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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.

Couverture souple. Etat : Très bon. Edition originale. "COLLECTION d'environ 90000 DOCUMENTS ORIGINAUX" Pour cause de prise de ma retraite je mets à la vente l'ensemble de mes collections constituées en 45 années de ma vie professionnelle, c'est une composition d'environ 25000 affiches originales publicitaires tous thèmes et de cinéma publiées entre 1880 et 1980 + environ 7000 photos originales la majorité des années 30 + environ 3000 dessins, gravures et peintures + environ 40000 vieux journaux et magazines originaux publiés entre 1870 et 1980 + environ 5000 livres + environ 5000 partitions musicales publiées entre 1860 et 1960 + environ 5000 vieux papiers divers. Sont inclus dans ce lot exceptionnel les près de 15000 articles qui constituent ma boutique MAD MUSEUM sur AbeBooks et qui vous donnent un aperçu de la qualité de mes collections. Possibilité de scinder en plusieurs lots thématiques (exemple : que les affiches de cinéma, que les affiches publicitaires, que les photos, que les vieux papiers, que les journaux et magazines, que les livres, que les bandes dessinées, que les dessins, gravures et peintures, etc.) / Collection visible sur rendez-vous près d'Avignon (Téléphone: 04 90 38 56 82).

Etat : Very Good. Mars and the Imagination: A monumental and carefully curated collection of over 900 works of both fiction and non-fiction tracing the history of our understanding and obsession with the Red Planet. To begin exploring the collection, please see our description available on this page under "View the Collection". Background Mars and the Imagination was conceived and assembled by the experienced collector David Wenner - whose comprehensive collection on the history of physics now resides at the Niels Bohr Library of the American Institute of Physics - and represents much more than a "collection" of works. Through his years of research and study, Wenner was able to unearth important and previously unrecognized literary and historical texts, making new connections among them. Contextualized in such a way, the items in Mars and the Imagination collectively tell an illuminating story through primary sources that to our knowledge has not been previously attempted. It is the story of our fascination with the Red Planet, a story of our wonder about something that is just out of reach, a story that has revealed as much about us as it has about Mars. Fiction and Non-Fiction For hundreds of years, Mars has been observed by scientists, but lurked tantalizingly on the edge of our ability to truly understand the nature of the planet. It thus became a perfect template for speculation: What are the conditions on Mars? Is it hospitable to life? Are there, or have there ever been, living beings on Mars and if so, are they like us? Superior to us? Threatening to us? Will we ever be able to visit Mars? The approaches to answering these questions have been varied, with both scientific inquiry and imaginative fiction in a continual dialogue of influence on each other. Mars and the Imagination, therefore includes texts by such scientific giants such as Kepler, Huygens, Hooke, and Cassini, but also fiction by literary masters such as Swift, Wells, Asimov, Bradbury, and Clarke. Different Formats, Different Audiences: A Vision of Mars for All The collection includes many specialist textbooks and journal articles written by scientists for fellow scientists, but it striking to witness how discussions of Mars seeped into the public consciousness of each generation. There are many papers from esteemed scientific journals such as Philosophical Transactions of the Royal Society, Comptes Rendus or Nature, but Mars is represented just as thoroughly in more popular publications such as The New Yorker, National Geographic, Life Magazine, and even Playboy. It seemed, at times, that all society had a keen interest in news and speculation about Mars. The collection reflects this - seeing different formats and genres from the same period next to each other underscores the point that wonder about Mars has been part of the zeitgeist of each era, including our own. Rescuing Primary Sources and Preserving the Ephemeral One of the strengths of the collection is the preservation of essential primary source material that might otherwise be lost. Many of the items were published in ephemeral formats such as journals, magazines, or as pulp fiction. They were not designed to last and are extremely difficult to find in collectible condition today. Similarly, many of the more scholarly scientific works were published for a small audience of peers and never existed in large numbers. Mars and the Imagination provides a unique opportunity to see these primary sources in one place, and preserves them for future generations. Beautifully Presented and Exhibit-Ready Most of the items in Mars and the Imagination are safely housed in beautiful custom boxes, with the contents often grouped together by themes and carefully labeled. Thus, the collection is attractively presented and easy to navigate, serving not only as a working library for study and enjoyment, but as an exhibit-ready collection. For a more detailed exhibition of highlights form the collection, please click on the attached P.

Hardcover. Etat : Very Good. PIETER JOSEPH DE PANNEMAEKER (b. 1832) 309 orig. Watercolors and 3 orig. Pencil drawings for "Originaux de publications d horticulture et d arboriculture" , 1878-1887. Half-maroquine volumes of the time with gilding on the back. 37.5: 28 cm. - ILLUSTRATION: 309 original watercolors and 3 original pencil drawings mounted on cardboard sheets. Watercolors as templates for colored panels for various magazine publications about plants, flowers and fruits. 3 volumes. (Flanders 1878-87). Provenance: With an engraved coat of arms bookplate of the Comte de Kerchove de Denterghem; Private European collection since 2008 Literature: Cf. Nissen 2343. - Benezit VI, 503. - Hauswedell (1961) 108, 206. Condition: The originals are mostly mounted on the reverse in 4 places on the cardboard sheets. Some of the original boxes are printed on the back with illustrations from old works. The cardboard sheets a little browned and with small marginal blemishes, the watercolors occasionally a bit dusty and finger-stained. Binding somewhat rubbed, one spine renewed using old material, book block there supplemented with blank pages, one cover somewhat light-streaked. All in all beautiful, unique original watercolors. Magnificent unique specimen with wonderfully luminous watercolored depictions of plants - Impressive collection of original designs by Pieter Joseph de Pannemaeker from the possession of the Comte de Kerchove de Denterghem. The Belgian painter and lithographer Pieter Joseph de Pannemaeker (1832-1904) is known for his magnificent and detailed depictions of plants. His original watercolors in bright colors (occasionally also colored pencil drawings or sketches) found their way into important botanical publications such asIllustration horticole , Revue horticole , Bulletin horticulture and Revue horticulture belge . The cardboard papers were usually labeled by another hand underneath the mounted original and provided with notes indicating when and in which magazine the watercolors were used on which page. Some of the original sheets are already labeled, probably by Pannemaeker s own hand, a few originals were also signed by Pannemaeker. Only some of the leaves are Ed. André, P. Strobant fils and A. Verschaffelt. Most of the natural models for the plants probably come from the large gardens in Ghent. The plants originally come from all over the world, often the results of breeding plants from exotic countries. You can see various maples, amaryllis, azaleas, bromeliads, dahlias, ferns, heather and heliconias, carnations, orchids, palm, arrowroot and soap tree plants, balsam and much more. The three volumes also contain numerous watercolors on fruits: pears (30), Apples (12), grapes (3), blackberries (2), cherries (4), peaches (3), plums (2), currants (2), strawberries, apricots, gooseberries (4) and melon. The designs also include indoor plants such as cob thread, begonias, file leaves, arum plants, dragon trees, yucca palm, milkweed and nettle plants. Impressive collection of original designs by the artist Pieter Joseph de Pannemaekers from the collection of the Comte de Kerchove de Denterghem with his ex libris. Magnificent unique collection with wonderfully luminous watercolored depictions of plants. 312 original watercolors as templates for various magazine publications on plants, flowers and fruits, among them "Illustration horticole", "Revue horticole", "Bulletin horticulture" and "Revue horticulture belge". Contemp. half calf bindings. 3 vols. - The originals are mostly mounted on the reverse in 4 places on the cardboard sheets. Some of the original plates have illustrations from old works on the reverse. The cardboard sheets slightly browned and partly with small marginal defects, the watercolors occasionally a bit dusty and finger-stained. Binding rubbed, 1 spine renewed, using old material, the book block supplemented there with blank sheets, 1 paper covering partly sunned. Altogether fine unique. Loca: 6.3BC.19I.

Friedrich August von Hayek's first edition personal copy of one of the most influential books of the twentieth century and the most popular exposition of classical liberalism ever published. Octavo, original cloth. Hayek's personal copy with his ownership name to the front free endpaper, "F.A. Hayek" and notation, "published March 10th, 1944" and list of 12 early critical reviews of the book to the verso of the rear endpaper, "Reviews: Tablet 11/3/44 (Douglas Woodruff); Sunday Times 12/3 (1 or 2 volumes) Harold Hobson 2. 9/4 (G.M. Young); Birmingham Post 14/3 (T.W.H); Yorkshire Post 29/3; Financial News 30/3; Listener 30/3; Daily Sketch 30/3; Times Literary Suppl. 1/4; Spectator 31/3 M. Polanzi; Irish Times 25/3; Observer 9/4 (George Orwell); Manchester Guardian 14/4 (W)." As a powerful challenge to the developing establishment consensus on both sides of the Atlantic for a proactive role for the state, The Road to Serfdom entrenched Hayekâ s status as a strong voice of the libertarian right. Written during the wartime period when the London School of Economics, where Hayek had taught since 1931, was evacuated to Cambridge, the work was written to address the likely mode of government in Post-War Britain, yet proved to be much more widely applicable. Fearing the growing enthusiasm for state intervention and planning in 1940s Britain and its similarities to the roots of Nazi tyranny, Hayek argued that it would be impossible for a planned economy to mimic the complexities of the free market (in which information is naturally widely dispersed) and that, in their attempt to gather the information and resources needed to establish an efficient market, planners would be pushed towards an ever-increasing accumulation of power. This accumulation of information and power would, Hayek argued, lead inexorably towards totalitarianism, leading the nation down a "road to serfdom." Hayekâ s politics left him in a somewhat lonely position in the middle decades of the 20th century. When Churchill claimed during the 1945 General Election campaign that the Labour party would need â some sort of Gestapoâ to fulfill its commitments to a Welfare State, this outburst was blamed on Hayek, and The Road to Serfdom was ferociously attacked by the New Dealers in the United States. The book received both praise and criticism upon publication in 1944. In his April 9, 1944 review in the Observer (a year before the publication of Animal Farm), George Orwell stated "By bringing the whole of life under the control of the State, Socialism necessarily gives power to an inner ring of bureaucrats, who in almost every case will be men who want power for its own sake and will stick at nothing in order to retain it. Britain, he says, is now going the same road as Germany, with the left-wing intelligentsia in the van and the Tory Party a good second. The only salvation lies in returning to an unplanned economy, free competition, and emphasis on liberty rather than on security. In the negative part of Professor Hayekâ s thesis there is a great deal of truth. It cannot be said too often â " at any rate, it is not being said nearly often enough â " that collectivism is not inherently democratic, but, on the contrary, gives to a tyrannical minority such powers as the Spanish Inquisitors never dreamed of." Yet, being true to his leftist leanings, Orwell also professed that he could not endorse Hayek's program: "Professor Hayek is also probably right in saying that in this country the intellectuals are more totalitarian-minded than the common people. But he does not see, or will not admit, that a return to "free" competition means for the great mass of people a tyranny probably worse, because more irresponsible, than that of the State. The trouble with competitions is that somebody wins them. Professor Hayek denies that free capitalism necessarily leads to monopoly, but in practice that is where it has led, and since the vast majority of people would far rather have State regimentation than slumps and unemployment, the drift towards collectivism is bound to continue if popular opinion has any say in the matter â ¦Capitalism leads to dole queues, the scramble for markets, and war. Collectivism leads to concentration camps, leader worship, and war. There is no way out of this unless a planned economy can somehow be combined with the freedom of the intellect, which can only happen if the concept of right and wrong is restored to politics." With Hayek's corrections in pencil to pages 39 and 111, marginal notes in pencil to pages 130-131 and 137, marginal note in pen to page 107, and a newspaper clipping of a satirical poem on 'World Planners' to the front pastedown. Also with an autograph manuscript transcription in Hayek's hand on his King's College, Cambridge letterhead of Morris Bishop's 'For the Tomb of Economic Man' which appeared in the September 12, 1942 issue of The New Yorker Magazine laid in. Near fine in the scarce original dust jacket which is in very good condition. Housed in a custom full morocco clamshell box. "Hayek has written one of the most important books of our generation. It restates for our time the issue between liberty and authority with the power and rigor of reasoning that John Stuart Mill stated in his great essay, â On Libertyâ " (Hazlitt, 82), but in the decades that followed Hayek was key to bringing reinvigorated free-market ideas back to the intellectual and political mainstream. Hayekâ s powerful critique of the planned economy and his moral defense of capitalism caused a sensation when it was published on March 10, 1944. The first edition of 20,000 copies sold out almost immediately. An American edition followed in September 1944, and the book reached a much wider audience through the condensed version that appeared in Readerâ s Digest in April 1945. As a powerful challenge toÂthe developing establishment consensus on both sides of the Atlantic for a pro-active role for the state, the book entre.

