.

First editions, first impressions, both presentation copies, inscribed by the author on the half-title of Volume I, "To Ian Hamilton from Winston S. Churchill Nov. 1933", and the first blank of Volume II, "To Ian from Winston Oct 21. 1934". His military mentor and friend of more than 60 years, Ian Hamilton was one of the most significant figures in Churchill's life. Churchill first served with Hamilton, 21 years his senior, on the north-west frontier of India in 1897. As a friend of Churchill's mother, Hamilton helped obtain permissions for Churchill's participation in the India campaign, and the Boer War in South Africa. In April 1900 Churchill joined the column commanded by Hamilton as it advanced through the Orange Free State to the Transvaal, and he immortalized his commander in his second book on the conflict, Ian Hamilton's March (1900). Their names were to be linked again in less happy circumstances during the disastrous Gallipoli campaign, organized by Churchill and commanded by Hamilton. The failure of the campaign was to be a temporary setback for Churchill, but effectively ended Hamilton's career. They remained close until Hamilton's death in 1947, and in 1957 Churchill unveiled the memorial to him in St Paul's Cathedral, describing his friend as "a brilliant and chivalrous man". Churchill worked on the biography of Marlborough, his ancestor who led allied forces to victory against Louis XIV, for almost a decade, and was given exclusive access to the Blenheim archives. The work "took its place at once among the classics of historical writing. As the story of his ancestor's leadership of a grand alliance to prevent the domination of the continent by a single power, it was also a source of inspiration to Churchill in his campaign against appeasement" (ODNB). Volume I was published 6 October 1933 and Volume II on 20 October 1934 (here inscribed the day before publication). Two further volumes were published in 1936 and 1938. A pencilled note to the half-title of Volume I, possibly in Hamilton's hand, reads "NB p. 382 - 16 lines from foot" - the passage in question refers to Marlborough being kept in the shade while vexed "by the futile conduct of the campaign in Flanders". This may draw parallels with Churchill and Hamilton's Gallipoli Campaign, designed as an alternative military route than endless trench warfare on the western front. Provenance: the book comes from the two of the greatest Winston Churchill collections: that of Donald Scott Carmichael ("DSC" initials to box in gilt) and the collection of Steve Forbes. Cohen A97.2(I-II).a; Woods A40(a). 2 volumes, large octavo. Original purple cloth, spines lettered in gilt, Marlborough crest gilt to front covers, top edges gilt. With dust jackets. Housed together in red cloth chemises and solander box by James Macdonald. Paperclip blind impression to half-title of vol. II. Books bright and fresh, jackets worn with tape repair on verso, unclipped: near-fine copies in sound jackets.

First edition, number 157 of 250 copies on Vélin d'Arches from a total edition of 270; large 4to (42.2 x 32 cm); artist's signature stamp to limitation page, 150 lithographs after Giacometti, loose as issued in publisher's printed wrappers, glassine wrappers, cloth chemise and slipcase. Giacometti's testament to art and modern life in his beloved Paris. For the publisher, Tériade, it would be a milestone, the last great publication he would see through the press. The two men [Tériade and Giacometti] had maintained a close friendship ever since the Surrealist Years. The one hundred and fifty lithographs are a profoundly interpenetrating view of Giacometti's experience of Paris. He selected the plates to be printed and determined the order of their relationship, numbering each one. The frontispiece shows a nude figure of a woman plunging forward, as though diving into space, and is immediately followed by a quantity of views of city streets, then of interiors familiar to the artist. We come upon views of his studio, of the cafes he frequented, of Annette's apartment in the rue Mazarine and Caroline's in the Avenue du Maine, strangers at cafe tables, passers by, parked automobiles, the towers of Saint-Suplice, bridges across the Seine, The Eiffel Tower. To accompany the hundred and fifty plates, a text of twenty pages was planned, but the artist never got further than a few rough drafts. True, he was a devotee of words, Paris sans fin, however, said too much to the eye to be in need of other symbols (James Lord, Giacometti: A Biography).

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.