First edition of one of the most influential and popular expositions of classical liberalism ever published. Octavo, original black cloth. Association copy, inscribed by the author on the front free endpaper, "To Dr Karl Popper a fellow struggler for freedom with friendly greetings from F.H. Hayek." Also included is a letter signed by Karl Popper to his assistant Melitta Mew, presenting her with this book as a birthday gift (".It is the copy he sent me to New Zealand on publication of the book, with a beautiful dedication. And thank you for everything you are doing for my work (and me). Karl"), on his stationery of 136 Welcomes Road, Kenley, Surrey, and dated 23 January 1994. While this book was very special to Popper, he had been diagnosed with cancer and passed away from complications in September. Ms. Mew helped to put together Popper's lectures and essays in a book, which was published in 1996: "In search of a better world : lectures and essays from thirty years." Easily the best association copy in existence, as the lives of both of these great economists, Fredrich von Hayek (1899-1992) and Karl Popper (1902-1994) greatly impacted the other and their lives were intertwined. They both experienced the destruction of their Bourgeois Viennese families' savings by hyperinflation due to the fragility of the liberal society. While both men studied at the University of Vienna, they first met in London in 1935. Hayek was at that time employed at the London School of Economics and Popper was in the city on a visiting lectureship. While Popper accepted a position in New Zealand, where he was to remain until after World War II, he would also later assume a chair at the LSE, due to Hayek's influence there. Near fine in a good dust jacket. The British edition (which this example is) was published in March of 1944, preceding its American counterpart, which was published later that same year in September. Housed in a custom half morocco clamshell box. "Hayek has written one of the most important books of our generation. It restates for our time the issue between liberty and authority with the power and rigor of reasoning that John Stuart Mill stated in his great essay, On Liberty " (Hazlitt, 82). Its arguments against economic control by the government inspired many politicians and economists. John Maynard Keynes has been quoted as saying, "[I]n my opinion it is a grand book. . . . Morally and philosophically I find myself in agreement with virtually the whole of it: and not only in agreement with it, but in deeply moved agreement." While the Road To Serfdom placed fourth on the list of the 100 best non-fiction books of the twentieth century by National Review magazine, it was not as popular at the time of its writing, and Karl Popper was one of Hayek's few intellectual allies. He shared many of Hayek's views and Hayek even read the manuscript of Popper's own work, The Open Society and Its Enemies, prior to his publication of this book.

The largest collection of its kind in private hands. 330 works in more than 1100 volumes. Mostly original or first editions. Published in Austin, Cairo, Chicago, Hildesheim, London, Marburg, Moscow, New York, Philadelphia, Riga, Tehran, Warsaw and other places in the years 1788 to 2011. Amassed over the last fifty years and covering four centuries of relevant material, the present collection spans all aspects of the history and development of the breeding of Arabian horses. It comprises within itself many books from the Le Vivier collection: fine press books of racing and thoroughbred literature produced by Eugene Connett's famous Derrydale press, as well as numerous important items from the library of Duke Maximilian in Bavaria (1808-88), himself a great enthusiast of Arabic horses. We here find the early Arabian Horse Registry of America Stud Books, and many items also bear presentation inscriptions from the authors (Carl Raswan, Gladys Brown Edwards, etc.). The common practice in such a specialized field, most of the publications here were issued for a very limited circulation in runs of 1,000 or fewer individually-numbered copies. - As a reference library for breeding the collection is unparalleled: almost any Arabian horse's forefathers will be found amongst the exhaustive stud books and breeding serials from the 18th to the 20th century, from Egypt, Australia, Iran, Spain, Russia, the USA, etc., often with accompanying photographs. Perhaps the most famous reference work is the Raswan Index, of which only 380 copies were printed (and many destroyed by a flood). Raswan became an expert on the Arabian breed through his lengthy trips to the desert, where he lived with the Bedouins and learned their language and customs. Several scarce early 20th century works also testify to the Western fascination with the Bedouin and desert roots of the Arabian horse: Homer Davenport's 'My Quest of the Arabian Horse' (1909) and Raswan's 'The Black Tents of Arabia: My Life Amongst the Bedouins' (1935). - Alongside modern surveys of the key centres of horse-breeding in the Arab world, the early Western classics are also found here in their scarce first editions. French and German authors are also well-represented, including the text and first French translation of the 'Hilyat al-fursân wa-shi'âr ash-shuj'ân', an abridgement of Ibn Hudhail's horse treatise, prepared around 1400. Finally, the owner's collection of notable catalogues and magazines paints a fascinating composite picture of the evolution, and heyday, of Arabian horse-breeding in the Arab world, Poland, America, and the United Kingdom. - Also contained in this magnificent collection are the classic reference works on Arabian and Anglo-Arabian racehorses and their breeding. These standard works and encompassing sets of specialised thoroughbred literature include not only the indispensable guides to horse pedigrees, the Racing Calendar, General Stud Book, Spanish, American and Australian Stud Books, Bloodstock Breeders' Review, and Prior's Register of Thoroughbred Stallions, in near-complete runs stretching back as far as the 18th century, but also British and international horseracing history, and several volumes of exquisite coloured plates. - The size and comprehensiveness of the present collection cannot be overstated; it is safe to say that it represents the largest private collection of its kind which has come up for sale in recent decades. Many of the items found here can be located in just a handful of public institutions worldwide. Such items come into the market so rarely (and have recently, like the Raswan Index and the AHRA Stud Books, commanded prices of five figures) that it would be impossible to build a comparable collection item-by-item; the volumes here represent a lifetime of serious dedication to the task. Yet the value of such a collection lies not simply in its impressive number of important publications, but in the vast amount of practical knowledge contained within. - Illustrated catalogue available upon request.

Amassed over the last fifty years and covering four centuries of relevant material, the present collection spans all aspects of the history and development of the breeding of Arabian horses. It comprises within itself many books from the Le Vivier collection: fine press books of racing and thoroughbred literature produced by Eugene Connett's famous Derrydale press, as well as numerous important items from the library of Duke Maximilian in Bavaria (1808-88), himself a great enthusiast of Arabic horses. Including items of exceptional rarity, such as the rare, beautifully illustrated first German edition of Friedrich von Eisenberg's famous riding school (1747), which lauds Arabian horses as "the finest produced by the Orient". Also, we here find the early Arabian Horse Registry of America Stud Books, and many items also bear presentation inscriptions from the authors (Carl Raswan, Gladys Brown Edwards, etc.). The common practice in such a specialized field, most of the publications here were issued for a very limited circulation in runs of 1000 or fewer individually-numbered copies. As a reference library for breeding the collection is unparalleled: almost any Arabian horse's forefathers will be found amongst the exhaustive stud books and breeding serials from the 18th to the 20th century, from Australia, Poland, Spain, Russia, the USA, etc., often with accompanying photographs. Perhaps the most famous reference work is the Raswan Index, of which only 380 copies were printed (and many destroyed by a flood). Raswan became an expert on the Arabian breed through his lengthy trips to the desert, where he lived with the Bedouins and learned their language and customs. Several scarce early 20th century works also testify to the Western fascination with the Bedouin and desert roots of the Arabian horse: Homer Davenport's My Quest of the Arabian Horse (1909) and Raswan's The Black Tents of Arabia: My Life Amongst the Bedouins (1935). Alongside modern surveys of the key centres of horse-breeding in the Arab world, the early Western classics are also found here in their scarce first editions. French and German authors are also well-represented, including the text and first French translation of the Hilyat al-fursân wa-shi'âr ash-shuj'ân, an abridgement of Ibn Hudhail's horse treatise, prepared around 1400. Finally, the owner's collection of notable catalogues and magazines paints a fascinating composite picture of the evolution, and heyday, of Arabian horse-breeding in the Arab world, Poland, America, and the United Kingdom. Also contained in this magnificent collection are the classic reference works on Arabian and Anglo-Arabian racehorses and their breeding. These standard works and encompassing sets of specialised thoroughbred literature include not only the indispensable guides to horse pedigrees, the Racing Calendar, General Stud Book, Spanish, American and Australian Stud Books, Bloodstock Breeders' Review, and Prior's Register of Thoroughbred Stallions, in near-complete runs stretching back as far as the 18th century, but also British and international horseracing history, and several volumes of exquisite coloured plates. The size and comprehensiveness of the present collection cannot be overstated; it is safe to say that it represents the largest private collection of its kind which has come up for sale in recent decades. Many of the items found here can be located in just a handful of public institutions worldwide. Such items come into the market so rarely (and have recently, like the Raswan Index and the AHRA Stud Books, commanded prices of five figures) that it would be impossible to build a comparable collection item-by-item; the volumes here represent a lifetime of serious dedication to the task. Yet the value of such a collection lies not simply in its impressive number of important publications, but in the vast amount of practical knowledge contained within. As the introduction to one manual expresses it, "The horses shown and described form the foundation ancestry of a major number of breeding programs being propagated today. They appear in every area of endeavour. Yet pictures and facts are not easy to obtain. A knowledge of what has been and is, what proved successful and what endured, is pertinent to the maintenance of type and quality in the Arabian. Whatever your chosen bloodline this is a worthy study."Illustrated catalogue available upon request.

Hardcover. Etat : Very Good. 1st Edition. THE FOUNDATIONAL DOCUMENT OF THE NATIONAL PARK SERVICE. First edition. Boston: Louis Prang and Company, [1876]. Folio (21" x 17"). With 15 chromolithographs (each 9 3/4" x 14") (one a proof plate; all framed) in addition to 2 maps and the accompanying text. Bound in the publisher's red cloth portfolio. Moran's imagery revealed the scale and splendor of that still untouched landscape and provided evidence of the need to establish the first national park. Based on Moran's work during Hayden's 1871 expedition to northwestern Wyoming, the fifteen views were the first imagery of the region to become Yellowstone National Park. Louis Prang was the finest color-printer of his day, and he declared Moran's Yellowstone series his masterpiece. In 1876, it was undoubtedly the most elaborate and successful work of chromolithographic printing undertaken in the United States. The work's publication marked the beginning of Prang's dominance of the finest American chromolithographic work in the last quarter of the century (Reese). In his definitive book on chromolithography, Democratic Art, Peter Marzio writes: ".each chromo is a masterpiece. This is Prang's greatest work and represents the high tide of chromolithography in America. Moran's painting technique, grounded by an apprenticeship in commercial printshops and refined by his admiration for Turner, was perfectly suited to the demands of color printing from stone, and he remains to this day one of the most gifted artists to have worked in the medium." Born in Bolton, England, Moran immigrated to the United States in 1844. He received his first art instruction from his elder brother Edward and later found employment as an illustrator in New York City. Moran was on assignment for Scribner's Magazine in 1871 when he was selected to accompany Ferdinand V. Hayden's geological survey to the headwaters of the Yellowstone River. No more suitable company could have been assembled. For sixteen days, Moran sketched, and William Henry Jackson photographed the most compelling features of what was to become Yellowstone National Park, from the impressive geothermal formations of geysers and hot springs to the vivid colors of the river canyon itself. Hayden presented Moran's watercolors and Jackson's photographs to Congress as part of his successful effort to designate Yellowstone as America's first national park. The strategy worked. Even more than Hayden's oratory, the pictures persuaded the legislators that the park must be preserved, a decision that resulted in the establishment of the first national park. Later, Moran visited California's Yosemite Valley and, in 1873, joined John Wesley Powell's exploration of the Colorado River. Moran published his views of the Far West in various periodicals and produced several large paintings, including The Great Canyon of the Yellowstone and Chasm in the Colorado, which the U. S. Congress purchased. Over the next forty years, he traveled widely. Many of his favorite sketching sites in the West were set aside as national parks and monuments, notably Yellowstone, Yosemite, and the Grand Canyon of the Colorado in Arizona. He was elected to the National Academy of Design membership in 1884 and produced a large body of work in his later years. Moran was in tune with the spirit of his age, and this, combined with his phenomenal artistic talent, brought him significant acclaim. Moran provided an image of the American continent's infinite potential as symbolized by its dramatic, majestic landscape. Howes H338; Graff 1830; Eberstadt 127:310; Bennett, p. 80; K.M. McClinton Chromolithographs of Louis Prang p. 159; Joni Kinsey, Moran and the Art of Publishing in Thomas Moran (Washington: 1997), pp; Clark, Thomas Moran: Watercolours of the American West, pp; Reese, Stamped with a National Character 99; Streeter sale 2112; Wheat, Trans Mississippi 1269; Reese, Best of the West 189. THE BOBINS SET AT CHRISTIE'S NEW YORK 16 JUNE 2023 SOLD FOR $453,600.

First edition of Melville's first book and his most popular during his lifetime. Octavo, two volumes bound into one in the original cloth stamped in blind with gilt titles to the spine, frontispiece map, both half-titles and 6 pages of publisher's advertisements at rear. BAL 13653. Presentation copy, inscribed by the author on the front free endpaper one month after publication, "Captain Ball, With the respects of the author, Westport April 18th 1846." The recipient, Captain Charles Ball was captain of the whaling ship Theophilus Chase, on which Thomas Melville, the author's youngest brother, set sail for the first time at the age of sixteen. Thomas's decision to follow in his older brother's footsteps was likely due to hearing Herman's stories of his time at sea which began in 1841 with his voyage aboard the whaling ship the Acushnet. Thomas set sail aboard the Theophilus Chase on March, 18 1846 for the South Atlantic from Westport but was homeward bound by April, at which point Herman apparently visited Westport and inscribed this copy of Typee, just one month after its American publication on March 17th. In very good condition. Housed in a custom half morocco clamshell box. Books inscribed by Melville are scarce. Inspired by Richard Henry Dana Jr.'s new book Two Years Before the Mast and Jeremiah N. Reynolds's account in the May 1839 issue of The Knickerbocker magazine of the hunt for a great white sperm whale named Mocha Dick, Herman Melville travelled to New Bedford, Massachusetts where he secured a position aboard the whaler Acushnet in 1841. On January 3, 1841, the Acushnet set sail and traveled to the Bahamas and the South Pacific, and later up the coast of Chile, to the Galapagos Islands, and Peru. In the summer of 1842, Melville and his shipmate Richard Tobias Greene jumped ship at Nuku Hiva Bay in the South Pacific Marquesas Islands where they stayed for several months before leaving the island aboard the Australian whaler Lucy Ann, bound for Tahiti. Melville would return home to write his first book, Typee, a provocative and lively account of his exploits in the exotic South Seas which made him notorious as the "man who lived among the cannibals." "A classic of American literature [and] the pioneer in South Sea romance" (Arthur Stedman).

Soft cover. Etat : Very Good. 1st Edition. FIRST EDITION, FIRST PRINTING sheets of Common Sense, here with the third edition title page and prefatory leaf. Richard Gimbel s definitive study identifies points in every gathering distinguishing the three editions that Bell printed in early 1776. This copy of Common Sense contains all of the points of the first printing, save the two-leaf gathering [A]2 (title and preface). Bound in at the end is Paine s Large Additions to Common Sense, which Bell pirated from a competitor and offered separately for one shilling to buyers of Common Sense. Paine s Common Sense, published anonymously in January 1776, was the first vigorous attack on King George and the first public appeal for an American Republic. It is not too much to say that the Declaration of Independence of July 4, 1776, was due more to Paine s Common Sense than to any other single piece of writing (Streeter). Born in England in 1737, Paine moved to London in 1774 where he met Benjamin Franklin, who encouraged him to emigrate to America. Franklin provided Paine with letters of introduction to his son William Franklin, royal governor of New Jersey, and his son-in-law Richard Bache, an influential merchant in Philadelphia. Paine arrived in America in November 1774, an unemployed 37-year old immigrant. Through Franklin s influence, the brilliant but unpolished Paine gained access to many leading American intellectuals and soon became editor of the Pennsylvania Magazine. Within one year of his arrival, Paine was working on early drafts of Common Sense, which was published on January 10, 1776. The pamphlet, which immediately became the most talked-about publication in America, made Paine a the leading voice of revolution. Common Sense is brilliant in its simplicity and contains many of the most memorable phrases of the revolutionary period. Paine wrote, in America the law is King. For as in absolute governments the King is law, so in free countries the law ought to be King; and there ought to be no other. A government of our own is our natural right it is infinitely wiser and safer, to form a constitution of our own in a cool deliberate manner, while we have it in our power, than to trust such an interesting event to time and chance. It was the most brilliant pamphlet written during the American Revolution, and one of the most brilliant pamphlets ever written in the English language (Bernard Bailyn). The immediate success and impact of Common Sense was nothing short of astonishing. Common Sense went through twenty-five editions and reached literally hundreds of thousands of readers in the single year 1776 The pamphlet s astonishing impact stemmed from the fact that it appeared at precisely the moment when Americans were ready to accept Paine s destruction of arguments favoring conciliation and his appeal to latent republicanism, to the material interests of the colonists and to the widespread hopes for the future of the New World. By doing all this in a new style of writing and a new political language, Paine broke the ice that was slowly congealing the revolutionary movement (Foner, Tom Paine and Revolutionary America). Together with the Declaration of Independence, the Constitution, and The Federalist, Common Sense is one of the fundamental documents of the birth of our nation. The most recent census of Common Sense locates seventeen complete first editions. Only two of these remain in private hands, and neither is likely to appear for sale. The present volume, containing the first edition sheets, is the most desirable available copy of Common Sense, perhaps the most influential book in American history. Two volumes in one. Disbound, original stabholes visible. K1 detached with blank lower margin torn. Some staining, foxing and wear, old inscription on verso of title. Half morocco case. Gimbel, Thomas Paine. A Bibliographical Checklist of Common Sense (New Haven, 1956).

Kein Einband. Etat : Sehr gut. [Vienna, spring 1825], Quarto 21 x 25.5 cm. 2 pages with seal remains and address (seal spot and spine fold restored). FROM THE GRANDMASTER OF THE CRESCENDO - A QUITE EXTRAORDINARY LETTER FOR THREE REASONS: 1. Beethoven's struggle and problems with the realization of his extended crescendo idea 2. a special note joke 3. his joke in addressing and humor of the entire letter wording. Beethoven's letter to his publisher Tobias Haslinger already begins humorously with a joking addressing: "To the Lord / Tobias Haß and / the Lord Lin / as well as Ger / well and badly born / all here". The salutation "Bester!" is followed by 4 measures with a prelude to Haslinger's first name "Tobias Tobias". The actual letter is written in the "Generalissimus" tone that Beethoven used to jokingly apply to his Viennese publisher as a subordinate and, according to Georg Kinsky (Katalog der Musikautographen-Sammlung Louis Koch), refers to the corrections to the "Namensfeier" Overture op 115. "Fill in the space / in between, but if you will shamefully / praise yourselves, then / I will come out with the truth / following the corrections / I ask you, after / the mistakes have been corrected / to send them to me still tomorrow / I ask you all the time after cres = = / = not to forget this kind of little strokes / Be well / Euer etc etc etc / Beethoven". For Beethoven, as the master of the crescendo, the realization of his dynamic instructions was a significant issue. Therefore, he communicated his intentions extremely precisely through dynamic signs. It is "Beethoven's peculiarity to designate the range of the cresc. by indicated - - - or = = = . the cresc = = = always extend to the next dynamic designation." (see Mies, Paul: Textkritische Untersuchungen bei Beethoven, Bonn 1957, p. 101 and p.105f.) Often, however, these dynamic signs were not understood by the engravers of the music publishers and were therefore simply omitted. The present example shows very well how consistently Beethoven made sure that his special designation for the length of the crescendo was actually implemented in the printing of his works. One can vividly imagine that Beethoven was once again annoyed by the omissions of his exact dynamic designations, but was nevertheless in such a good mood when writing this letter to his publisher that he humorously added a musical music joke to his complaint and commented on it amusingly in the Generalissimus tone. The note joke is to be understood as Beethoven's musically admonishing forefinger to his publisher, reprimanding him by calling out his first name twice. After the development of the crescendo in the Mannheim School, Beethoven set the most significant milestones in its further development, among other things by significantly extending the lengths of the crescendo over many bars. "Beethoven always went to the limits and even beyond, as a human being probably, but also and above all musically. He invented, for example, the piano subito, that is, a crescendo that is carried on and on to the extreme, and which then abruptly breaks off with a sudden piano. To compose something like that, even to play it, takes incredible courage. Normally, just before the climax of the crescendo, the musicians swerve, become quieter, and create a smooth transition. But that's against the nature of this music. You have to have the courage to take the crescendo to the end and then let it end abruptly." (Daniel Barenboim in conversation with Julia Spinola reprinted in the Musikverein's magazine: Internet: musikverein.at/magazin/2020/ november/alles-was-das-leben-ausmacht) Beethoven Haus Bonn: Briefwechsel Gesamtausgabe, Nr. 1955; Kinsky, Sammlung Louis Koch 109; Anderson 1365, Kinsky-Halm WoO 205 (Notenscherze in Briefen). - VOM GROSSMEISTER DES CRESCENDOS - EIN GANZ AUSSERGEWÖHNLICHER BRIEF AUS 3 GRÜNDEN 1. Beethovens Kampf und Probleme mit der Umsetzung seiner erweiterten Crescendo Idee 2. Ein besonderer Noten-Scherz 3. Sein Witz bei der Adressierung und.

4 volumes, Atlas and Text: 2 atlas volumes, broadsheets (26 1/4 x 21 in.; 66.7 x 53.3 cm). 2 engraved title-pages with handcolored vignettes, 218 MAGNIFICENT etched plates of birds by and after W.H. Lizars, Robert Mitford, William Jardine and Selby, with richly saturated original handcoloring, all heightened with gum arabic, 4 uncolored plates at the end of volume one; title-pages creased and strengthened on verso, pl. LXXXVII (Solan Gannet) shaved at bottom slightly affecting caption, long vertical creases to 2 plates and a few plates with corners creased towards the end of volume II, 2 guard sheets with closed tears. Contemporary full maroon morocco panelled gilt with numerous filets and decorative roll tools, the spine in seven compartments with six raised bands, lettered gilt in two, the others decorated with fine gilt tools, gilt dentelles, marbled endpapers, edges gilt, by White of Pall Mall; Atlas: extremities scuffed, color unevenly darkened, gutters of free endpapers repaired and fore-edges and bottom margins extended in facsimile; 2 text volumes, 8vo (8 1/2 x 5 1/4 in.; 21.6 x 13.3 cm). One or two spots. Bound uniformly with the atlas volumes in full maroon morocco by White of Pall Mall; unevenly darkened. THE "ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK" (Mullens and Swann). A fine copy of the Bohn reissue of Selby's magnum opus, first published in parts at irregular intervals in Edinburgh in 1834. Prideaux John Selby "was very gifted as an artist, and the two volumes of 'Illustrations of British Ornithology' are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, 'Illustrations of British Ornithology', was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, 'Land Birds' in 1825 (revised in 1833) and 'Water Birds' in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800-1874) with the descriptions, drawings, and etchings for their joint publication, 'Illustrations of Ornithology' (1836-43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's Library'. Together, in conjunction with George Johnston, Selby and Jardine founded the 'Magazine of Zoology and Botany' in 1836, which was widened in scope in 1838 when the name was changed to 'Annals of Natural History'. Selby remained an editor until his death, contributing notes and articles up to 1841. He joined the Berwickshire Naturalists' Club soon after it was founded in 1831 and served as its president in 1834 and again in 1844. Between 1832 and 1859 he contributed many papers to the 'History of the Berwickshire Naturalists' Club'. Further papers were published in other journals between 1.

SELBY, Prideaux John (1788-1867). Plates to Selby's Illustrations of British Ornithology. Edinburgh: Daniel Lizars and London: Longman, Rees, Orme [ca 1818-1823]. 2 volumes. Folio. Atlas volumes only: Land Birds (23 4/8 x 20 1/8 inches). Engraved title-page, 4 uncloloured etched plates, 89 EXCEPTIONALLY FINE etched plates with MAGNIFICENT ORIGINAL HAND-COLOUR, HEIGHTENED WITH GOLD AND GUM ARABIC by Selby, Robert Mitford and W. H. Lizars after Selby, Mitford and Sir William Jardine, on paper watermarked Ruse & Turners 1815, 1818, J. Whatman 1820, 1821, 1831 and 1832, and J. Whatman Turkey Mill 1821, 1822, 1823 and 1824; Water Birds (25 4/8 x 20 4/8 inches). Engraved title-page (creased), 129, including 4 with folding extensions, EXCEPTIONALLY FINE etched plates with MAGNIFICENT ORIGINAL HAND-COLOUR HEIGHTENED WITH GOLD AND GUM ARABIC by Selby, Robert Mitford and W. H. Lizars after Selby, Mitford and Sir William Jardine, on paper watermarked J. Whatman 1823, 1825 - 1831 (plate XCI with triangular tear within the plate-mark but not affecting the text). Uniformly bound in contemporary calf, gilt, each cover with a central panel of marbled paper (rebacked preserving the original spines, scuffed, shelfmarks at each foot). Provenance: from the Spokane Public Library, with their perforated library on the title-page of volume one only, their ink library stamp on the first plate and rear endpaper of each volume and on plate LV in volume II, with their bookplate on the front paste-down of each volume; with Christie's East, October 12th, 2000, lot 154 'ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK (Mullens and Swann) AN EXTREMELY FINE AND EARLY ISSUE OF THE FIRST EDITION OF THE ATLAS VOLUMES TO SELBY'S BRITISH ORNITHOLOGY, officially published in 1834, but issued from 1819 to 1840. Prideaux John Selby "was very gifted as an artist, and the two volumes of "Illustrations of British Ornithology" are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, "Illustrations of British Ornithology", was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, "Land Birds" in 1825 (revised in 1833) and "Water Birds" in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800 1874) with the descriptions, drawings, and etchings for their joint publication,'Illustrations of Ornithology' (1836 43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's Library'. Together, in conjunction with George Johnston, Selby and Jardine founded the 'Magazine of Zoology and Botany' in 1836, which was widened in scope in 1838 when the name was changed to 'Annals of Natural History'. Selby remained.

Etat : Near Fine. An archive of American author William Eastlake consisting of original manuscripts and galley proofs, over 100 letters to him, and other associated documents. Included are corrected typescript manuscripts for five of his major novels, including the first two novels of his acclaimed Checkerboard Trilogy: *Go in Beauty* and *The Bronc People*. Among the letters are 28 from Edward Abbey, author of *The Monkey Wrench Gang*, together with multiple letters from other leading contemporary authors and personal friends, including William Van Tilburg Clark, Jim Harrison, John Nichols, Martha Gelhorn, Barry Lopez, Ray Carver, Gary Snyder, Studs Terkel, Tim O'Brien, Robert Redford, and others, all rich in literary and personal content. Born in Brooklyn in 1917, Eastlake hitchhiked across the United States and made his way to Los Angeles in the early 1940s, where he worked at the Stanley Rose bookstore: frequented by the writers Nathanael West, John Steinbeck and William Saroyan, and the artist Martha Simpson, whom he married in 1943. During the war Eastlake enlisted in the U.S. Army and was stationed at Camp Ord in California, where he was assigned to oversee draftees of Japanese ancestry into the U.S. Army. He led a battalion at the Battle of the Bulge and was awarded the Bronze Star. After the war he stayed in Europe and became an editor for the literary magazine *Essai*, to which he contributed his first published short story: "Ishimoto's Land," about his experiences with Japanese American soldiers. He lived in Paris and returned to southern California in 1950. In 1955, he and his wife purchased a ranch near Cuba, New Mexico, with four hundred acres of land, which became a mecca for several writers and artists, including Edward Abbey, Julian and Juliette Huxley, and many others whose letters are retained in the collection. At his ranch near Cuba, Eastlake wrote many of his novels set in New Mexico and the Southwest, including the manuscripts for three novels in this collection: *Go in Beauty* (1956), *The Bronc People* (1958), and *Dancers in the Scalp House* (1975). At the height of the Vietnam War Eastlake was a correspondent for *The Nation*, stationed in Vietnam (1968-69) [cf. letter from Ernie Pyle]. Eastlake also wrote war novels and political novels, of which this collection includes the manuscripts of *Castle Keep* (1965: a "Gothic mystery, savage modern satire, heroic epic" set during World War II), and *The Bamboo Bed* (1969: one of the first novels to dramatize the insanity of the Vietnam War). Eastlake's *Castle Keep*, about U.S. soldiers trying to defend a Belgian castle filled with art treasures during the Battle of the Bulge was made into a 1969 movie directed by Sydney Pollack, and starring Burt Lancaster and Peter Falk. Other collection highlights among the manuscripts include: the screenplay and two corrected typescripts (an early draft and final setting copy) of *Castle Keep*; together with corrected typescripts of *The Bamboo Bed* and *Dancers in the Scalp House*. Also notable is publisher William Bamberger's retained archive of Eastlake's short story collection: *Jack Armstrong in Tangier* (1984), consisting of typescripts, pre-publication drafts and galleys, and associated correspondence. Among the letters in the collection, most were written to Eastlake by contemporary authors in Eastlake's literary circle, and most are notable for their remarkable literary and personal content. Here is but a small taste from the 28 letters by Edward Abbey, most of which date from the mid-1970s, when his most famous novel *The Monkey Wrench Gang* was in publication: Kanab, Utah, February 22, 1971: ". I wonder if you or Doug Peacock could refer me to some of the literature on sabotage - industrial and civil, bridges, power plants, dams, etc. What I need is detailed information on techniques and materials. For a novel only - not for real. I've about decided to postpone work on my Pennsylvania agricultural Tolstoyan novel . and do now an idea which I've had in my head for years. To be called The Monkey Wrench Gang - or maybe The Wooden Shoe Mob . Destroy this letter. (I am 87% paranoid these days) ." Two letters from the novelist Martha Gellhorn include reflections on Russian literature, Vietnam, Iraq, and a lengthy discussion of her relationship with Ernest Hemingway: ". As for E.H. and being an artist. I cannot separate artist from man . I believe that the quality of the man must come through into his art. The artist is, and must be, more of an egotist than most because no one protects him in the long early stages, so he protects himself like mad . But somehow, despite that professional deformation, the heart has to stay pretty clean or else a faint smell of corruption lingers about the work. I tried to make Ernest be something I could admire; an idiot undertaking ." Jim Harrison's three letters include his views on writing and Edward Abbey, and four letters from Barry Lopez contain references to his current works in progress, including an essay on "the native American mind," his appearance on the Dick Cavett show, and Lopez's forthcoming collection of fiction *River Notes*. Here is what the sculptor and writer Juliette Huxley (wife of British naturalist Julian Huxley), writes in one of two remarkable letters from 1966-67: "This book of yours, Castle Keep. It is like a gothic carving, not of saints, but of men of ordinary flesh . The words are shot with poetry, the blood blossoms and flowers as it is split. It is a strange and rare experience to read such a book, where the unique craft of the writer is disguised but transcends, the violence is made acceptable by the craft, and exploding death becomes a thing of utter beauty . I have just finished it, and Julian read it first, as spellbound as I am." Four long letters from the novelist John Nichols, one of which includes drawings, are refreshingly obscene, especially in regard to his own work, and in a letter from 1979, Robert Redford expresse.

A collection of approximately 2,000 photographs and negatives, taken by African-American independent photographer Malcolm Downes Thomas (c. 1900 - c. 1972) from the late 1940s to 1971. Thomas photographed various aspects of New York City street and family scenes in both Manhattan and Harlem, Eastern Long Island landscapes and wildlife and a variety of images taken on various Caribbean islands. The collection also includes over a hundred original photographs and negatives of Bettie Page in a private session taken in 1952. In its entirety, this collection represents a vision of nature, street scenes, human interest, and erotica as seen from the perspective of an affluent African-American. Thomas focused his photographs of human subjects on his fellow African-Americans, taking not only numerous study series of portraits but also spontaneous shots of everyday life. Children playing, people watching television on the couch, and social gatherings are all represented. New York local events are recorded in this collection, including Wrestling Matches (3/29/53), a New York fire and efforts to extinguish it (1/7/53), African-American's swimming in the ocean (1953), and outdoor Ice-Skating (12/51). His cityscape work is not limited to either the narrow or the broad, allowing both views of facades and paint as well as skylines. The nature work follows a similar trend, with close-ups of grasshoppers, rabbits, flowers, and others, followed by islands and landscapes. His early travels included Mexico in 1951/52, St. Thomas in 1953, and Nassau in 1953 where he and his wife participated in various photographic contests and won awards or citations for specific images. Fashion and erotica are represented as well. Thomas photographed an unknown African-American woman modelling various outfits in various poses (12/20/52). His erotica images include a private Bettie Page session dated 3/8/52 with over a hundred negatives and an unknown East-Asian woman photographed nude on at least three different occasions, 2/16/52, 12/18/53 and 12/19/53. Thomas was a Navy radar installer and later a Master Electrician. In 1943 he married his third wife Velma Henry who was a registered nurse. Together they took up photography as a hobby, traveling frequently to the Caribbean and Mexico searching for photographic opportunities. They both preferred Leica cameras for their shots. Thomas developed his own work in their kitchen, some birds and flowers were done in color, the rest were black and white. They subsequently built a home in Quoque, Long Island for weekend trips and vacations. They had no children. According to family lore, during the 1940s Malcolm Thomas became a member of the Pioneer Photography Club, comprised of black friends. There is a story that one of the members (Jerry Tibbs) was on a New York beach and saw this beautiful woman (Bettie Mae Page) who agreed to pose for him and other members of the Pioneer Photography Club. This story is similar to the one told by Bettie Page herself, that in 1950, while walking along the Coney Island shore, Bettie met NYPD officer Jerry Tibbs. Jerry was an avid photographer and gave Bettie his card. He suggested she'd make a good pin-up model, and in exchange for allowing him to photograph her, he'd help make up her first pin-up portfolio, free of charge. Tibbs introduced Page to other Harlem photographers like the legendary Jamaican nude photographer and jazz musician Cass Carr. Carr hired her as a model in 1952 for his nude "Camera Club Outings" in which amateur and professional cameramen would pay her ten dollars to pose. By 1955 Bettie Page had become the most photographed glamour model in the United States and was the January 1955 Playboy magazine Playmate of the Month In addition to the photographic archive, the owner of the collection, Malcolm Thomas' nephew Louis P. Brown, has created an uncorrected oblong folio proof copy of Malcom Thomas' photographic works titled "Malcolm Thomas: Photographic Memoir" He is interested in assigning the proof and copyright to the publication of the book along with the copyright and physical images of the photographs as an entirety transaction. Purchase of this collection includes all related rights. 1342967. Special Collections.

Soft cover. Etat : Very Good. 1st Edition. Weird Tales was launched to showcase writers trying to publish stories so bizarre and far out no one else would publish them stories of unearthly dimensions and dark possibilities, gothic seductresses, and cosmic monstrosities. Since 1923, the pioneering publication has introduced the world to such counter-culture icons as Cthulhu, the alien monster god, and Conan the Barbarian. Weird Tales is well known for launching the careers of great authors like H.P. Lovecraft, Ray Bradbury, and Robert E. Howard. Even Tennessee Williams' first sale was to Weird Tales, with a short story titled "The Vengeance of Nitocris." This was published in the August 1928 issue under the author's real name, Thomas Lanier Williams. Other well-liked authors included Nictzin Dyalhis, E. Hoffmann Price, Robert Bloch, and H. Warner Munn. The artwork was an important element of the magazine's personality; Margaret Brundage, who painted many covers featuring nudes for Weird Tales, was perhaps the best-known artist. Many of Brundage's covers were for stories by Seabury Quinn, and Brundage later commented that once Quinn realized that Wright always commissioned covers from Brundage that included a nude, "he made sure that each de Grandin story had at least one sequence where the heroine shed all her clothes." For over three years in the early 1930s, from June 1933 to August/September 1936, Brundage was the only cover artist Weird Tales used. Another prominent cover artist was J. Allen St. John, whose covers were more action-oriented and who designed the title logo used from 1933 until 2007. Hannes Bok's first professional sale was to Weird Tales for the cover of the December 1939 issue; he became a frequent contributor over the next few years. Historians of fantasy and science fiction regard the magazine as a legend in the field, Robert Weinberg considering it "the most important and influential of all fantasy magazines." Weinberg's fellow historian, Mike Ashley, describes it as "second only to Unknown in significance and influence," adding that "somewhere in the imagination reservoir of all U.S. (and many non-U.S.) genre-fantasy and horror writers is part of the spirit of Weird Tales." Today, Weird Tales remains one of, if not the most loved and cherished pulp series. This complete set is an exceptionally rare opportunity to own a large piece of literary history in one fell swoop. The average condition of the set is Very Good, including the scarce first issue.

A comprehensive collection of c. 730 individual issues from 1900 to 1959 assembled over a forty-eight year period with constant refinements and upgrades. With very few exceptions every issue published and all in very good condition (none of the all-too-common defects of magazines). A probably unique collection of issues in their original covers; not held by most of even the most prestigious fashion institutions & with nothing comparable in private hands.

The author's own copy, extensively annotated by him throughout and with his ownership inscription on the preserved front wrapper. It offers an extraordinary glimpse into Collins's perceptions of his most celebrated and enduring work, as well as an insight into his working process. Such material by one of the major Victorian novelists rarely appears on the market. The Moonstone was originally serialized in Charles Dickens's All the Year Round magazine between 4 January and 8 August 1868 and published in book form in July 1868, just before the final four serial numbers appeared. The first edition was an immediate hit and sold out within two months. The stage version was performed at the Royal Olympic Theatre from 17 September to 17 November 1877. The production failed to match the novel's success, and both Henry Neville (playing Franklin Blake) and Laura Seymour (playing Miss Clack) left the cast before the end of the run. Had the stage production won over the critics, it is possible the changes in these closely written annotations would have been incorporated into a final version for trade printing. Collins simplified the novel for the stage, omitting the characters of Rosanna Spearman, Ezra Jennings, and the Indian jugglers (three Hindu Brahmins in disguise, determined to recover the diamond at the centre of the plot). He also restricted the action to a 24-hour period at Rachel Verinder's country house in Kent. This copy shows the author's creative energy and working process, with his methods for restructuring consistent and clear throughout. Collins routinely took part in dramatic performances and had a keen understanding of the process from drafting to acting. "Collins'sfascination with the stage, encouraged by his association withDickens'samateur acting company, led him to write his first play,The Lighthouse(1855), given several performances at Tavistock House,Dickens'shome, and professionally produced, with great success, at the Olympic Theatre in 1857" (ODNB). The annotations are extensive, on some pages filling the margins. They range from relatively minor edits (striking through sentences, altering single words, sometimes multiple times, and eliding a couple of lines with his distinctive box blocking) to substantive revisions of entire scenes. Collins altered the structure from three to four acts, requiring a major revision at the head of page 52, where he begins the new Act III, functionally rewriting the end of Act II and titling it "The Third Act" at the upper margin, adding: "The time has advanced by a few minutes only. Franklin is discovered seated, on the night. Betteredge and Cuff stand near him". The dialogue is then further altered to reflect these changes in timing, with some passages and stage direction fully excised. Collins completely reworked pages 57-59 and 83-85, with new dialogue and direction in his hand on the blank versos of the text leaves. The nearest comparable items to this are a partial manuscript for the printed work, offered at auction but not sold in 1972, and a single manuscript leaf of the same in 2017. The privately printed edition is anyway uncommon: six copies have been traced at auction since 1915 and two confirmed copies are known institutionally in the UK. Parrish and Miller give no estimate of the print run, though it is unlikely to have been large. The copy is finely bound by London bookbinder Samuel Tout and preserves the original paper wrappers. From 1868 through to 1879, Tout (1841-1902) operated in Nassau Street in Soho, London. He then worked in a bindery in Whitechapel with William Coward, continuing on his own after 1880 and swiftly becoming a highly regarded binder. Tout was also a member of the early staff of Karslake's Hampstead Bindery, which opened in Charing Cross in 1898. Parrish and Miller, p. 75. Octavo (182 x 120 mm). Near-contemporary pebble-grain half morocco by Tout, marbled paper-covered boards, spine with semi-raised bands in six compartments, second and third gilt lettered, others with gilt rules, marbled endpapers, top edge gilt. Original plain blue wrappers bound in, the front wrapper signed with Collins's name and Portman Square address. Housed in a custom red morocco solander box. Pp. 88, printed recto only, extensively annotated by the author in sepia ink and pencil, a couple of annotations in a second unidentified hand, leaf of annotated note paper tipped in between p. 33 and p. 34, p. 84 excised with a replacement leaf of note paper pasted to verso of p. 83. Marginal chip affecting a few letters of manuscript annotation to p. 83, several, primarily marginal, closed tears sometime repaired with tape slightly affecting annotations, final leaf backed with paper stabilizing tears, rear wrapper backed with paper stabilizing some loss. Extremities gently rubbed, slight wear to corners, handsomely bound, soiling and chipping to front wrapper, some minor fingersoiling and offsetting to contents, a very good copy.

Engraved map on two folding sheets joined, irregularly shaped as issued, sheet size approximately 39 5/8 x 25 inches. Expert restoration at the folds. Chart numbers 17 and 18. Printed cartographic Americana of the greatest rarity: a map the Florida coast from the first American-made atlas, "the first totally American production of its kind" (Garvan). Following the American Revolution, as the United States began to form a political identity within their newly-defined boundaries, American cartographers began to wrest control from their former colonial rulers on how those boundaries would be depicted. In 1784, Abel Buell, a Connecticut silversmith and engraver, produced the first map of the United States published in America; in 1789, Christopher Colles, a New York engineer, would begin publishing strip maps of American roads; and in 1790, Matthew Clark, a Boston merchant and auctioneer, published the country's very first atlas. Clark's business largely revolved around West Indian goods. "Constantly on the docks and involved in coastal shipping, he saw the need for and had access to local navigational information" (Garvan). Partnering with engraver and printseller John Norman, Clark announced his intention in the 22 February 1790 issue of the Boston Gazette: "When so many attempts are making toward the advancing of the interests of the arts and manufactures in this Country -- when the vast extent of sea coast on the American shores, and the numerous and dangerous rocks, shoals, &c. are considered, the utility of such a work will be readily admitted -- more especially when there are so few charts of this coast extant, and those drawn on an inconsiderable scale." The charts referred to were those by Holland and Des Barres in The Atlantic Neptune, Thornton & Fisher in the fourth book of the English Pilot and charts by Sayer & Bennett in the North American Pilot. The charts from those British works were largely unavailable to the New England ship captains who traded cargo up and down the east coast with the local price fluctuations for their goods. Clark, however, realized that the financial success of his atlas would depend largely on whether the Yankee captains felt they could trust his never-before-American-made charts. He therefore contracted with Osgood Carleton, a noted Boston mathematician, and the Boston Marine Society, to endorse their accuracy. Although the original prospectus suggested that the work, published by subscription, would contain 15 charts, the final atlas contained 18 charts, joined as pairs to create 9 irregularly-shaped mapsheets, depicting the coast from Cape Breton all the way to the Gulf of Mexico. Advertised as "just published" in the 5 July 1790 issue of the Boston Gazette, the charts could be purchased as an atlas for 36 shillings, or individual charts at 2 shillings each. Cartographically, Clark's charts are based on Des Barres and others; however, they do contain significant additional data from local knowledge, leading Carleton to declare them as "more accurate than any before published." Furthermore, "as an adaptation for a specific purpose, these charts show a great deal of imagination and ability. Instead of simply compiling details or republishing old surveys, they increased the scale of the coastal areas . The water areas were restricted to a narrow coastal corridor with no references to distances to or from London or Europe" (Garvan). In short, they were distinctly American, and their success engendered the birth of American cartography. In Boston, Norman would go on to produce his own American Pilot the following year in competition to Clark; and in 1795, Matthew Carey in Philadelphia would publish America's first terrestrial atlas. Clark's Charts are extraordinarily rare. "These were working charts and their rarity today . must be attributed in part to their having been worn out from use at sea" (McCorkle). Only eight complete sets are known: Yale; John Carter Brown Library; Boston Atheneum; Boston Public Library; Library Company of Philadelphia; Clements Library; New York Public Library; and the Library of Congress. Upon their acquisition of a set in 1987, the Clements Library declared Clark's Charts to be "one of the most desirable rarities of American cartographic literature" (Bosse). Beatrice B. Garvan, "Matthew Clark's Charts One Significant Example of Yankee Enterprise" in Philadelphia Printmaking American prints before 1860. Edited by Robert F. Looney. (West Chester, Pennsylvania, 1976) pp.43-69; Guthorn pp. 7, 43 & 96; Phillips 3667 (quoting the Boston Gazette prospectus in full); Ristow p.224; McCorkle, American Emergent 51; David Bosse, "The World of Maps" in The American Magazine, Vol. 3., No. 1 (Clements Library, Spring-Summer 1987); Evans 21738; ESTC W18996; Wheat & Brun 626 and 627.

New-York, 1852. Bound in a later (ab. 1900) red full cloth binding with silver lettering to front board. A bit of wear to capitals, corners, and extremities. Front free end-paper with small repairs and strengthening. A couple of closed tears to blank outer margin of title-page (no loss and not affecting printing)Inner blank margins of the first few leaves strengthened (far from affecting text). Occasionally a few marginal notes. and underlinings. A near contemporary notice in Russian about the work has been inserted between the title-page and the preface. All in all a good copy with no major flaws. IV, (4), 62 pp. The exceedingly scarce first edition of one of the absolutely most important writings by Marx - his seminal essay on the French coup of 1851, which not only constitutes our principal source for the understanding of Marx' theory of the Capitalist state (together with "The Civil War in France"), but which is also the work in which Marx formulates for the first time his view of the role of the individual in history."This work (i.e. "The Eighteenth Brumaire"), written on the basis of a concrete analysis of the revolutionary events in France from 1848 to 1851, is one of the most important Marxist writings. In it Marx gives a further elaboration of all the basic tenets of historical materialism - the theory of the class struggle and proletarian revolution, the state and the dictatorship of the proletariat. Of extremely great importance is the conclusion which Marx arrived at on the question of the attitude of the proletariat to the bourgeois state. He says, - "All revolutions perfected this machine instead of smashing it.". Lenin described it as one of the most important propositions in the Marxist teaching on the state. In The Eighteenth Brumaire of Louis Bonaparte Marx continued his analysis of the question of the peasantry, as a potential ally of the working class in the imminent revolution, outlined the role of the political parties in the life of society and exposed for what they were the essential features of Bonapartism." (note 1 in the Preface to the Third German Edition (Engels, 1885) )."The Eighteenth Brumaire of Louis Napoleon" was written between December 1851 and March 1852 and originally published - as it is here - in 1852 in "Die Revolution", a German monthly magazine established by Joseph Weydemeyer and published in New York. In this cornerstone of modern political thought, Marx discusses the French coup of 1851 in which Louis-Napoléon Bonaparte assumed dictatorial powers and does so by treating actual historical events from the viewpoint of his materialist conception of history.Marx states that his purpose with the work is to "demonstrate how the class struggle in France created circumstances and relationships that made it possible for a grotesque mediocrity to play a hero's part" (preface to the second edition, 1869), and he famously formulates his view of the role of the individual in history ("Men make their own history, but they do not make it as they please" they do not make it under self-selected circumstances, but under circumstances existing already, given and transmitted from the past").If one wants to understand Marx' views on the capitalist state, "The 18th Brumaire" is absolutely essential, as it is to the understanding of the nature, the rise, and the meaning of fascism. Among Marxist scholars, there's wide consensus about regarding Louis Bonaparte's coup and rise to power as a forerunner of the fascism that is to emerge the 20th century. In the words of Engels: "The fact that a new edition of "The Eighteenth Brumaire" has become necessary, thirty-three years after its first appearance, proves that even today this little book has lost none of its value. It was in truth a work of genius. Immediately after the event that struck the whole political world like a thunderbolt from the blue, that was condemned by some with loud cries of moral indignation and accepted by others as salvation from the revolution and as punishment for its errors, but was only wondered at by all and understood by none-immediately after this event Marx came out with a concise, epigrammatic exposition that laid bare the whole course of French history since the February days in its inner interconnection, reduced the miracle of December 2 to a natural, necessary result of this interconnection and in so doing did not even need to treat the hero of the coup d'état otherwise than with the contempt he so well deserved. And the picture was drawn with such a master hand that every fresh disclosure since made has only provided fresh proofs of how faithfully it reflected reality. This eminent understanding of the living history of the day, this clear-sighted appreciation of events at the moment of happening, is indeed without parallel. .In addition, however, there was still another circumstance. It was precisely Marx who had first discovered the great law of motion of history, the law according to which all historical struggles, whether they proceed in the political, religious, philosophical or some other ideological domain, are in fact only the more or less clear expression of struggles of social classes, and that the existence and thereby the collisions, too, between these classes are in turn conditioned by the degree of development of their economic position, by the mode of their production and of their exchange determined by it. This law, which has the same significance for history as the law of the transformation of energy has for natural science - this law gave him here, too, the key to an understanding of the history of the Second French Republic. He put his law to the test on these historical events, and even after thirty-three years we must still say that it has stood the test brilliantly." (Preface to the Third German Edition (Engels, 1885)).The work is incredibly scarce. OCLC lists no more than two copies in libraries world-wide: One in the USA: University of Wisconsin, one in France.

Two original drafts, the first draft and the second and final draft, for Fitzgerald's short story "I Didn't Get Over", written in summer 1936 and published in Esquire magazine that October. The most noticeable differences between the two drafts are at the beginning and end of the piece. The title is slightly changed: in the first draft, it is "I Never Got Over"; in the second, that is amended in manuscript to "I Didn't Get Over". In the story, a former army captain who failed to make it to the front in the First World War confesses his responsibility for a training-camp accident that claimed the lives of several soldiers. At the end, the second draft, Fitzgerald adds in pencil the coda that makes the identity of the army captain clear: "I was that captain, and when I rode up to join my company he acted as if he'd never seen me before. It kind of threw me off - because I used to love this place. Well - good night." The summer of 1936 was a difficult one for Fitzgerald. From February to April 1936, he had published the essays in Esquire magazine that are now well known as The Crack-Up, the articles that helped invent confessional journalism, in which he revealed the collapse of his life and his hopes, and his determination to save himself with his art. A year or so later, he would begin work on his last, unfinished novel, The Last Tycoon. The two drafts were given by Fitzgerald to James B. Hurley, who had answered a classified ad to do some typing and found himself employed by F. Scott Fitzgerald. In 1936, having just graduated from Brown University with a BA in English, Hurley left his hometown of Providence, RI, and went to North Carolina looking for work. Hurley typed Fitzgerald's manuscripts, which were written in longhand, on a Remington portable designed for double-spaced work. Fitzgerald wanted his first drafts triple-spaced in order to edit between the lines, so Hurley had to turn the roller by hand at the end of each line to provide the extra space. Hurley worked for Fitzgerald for nine months, at the end of which Fitzgerald inscribed three of his novels to Hurley and presented him with the manuscripts of two short stories, this and the Civil War story, "The End of Hate". Both were sold at auction, Sotheby's New York, 4 Dec. 1996, the present two drafts as lot 88. The story was first published in book form in the posthumous collection Afternoon of an Author (1957). Bruccoli C266. First draft: 20 leaves, various sizes (largest 330 x 214 mm), partly triple-spaced typescript with pencil holograph amendments, completed in pencil manuscript. Second draft: 9 pages (US Letter: 11 x 8.5 ins), double-spaced typescript with pencil holograph amendments. Minor rusting from paper clips, clips retained separately; notably well-preserved.

4pp. 8vo. 4pp. 8vo. The Surgeon of the 'Montauk' Gives an Eye-Witnesses Account. .About 10:25 P.M. a man came in and walked slowly along the side . A remarkably clear and dramatic eyewitness account of the assassination of Abraham Lincoln from a naval surgeon who was close to the President's box at Ford's theater on that fateful night of April 14, 1865. In this letter to his brother written the night after the assassination, while the details were still fresh in his memory, Dr. George B. Todd, surgeon aboard the U.S. "Montauk" at anchor in the Navy Yard that day, recounts the terrible event with a clarity of observation one might expect of his profession - a rarity among confused eyewitness accounts. The text of Todd's letter - one of only 7 eyewitness accounts written within 24 hours of the assassination - reads: "The few hours that have intervened since that most terrible tragedy of last night have served to give me a little clearer brain, and I believe I am now able to give you a clear account up to this hour. Yesterday about 3 P.M. the President and wife drove down to the navy yard and paid our ship a visit, going all over her, accompanied by us all. Both seemed very happy, and so expressed themselves, - glad that this war was over, or so near its end, and then drove back to the White House. In the evening nearly all of us went to the Ford's Theatre. I was very early and got a seat near the President's private box, as we heard he was to be there. About half past nine he came in with his wife, a Miss Harris and Major Rathburn and was cheered by every one. As soon as there was a silence the play went on, and I could see that the "pres." seemed to enjoy it very much. About 10:25 P.M. a man came in and walked slowly along the side on which the 'pres.' box was and I heard a man say "there's Booth" and I turned my head to look at him. He was still walking very slow, and was near the box door, when he stopped, took a card from his pocket, wrote something on it, and gave it to the usher, who took it to the box. In a minute the door was opened and he walked in. No sooner had the door closed, then I heard the report of a pistol and on the instant, Booth jumped out of the box onto the stage, holding in his hand a large knife, and shouted so as to be heard all over the house - 'Sic Semper Tyrannis' ("so always with tyrants") and fled behind the scenes-I attempted to get to the box but I could not and in an instant the cry was raised 'The President is Assassinated.' "Such a scene I never saw before. The cry spread to the street, only to be met by another, 'So is Mr. Seward.' Soldiers had gone. Some General handed me a note and bid me go to the nearest telegraph office and arouse the nation. I ran with all my speed and in ten minutes the sad news was all over the country. Today all the city is in mourning, nearly every house being in black and I have not seen a smile. No business and many a strong man I have seen in tears. "Some reports say Booth is a prisoner, others that he has made his escape, but from orders received here, I believe he is taken as a mob once raised now would know no end. I will not seal this until morning and I may have some more news. "April 24th. "I have had no time to write until now, as I have been a detective. We have now 7 that are implicated. Why don't you write? Love to all, George" Several important facts regarding the movements of both the President and John Wilkes Booth are recorded here: (1) This appears to be the only eyewitness account of the President's inspection of the "Montauk" earlier that afternoon. (2) Todd's account of Booth's interaction with the "usher" sitting outside the President's box ("took a card from his pocket, wrote something on it, and gave it to the usher") is especially intriguing, and reveals not only something of Todd's powers of observations, but also his proximity to the assassin immediately before the shooting. Todd alone among eyewitnesses notes that the "usher" first took the card from Booth, then went into the box, and that a short time later the door opened, and Booth went in. In fact, Good finds only 7 other eye-witness accounts of the Lincoln assassination as early as April 15 -- most of these witnesses record little or nothing regarding the events before hearing the shot itself, and none of them noticed Booth's interchange with the usher (who was, in fact, Lincoln's valet, Charles Forbes). There are three other accounts by eyewitnesses which partially corroborate Todd's observation of the Forbes and Booth interchange -- but they were written much later than Todd's. (3) Todd's observation of the time he spotted Booth moving toward the box ("about 10:25") corresponds to Good's own conclusion that Booth fired the fatal shot close to 10:30 PM. According to James Swanson (MANHUNT, p. 419) "the exact time of Booth's shot cannot be fixed . Booth may have shot Lincoln as early as 10:13 or as late as 10:30" Todd's account - again, one of the freshest and most reliable, weighs heavily in favor of Good. (4) Todd, by his own account, played a role in alerting the nation by telegraph. (5) Although he doesn't mention it, as a surgeon of the ironclad Montauk, Todd was also probably present at the autopsy of John Wilkes Booth on Thursday, April 27 in the gun room of his ship. Indeed, in an article in the February issue of the Baltimore and Ohio Magazine, 1926, where the letter was first published and reproduced, Todd is reported to have been "one of the surgeons who performed the autopsy." That, as well as the fact that the other prisoners were being held on board the ironclad "Montauk" and "Saugus", may explain his cryptic remark near the end (". I have been a detective ."). Todd actually mailed the letter on April 30, 3 days after the autopsy, and may very have participated in the actual investigation of the captives aboard the "Montauk." AN EXTRAORDINARY AND UNIQUE RECORD OF ONE THE NATION'S GREAT TRAGEDIES. Published (from a copy in the State Historic.

Bible and lithograph volumes: 448 x 348 mm. (17 5/8 x 13 1/2"); "VERVE" text volume: 358 x 270 mm. (14 1/8 x 10 3/4"). Three works in four volumes. Text from the French Geneva translation of 1638. BIBLE BOUND IN DRAMATIC BLACK MOSAIC MOROCCO DESIGNED BY RENÉE HAAS (stamp-signed on front turn-in, dated 1972 on rear turn-in), covers with onlaid "flames" in shades of plum, marigold yellow, cherry red, and olive green, the design invoking a stained-glass window of the biblical Burning Bush, smooth spine with "BIBLE" in very large gilt lettering, burgundy suede endleaves, all edges gilt; original paper wrappers and WITH HAND-PAINTED BINDING DESIGNS BOUND IN at rear. Housed in chemises of black half morocco with woodgrain covers, the chemise spines with large gilt lettering matching their enclosed volumes, the whole in matching slipcases. The Eaux-Fortes and Designs for the Bible bound in black half morocco with woodgrain covers, matching the chemises of the Bible volumes proper, the two accompanying volumes in their own matching slipcases. WITH 384 IMAGES IN THE FOUR VOLUMES. THE TWO-VOLUME BIBLE WITH 105 ETCHINGS BY CHAGALL, the "VERVE" volumes WITH 105 PHOTOGRAVURE REPRODUCTIONS OF THE ORIGINAL ENGRAVINGS, PLUS 174 ADDITIONAL IMAGES: 96 photogravure reproductions of further "Designs for the Bible" executed in various media, 43 additional color lithographs (including one color title page, and the original color wrappers), and 35 black & white lithographs (the black & white lithographs printed back-to-back with color lithographs). The Artist & the Book 53; Strahan, "The Artist and the Book in France," pp. 160, 164, 327. â A VERY FINE COPY with only the most trivial imperfections (occasional faint offsetting from etchings, one double page color lithograph with meticulously repaired insignificant tears), ENTIRELY BRIGHT, FRESH, AND CLEAN INTERNALLY, AND IN SPARKLING AS-NEW BINDINGS. In a magnificent binding by an eminent female designer and accompanied by additional volumes containing a profusion of Chagall's biblical images, this is a spectacular copy of one of the great illustrated works of the past century. Between the very striking oversized bindings and the proliferation of inimitable images in the Bible and its accompanying volumes, the set makes a captivating, almost overpowering effect. The story of the Chagall Bible begins in 1931, when the artist was approached by Ambroise Vollard about undertaking a commission to illustrate Holy Scripture. Chagall accepted, and departed for Palestine, impelled to see the Holy Land before he tried to depict scenes that held such meaning for him as a Russian Jew. According to W. J. Strahan, the etchings he produced should be praised for "the bold way he treads on the delicate ground of Holy Scripture, avoiding the sentimental and yet preserving the Hebrew imagery. . . . Fundamentally it is the artist's deep understanding, as a Jew, of his tribal history, allied to his aesthetic skill, that has produced this masterpiece." In addition to his life-changing trip to the Holy Land, Chagall also steeped himself in the art of engraving, studying, in particular, the work of Rembrandt. The resulting series of 105 biblical engravings is considered one of Chagall's most important works, and it ranks among the best examples of etching produced in the 20th century. Besides demonstrating Chagall's technical mastery of the art of engraving, his illustrations here speak to us on emotional and spiritual levels. As the great art historian Meyer Shapiro eloquently explains, "Almost every image reveals to us an aspect of its sensitivity: veneration, sadness, joy, translated by the melody of the forms and the range of shades specific to each composition." He also notes that "If we had nothing of Chagall but his Bible, we would consider him one of the great modern artists." After the publication of Chagall's Bible in 1956, Tériade (who took over the project after Vollard's death in 1939), issued reproductions of the 105 etchings for a special double edition of VERVE magazine (nos. 33/34), which also included 30 new lithographic illustrations, including wrapper and title (18 in color and 12 in black & white), which the artist composed especially for this supplementary work. In 1960, Tériade published another issue of VERVE (nos. 37/38), containing biblical images Chagall had executed between 1958-59; these included 96 black & white reproductions of Chagall etchings and 48 additional lithographs, including the wrapper (25 in color, 23 in black & white). The color lithographs provide a wonderful foil to the black & white etchings, and reveal the full powers of a visionary artist who was considered to be one of the most versatile and influential creators of the 20th century. The original Chagall Bible was issued unbound, and many copies remain in that condition--a fact that makes our splendidly bound copy even more desirable. Renée Haas was born in Paris in 1920, and studied classics at the Sorbonne and at Columbia University in New York. She returned to France after World War II, first studying painting and then engraving before taking a binding course from Marguerite Fray. This, she decided, was her métier--but only the design aspect. As Flety notes, she employed very fine professionals, including René Desmules, Jean-Paul Miguet, and Renaud Vernier, to execute her bindings. We get a glimpse of her process in the gouache maquettes bound in here, two showing the different color schemes for each volume, and the binder's pattern sheet for cutting the onlays, with annotations in pencil and pen. Alexandre Loewy, the great publisher and bookseller of artists' books, was an early supporter of Haas, exhibiting her designs at his bookstore in 1957 and helping her to find commissions. Thanks to this introduction, she came to design bindings for some of the greatest artists' books of the 20th century, including three for copies of Matisse's "Jazz" (one of which sold at auction for $140,0.

Cloth. Etat : Good. Various (illustrateur). First edition. A vanishingly scarce continuous run of the highly influential Victorian periodical The Illustrated London News, replete with many highly desirable folding plates and illustrations and covering some of the most important events of the nineteenth century. Folio. A vanishingly scarce continuous run, being volumes 1-138 published between 1842 and 1910. In the original highly decorative publisher's cloth binding. Copiously illustrated throughout in colour and monochrome, with many of the highly sought after city panoramas including Edinburgh, Dublin, Paris and Rome present. As is common with this work, many of the folding plates have been removed, however, the work is still highly illustrated throughout with many of the folding plates and panoramas remaining. The highly sought after July-December 1878 volume, known as the Cyprus volume, is present. Please note that due to the scale of the set, a complete collation is not available here, although we would be happy to offer further information and collation as required. The Illustrated London News was the world's first illustrated weekly newspaper; the first issue appeared on Saturday 14 May 1842. Printer and newsagent Herbert Ingram moved from Nottingham to London in early 1842. Inspired by how the Weekly Chronicle always sold more copies when it featured an illustration, he had the idea of publishing a weekly newspaper that would contain pictures in every edition. By 1863 The Illustrated London News was selling more than 300,000 copies every week, enormous figures in comparison to other British newspapers of the time. The work rose to fame following its publication of the designs for the Crystal Palace in 1851 and of the funeral of the Duke of Wellington.The work is credited with moving illustrations from purely a satirical device in mainstream news, to a credible and factual reporting tool, publishing over 750,000 illustrations during its existence. Important historical moments to these volumes include The Great Exhibition of 1851, 'The New Church of St Nicholas, Hamburg' Queen, Queen Victoria visiting Germany, The Beethoven festival, Pilbrow's atmospheric railway, the burning of the Bowery Theatre New York, the funeral of the Duke of Cambridge, 'Visit of the Queen and Prince Consort to The Emperor Napoleon at Paris 1855 ', Sir Allen William Young's 1876 expedition on the 'Pandora' for which he received a knighthood in recognition of his services, the death and funeral of the Prince Imperial, Louis-Napoleon Bonaparte, The Phoenix Park Murders and the departure of Sir John Franklin on what is now known as his 'Lost Expedition' to the second volume at page 328. There is also extensive coverage of the Zulu war and other military conflicts in addition to the sections of sheet music and general newspaper puzzles. Volume LVI contains notable articles including the plans for the proposed Channel Railway Ferry, plans relating to The Amsterdam Ship Canal and the obituary for influential Private Secretary General Charles Grey. Volume LVII is notable for its discussion on the Franco-Prussian war of 1870, including a portrait and article relating to General Vogel Von Falkenstein, a Prussian General der Infanterie. The work also contains an engraving of the Town of Mezieres, which was greatly impacted by the conflict and wounded soldiers in the Gardens of Versailles. The work also contains a charming two page engraving showing the Opening of the Thames Embankment. An impressive continuous run of the highly influential Victorian periodical, The Illustrated London News, containing many highly important references to British history, as well as many charming and highly desirable plates. In the original publisher's cloth binding with gilt detail. Volume 2 of 1874 has been rebound in morocco. Externally smart with rubbing to the joints and extremities. Marks to the occasional board. The very occasional volume, including volume 55 is lacking the back strip although the majority remain present and very smart. The occasional patch of damp staining to the boards, including to volumes 57, 59 and 44. Due to the weight of the volumes, hinges are strained. Text block detached from binding to volume 102. Internally most volumes are generally firmly bound. Pages are generally bright with age toning and scattered spotting heavier to the extremities and the fore edge. The occasional volume has significant closed tears, including closed tears and loss to volumes 55. Writing to the fore edge of volume 55. The occasional tide mark, including to volume 44. Loss and closed tears to several of the folding plates and panoramas. Many pages are closely cropped with the occasional loss to the text. Many plates, including plates and panoramas have been removed. Additional condition notes can be sent across at request. Good. book.

Four hundred issues of The Topaz Times; 197 of which are in English and 203 in Japanese; with 47 fragments of various issues, 17 illustrated calendars, and nine pieces of ephemera including high school newspapers from Topaz War Relocation Center, Ram-bler and Topazette. Following two Pre-Issues from September of 1942, the run spans from Vol. II #49 (February 27, 1943) to Vol. X #19 (March 6, 1945). The newspaper was issued with varying frequency, from daily to weekly or less. Illustrated with drawings, many of which are cartoons. Each issue from 2 to 10 pages or so, generally printed on both sides of mimeographed sheets measuring about 36.5 x 22.5 cm (14¼" x 8 ¾"). Stitched together into monthly groups, or fascicles, with string through small holes in the top margins. Very Good overall with some edge wear, chips, and tears; very infrequent loss of text or biopredation. Most issues appear complete but archive is sold "as is" with regards to completeness. Rare. The English language issues are as follows: vol. II, no. 49; vol. III, nos. 6, 7, 8-B, 9, 13, 15, 18-25, 27, 30, 31, 33, 34, 36, 38, 39, 40 (two copies); vol. IV, nos. 2, 5, 7, 8-A, 9, 11-17, 20, 21, 23, 24 (two copies), 26, 27, 29-31, 34-36; vol. V, nos. 1, 3-13, 16-25, 27-31, 33 (two copies), 34, 36 (two copies); vol. VI nos. 1 (two copies), 2, 3 (two copies), [3]-8, 9 (two copies), 10-34; vol. VII nos. 1-3, 5-7, 8 (two copies), 9, 10, 12-22, 24, 25, 27 (two copies); vol. VIII, nos. 1-3, 4 (two copies), 7, 9 (two copies), 10, 12-15, 19, 21; vol. IX, nos. 1-7, 9, 10, 13-18, 20, 21, 23-26; vol. X, nos. 1-3, 19. Japanese issues are as follows: vol. II, no. 49; vol. III nos. 3, 6-8, 8-B, 12-14, 18-22, 23 (two copies), 25, 29-39; vol. IV, nos. 2-4, 7, 8-A, 9, 10, 12-17, 19 (two copies), 20, 21, 23, 24, 26-30, 31 (two copies), 33-37, 39; vol. V nos. 1-29, 30 (two copies), 31, 33 (two copies), 34, 36 (two copies); vol. VI, nos. 1-35; vol. VII, nos. 1-3, 5, 6 (two copies), 7, 8 (two copies), 9, 10, 12-17, 19-22, 24, 25, 27 (two copies); vol. VIII, nos. 1-3, 4 (two copies), 6, 7, 9, 11-15, 18, 19 (two copies), 20, 22, 25; vol. IX, nos. 1-11, 13-19, 21, 23-26; vol. X, nos. 1, 3. Special editions include: Election Special, June 14, 1943, bilingual; Extra, Dec 18, 1944; Extra / Special Edition, Jan. 31, 1944, lists youths named in draft; Pre-Issue, Sept. 26, 1942. 6 pp.; Pre-Issue, No. 3, September 30, 1942. 6 pp.; Special edition, Dec. 18, 1943, 2 pp.; Special edition, January 21, 1944, bilingual; Special edition, May 19, 1944, bilingual; Special edition, May 23, 1944, bilingual (two copies; "The Sporting Green" January 22, 1944, 1 pp.; Topaz Times Extra, (Two Issues) April 16, 1943 & April 20, 1943, bilingual. Illustrated monthly calendars: May 1943, August-December 1943; Happy New Year 1944 (two copies), January 1944 (two copies), February 1944, March 1944, May-August 1944, Dec. 1944. Incomplete issues: Sept. 18, 1943 English pp. 3 & 4; Japanese, Americanization Supplement only; Sept. 23, 1943 English, pp. 2, 3; vol. IV #37 English, pp. 1-3, 5; Sept. 25, 1943, Japanese, Americanization Supplement; vol. IV #38, Japanese, p. 3; vol. IV, #16, English, duplicate of pages 1 & 2; August 12, 1943, English p. 5, Japanese p. 3; vol. IV, #19 English, pp. 1, 2, 5, 6; vol. IV, #22 English pp. 1, 2, 5-8; Japanese pp. 3,4; vol. IV, #27, English pp. 7,8; vol. V #1 Japanese, pp. 2,3; vol. V, #2 English p. 3; vol. V #12 Japanese p. 3; vol. IX #11, English, pp. 3, 4; vol. VIII #25, English, p. 3, 4; vol. VIII #21, Japanese, pp. 3, 4 only but may just be misnumbered; vol. #20, English, p. 5; Jan. 6, 1944, Japanese pp. 3,4; Jan. 8, 1944, Japanese pp. 3,4; Feb. 19, 1944 English p. 5 b/w Japanese p. 3; vol. VII #6, English, pp. 5, 6; vol. V, #36 Japanese p. 3; Dec. 16, 1943 English p. 3, Japanese p. 3; Dec. 9, 1943 English p. 3; Japanese p. 3 (two copies); Dec. 24, 1963, pp. 3, 4, 7, 8; vol. V #28 Japanese pp. 1,2; Dec. 18, 1943 English, pp. 3, 4; Dec. 11, 1943, English pp. 3, 4; Dec. 21, 1943 English, p. 3 Aug. 9, Japanese pp. 3,4; vol. VI #1 Japanese pp. 3-6; vol. VII #18 Japanese pp. 3, 4; June 17, 1943, Japanese, pp. 4, 5; vol. III, #37 English p. 3; vol. III #35, English, p. 3; June 10, 1943, Japanese p. 3, English pp. 3-5; vol. IV #4, English pp. 3, 4; July 15, 1943, English p. 3, Japanese p. 3; April 24, 1943, English pp. 3-6; April 22, 1943, English p. 5, Japanese p. 3; vol. III #8, English pp. 3-5; vol. III #21, Japanese pp. 1, 2 (two copies); vol. III #26, English pp. 3-5, Japanese p. 3; Sept. 25, 1943, Americanization Supplement; August 14, 1943, English, pp. 3, 4; Sept. 25, 1943, English, p. 5; vol. X, #2, Japanese, pp. 1, 2, 5. An immense archive of original issues of the camp newspaper for the Topaz War Relocation Center, which opened near the town of Delta, Utah in September 1942 and closed in October 1945. Now considered concentration camps, the centers, several of which were scattered across the American west, housed Americans of Japanese descent and immigrants who had come to the United States from Japan. President Franklin Roosevelt signed controversial Executive Order 9066 in February 1942, ordering people of Japanese ancestry to be incarcerated in what were euphemistically called "relocation centers" during World War II. Most of the people incarcerated at Topaz came from the Tanforan Assembly Center in California, and had previously lived in the San Francisco Bay Area. The articles in these newspapers are concerned mainly with internal camp matters, with much on schools and intramural sporting events, churches and religious activities, camp safety, navigating the camp bureaucracy, births and a few deaths, Nisei soldiers who were either drafted or enlisted into service, job opportunities both inside and outside the camp (some of which were at The Topaz Times itself), and much more. The tone is surprisingly positive and upbeat, though perhaps that can be expected due to overt or implied censorship. The illustrations in particular (which occas.

Couverture souple. Etat : Très bon. Edition originale. "RARE COLLECTION d'environ 25000 revues, magazines, journaux originaux publiés entre 1860 et 1980" avec entre-autres LA LUNE, L'ÉCLIPSE, LE PETIT JOURNAL, LE PETIT PARISIEN, LYON RÉPUBLICAIN, LE SOLEIL DU DIMANCHE, LE MONDE ILLUSTRÉ, LE MONITEUR ILLUSTRÉ, GIL BLAS, L'ASSIETTE AU BEURRE, LE PÊLE-MÊLE, LE RIRE, LE RIRE ROUGE, LA BAÏONNETTE, LA VIE POPULAIRE, PSCHITT, L'AÏOLI, LES ANNALES, LE BON VIVANT, NOS LOISIRS, LE CHAMBARD SOCIALISTE, LE COMBAT, J'AI VU, LE DIMANCHE ILLUSTRÉ, LE MIROIR, L'ILLUSTRATION, FRANCE ILLUSTRATION, LE MIROIR DU MONDE, LA SEMAINE, 7 JOURS, COUP DE PATTE, MATCH, PARIS MATCH, L'ÉCHO DE LA MODE, ELLE, MARIE-CLAIRE, JOURS DE FRANCE, NOIR ET BLANC, HARA-KIRI, HARA-KIRI HEBDO, CHARLIE HEBDO, LE CANARD ENCHAINÉ,LE CRAPOUILLOT, LUI, PARIS-HOLLYWOOD, LA VIE PARISIENNE, RIDENDO, Etc., Etc., Etc. / Collection visible sur rendez-vous près d'Avignon (Téléphone: 04 90 38 56 82).

Hardcover. Etat : Wie neu. Etat de la jaquette : Wie neu. 1. Auflage. On offer is a comprehensive collection based on the writings of Raymond Chandler brought together over the last thirty-five years. The collection includes mostly fine original publications of nineteen of the twenty-four stories the author published in different magazines like Black Mask or Dime Detective (including his very first novelette "Blackmailers Don't Shoot"); two complete UK editions of Black Mask (1935 & 1936), over thirty first editions of Chandler's books, many in fine condition in fine (dust) wrappers, original publications in various magazines; a superb 1957 autograph postcard to his publisher Hamish Hamilton, discussing Marlowe's marriage to the "8 million dollar girl" (see picture), various editions of his letters, notes and papers; three books from Chandler's own library; a fascinating selection of books and writers mentioned in the Marlowe novels; works on Chandler; some movies, comics and memorabilia. While we intend to sell the collection as a whole, we are willing to part with some items that may catch your interest. You can view a fully illustrated catalogue (and e.g. enjoy photographs of all the original covers of all the stories) at ygrbooks. Signatur des Verfassers.

2 atlas volumes only, broadsheets (25 3/4 x 20 1/2 in.;65.4 x 52.1 cm). 2 engraved title-pages with hand-colored vignettes, 2 engraved title-pages with handcolored vignettes, 218 MAGNIFICENT etched plates of birds by and after W.H. Lizars, Robert Mitford, William Jardine and Selby, with richly saturated original handcoloring, all heightened with gum arabic, 4 uncolored plates at the end of volume one; long vertical creases in left margin of both title-pages; VOL I: title discolored and strengthened along fore-edge, vertical creases affecting 5 plates in vol. 1 (pl. I*, XXXIII, XLVIII, and uncolored pls. II-IV), fore-edges of first three plates in vol. I strengthened, small marginal repair at top of uncolored plate II. VOL. II: title soiled and margins repaired, long vertical creases in left margin of first 2 plates, flattened horizontal crease midway through pl. XLVII*, plate number and caption of pl. LXXVI (Norther Diver) cropped, pl. LXXXVII* (Solan Gannet, Old) caption shaved, some spotting to background of pl. CII (Fulman Petrel). Contemporary half green morocco over marbled boards, the spines in 8 compartments, 7 raised bands, 2 with citron morocco lettering-pieces, the others decorated with small gilt tools, edges gilt; rebacked preserving the original spines, extremities quite scuffed, hinges and endpapers renewed. THE "ENGLISH EQUIVALENT OF AUDUBON'S GREAT WORK" (Mullens and Swann). A fine copy of the Bohn reissue of Selby's magnum opus, first published in parts at irregular intervals in Edinburgh in 1834. Prideaux John Selby "was very gifted as an artist, and the two volumes of 'Illustrations of British Ornithology' are outstandingly beautiful. In many people's estimation, the clarity and crispness of his figures give them an austere beauty that is lacking in the pretty lithographs in H.L. Meyer's and John Gould's books about British birds . The cool, classical quality of Selby's plates belongs to the age of elegance and could never have been achieved by the Victorian John Gould. Selby's bird figures were the most accurate delineations of British birds to that date, and the liveliest. After so many books with small, stiff bird portraits, this new atlas with its life-size figures and more relaxed drawing was a great achievement in the long history of bird illustration" (Jackson). Selby showed a "great interest in ornithology from an early age and made his own notes and careful, coloured drawings of the birds in his district. his main interests were ornithology, forestry, and entomology. He was a skilful fisherman and an excellent shot. Selby's major work, 'Illustrations of British Ornithology', was published in nineteen parts between 1821 and 1833. It contained some 222 plates etched by Selby (mostly after his own drawings) with the assistance of his brother-in-law Admiral Robert Mitford. In 1819 Mitford was taught to etch by Thomas Bewick in Newcastle; he then taught Selby at Twizell House. Two volumes of text appeared, 'Land Birds' in 1825 (revised in 1833) and 'Water Birds' in 1833. The specimens on which the figures were based were nearly all collected and set up by Selby, aided by his butler, Richard Moffitt. "From 1825 until 1841 Selby assisted his friend Sir William Jardine (1800-1874) with the descriptions, drawings, and etchings for their joint publication, 'Illustrations of Ornithology' (1836-43). During this period, in 1835 and 1836 respectively, he also wrote the volumes 'Pigeons and Parrots' for Jardine's 'Naturalist's Library'. Together, in conjunction with George Johnston, Selby and Jardine founded the 'Magazine of Zoology and Botany' in 1836, which was widened in scope in 1838 when the name was changed to 'Annals of Natural History'. Selby remained an editor until his death, contributing notes and articles up to 1841. He joined the Berwickshire Naturalists' Club soon after it was founded in 1831 and served as its president in 1834 and again in 1844. Between 1832 and 1859 he contributed many papers to th.

Engraved map on two folding sheets joined, irregularly shaped as issued, sheet size approximately 24 x 48 3/4 inches. Expert restoration at the folds. Chart numbers 7 and 8. Printed cartographic Americana of the greatest rarity: a map of the Long Island and Cape Cod coasts from the first American-made atlas, "the first totally American production of its kind" (Garvan). Following the American Revolution, as the United States began to form a political identity within their newly-defined boundaries, American cartographers began to wrest control from their former colonial rulers on how those boundaries would be depicted. In 1784, Abel Buell, a Connecticut silversmith and engraver, produced the first map of the United States published in America; in 1789, Christopher Colles, a New York engineer, would begin publishing strip maps of American roads; and in 1790, Matthew Clark, a Boston merchant and auctioneer, published the country's very first atlas. Clark's business largely revolved around West Indian goods. "Constantly on the docks and involved in coastal shipping, he saw the need for and had access to local navigational information" (Garvan). Partnering with engraver and printseller John Norman, Clark announced his intention in the 22 February 1790 issue of the Boston Gazette: "When so many attempts are making toward the advancing of the interests of the arts and manufactures in this Country -- when the vast extent of sea coast on the American shores, and the numerous and dangerous rocks, shoals, &c. are considered, the utility of such a work will be readily admitted -- more especially when there are so few charts of this coast extant, and those drawn on an inconsiderable scale." The charts referred to were those by Holland and Des Barres in The Atlantic Neptune, Thornton & Fisher in the fourth book of the English Pilot and charts by Sayer & Bennett in the North American Pilot. The charts from those British works were largely unavailable to the New England ship captains who traded cargo up and down the east coast with the local price fluctuations for their goods. Clark, however, realized that the financial success of his atlas would depend largely on whether the Yankee captains felt they could trust his never-before-American-made charts. He therefore contracted with Osgood Carleton, a noted Boston mathematician, and the Boston Marine Society, to endorse their accuracy. Although the original prospectus suggested that the work, published by subscription, would contain 15 charts, the final atlas contained 18 charts, joined as pairs to create 9 irregularly-shaped mapsheets, depicting the coast from Cape Breton all the way to the Gulf of Mexico. Advertised as "just published" in the 5 July 1790 issue of the Boston Gazette, the charts could be purchased as an atlas for 36 shillings, or individual charts at 2 shillings each. Cartographically, Clark's charts are based on Des Barres and others; however, they do contain significant additional data from local knowledge, leading Carleton to declare them as "more accurate than any before published." Furthermore, "as an adaptation for a specific purpose, these charts show a great deal of imagination and ability. Instead of simply compiling details or republishing old surveys, they increased the scale of the coastal areas . The water areas were restricted to a narrow coastal corridor with no references to distances to or from London or Europe" (Garvan). In short, they were distinctly American, and their success engendered the birth of American cartography. In Boston, Norman would go on to produce his own American Pilot the following year in competition to Clark; and in 1795, Matthew Carey in Philadelphia would publish America's first terrestrial atlas. Clark's Charts are extraordinarily rare. "These were working charts and their rarity today . must be attributed in part to their having been worn out from use at sea" (McCorkle). Only eight complete sets are known: Yale; John Carter Brown Library; Boston Atheneum; Boston Public Library; Library Company of Philadelphia; Clements Library; New York Public Library; and the Library of Congress. Upon their acquisition of a set in 1987, the Clements Library declared Clark's Charts to be "one of the most desirable rarities of American cartographic literature" (Bosse). Beatrice B. Garvan, "Matthew Clark's Charts One Significant Example of Yankee Enterprise" in Philadelphia Printmaking American prints before 1860. Edited by Robert F. Looney. (West Chester, Pennsylvania, 1976) pp.43-69; Guthorn pp. 7, 43 & 96; Phillips 3667 (quoting the Boston Gazette prospectus in full); Ristow p.224; McCorkle, American Emergent 51; David Bosse, "The World of Maps" in The American Magazine, Vol. 3., No. 1 (Clements Library, Spring-Summer 1987); Evans 21738; ESTC W18996; Wheat & Brun 626 and 627.