California Book Fairs Catalog 2012

Home

Featured Books

Here is a selection of items that will be on display at both the San Francisco Antiquarian Book Print and Paper Show (Feb. 4-5th, Booth 401) as well as the 45th California International Antiquarian Book Fair (Feb 10-12th, Booth 305). We hope to see you there.

1. [ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 6. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge opf photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page inside, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall. $350.00

2. [ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 1. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page inside, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall. $375.00

3. [ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 9. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page inside, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. $350.00

4. [ADVERTISING ART - JAPAN]. KÔKOKKAI. ADVERTISING AND COMMERCIAL ART. Volume 16, number 8. Tokyo, Seibundô, Shôwa 14 [1939]. Decorated wrappers. 26.3 x 19 cm. 96 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. Ken Dômon was in charge of photography. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page inside, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall. $385.00

5. [ADVERTISING ART - JAPAN]. KÔKOKKAI. COMMERCIAL ART ADVERTISING. Volume 13, number 10. Tokyo, Seibundô, Shôwa 9 [1936]. Decorated wrappers. 26.3 x 19 cm. 88 pp. The special Olympics issue (Tokyo had been granted the games for 1940 - a games which were never held, of course.) Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page inside, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall. Though the covers are a bit loose. $385.00

6. [ADVERTISING ART - JAPAN]. KÔ^KOKKAI. ADVERTISING COMMERCIAL ART. Volume 12, number 8. Tokyo, Seibundô, Shôwa 9 [1935]. Decorated wrappers. 26.3 x 19 cm. 88 pp. Kôkokkai was the premier professional journal on the art and science of advertising in Japan at the time of its publication. The issues were full of scientific and perceptive articles, and illustrated with color and b+w plates and reproductions of posters, ads, signboards, etc., etc. Despite a bi-lingual title on the title page inside, the text is entirely in Japanese. Ephemeral issues from early Shôwa have largely disappeared. The fragile paper is in nice condition overall. $425.00

7. [BIRDS & FLOWERS] Imao KEINEN. KEINEN KACHÔ GAFU. Kyoto: Tanaka Jihei. Meiji 24-25 [1891-2]. 4 vols., each approx. 35.5 x 25.1 cm. Stringbound, fukuro-toji, Japanese style. Vol.1 [Spring] has 31 color woodblock prints of birds and flowers, of which 7 are huge double page prints. Vol.2 [Summer] has 32 plates, of which 8 are double page. Vol.3 [Autumn] has 38 prints, of which 4 are double page. Vol.4 [Winter] has 34 plates, of which 4 are double page, and one is a four page spread.

These original Tanaka Jihei issues (which preceded the Unsôdô versions) have become quite scarce, complete sets even more so, and sets with the western number captioning (the true first printing) almost impossible to find. The covers are original, with the titles directly printed there and the gold flecking. The summer issue has a single worm track in the margins, else it and the other volumes are impeccable, the printing excellent, the colors subtle and lovely. The nicest set we have ever handled. All in a clasped chitsu case which itself is quite rough. 4 vols., complete as issued by Tanaka Jihei, very unusual thus. $9,500.00

8. [BIRDS & FLOWERS] Tsuchida EISHÔ, Takeuchi SEIHÔ, artists. EISHÔ HYAKUCHÔ GAFU. 4 vols., complete, 22.7 X 33.1 cm., Kyoto, Unsôdô, Taisho 3, 3, 12, 14 [1914, 14, 23, 25]. Profusely illustrated set of images of birds, often quite surreal renderings, ostensibly after design by Tsuchida Eishô, the mid-19th century painter, here re-interpreted by Seihô, the 20th century master, and subtly printed by the Unsôdô. Very unusual work, complete in a clasped chitsu case. Very good colors, impressions, condition. A brief notice can be seen at Mitchell, p. 249, referencing Brown, p.202. $6,850.00

9. [BIRDS & FLOWERS] Yanagisawa KIEN, artist. YANAGI SATOTOMO CHÔRUIFU. Kyoto: Yamada Unsôdô, Shôwa 3 [1928]. Oblong portfolio, 27.7 x 36.4 cm, introductory text and table of contents, followed by 22 color woodblock prints after works by Yanagisawa Kien [1706-58], the important "Chinese-style" painter. Printed by the foremost color printer of the day, a lovely collection of bird prints. The original portfolio has been repaired, the prints are very good. An unusual item. $2,500.00

11. [DESIGN BOOKS] Yamashita KÔRIN. HANAGATA. 4 vols. Kyoto, Honda Ichijiro, et al. Meiji 32-3, [1899-1900] 25.5 x 36.7 cm. String-bound Japanese-style fukuro-toji. The four seasons are represented in 155 full page oban size prints of kimono designs. The set is internally in fine condition, lovely printings. The covers of the spring and summer volumes have some oxidation, but otherwise a truly lovely set. Honda Ichijiro is the printer/publisher who went on to start the important house, Unkindô, and join Unsôdô thereafter. It appears that Louise Brown saw a single volume of this set in Japan [Brown, page 203]. Though individual incomplete volumes of this set occasionally appear, a full set, complete, like this one is virtually unheard of. In the original publisher's chitsu clasped case. $7,250.00

12. [DESIGN] FURUYA KÔRIN. Date Moyô HANA ZUKUSHI. Kyoto, Unsôdô, Meiji 39 [1906]. Oblong album, 18.3 X 25 cm, Final colophon page, along with 50 designs on 25 pages of color woodcut designs on an abstract flower theme by Furuya Kôrin, one of the most important of Unsôdô's early neo-Rimpa designers. Well-printed with bokashi, tarashikomi and metallic inks. A very lovely copy of this fragile work, perhaps the scarcest of the "zukushi" series. $1,200.00

13. [DESIGN] Furuya KÔRIN. KÔGEI NO BI. Kyoto, Unsôdô, Meiji 42 [1909]. 3 vols. Folding orihon albums, 32 X 22.5 cm, in paper over boards with integral printed title labels. Originally appearing in 1908, this early reprint set is still very scarce and quite delightful - the 75 large double page designs in woodblock, employing karazuri gauffrage, metallic inks, etc., represent a peak of the printing art as practiced by Unsôdô at the time. Kôrin, the designer, is usually considered an equal to Sekka and Tennen, this work and his remarkable SEIKA and SHASEI SÔKA MOYÔ are the only large format works by him we have seen. The designs are in an interesting format, often constrained to the shapes of pottery pieces, especially vases. The result is a remarkable demonstration of how two dimensional designs can be adapted to three dimensional shapes, here rendered, of course, in two dimensions once again. The printing is good or better, the condition throughout good to very good, with occasional slight browning. In a folding clasped chitsu case. 3 vols. $5,500.00

14. [DESIGN] Furuya KÔRIN. SEIKA. Kyoto, Unsôdô, Meiji 36 [1903]. Tall folio folding album, 36.8 X 24.9 cm, Double-page table of contents and final colophon page. The latter indicates this is a "saihan", a reprint done a month after the first printing. There are 12 large double-page designs in color woodcut by Furuya Kôrin, one of the most important of Unsôdô's early neo-Rimpa designers. Superbly printed by Unsôdô in intense colors, metallic inks, etc.

There are one or two internal spots, and the covers are a bit worn, but overall a nice copy of a stunning and very scarce book. This book should be and will be ranked right along Sekka's as a masterpiece of the genre. $3,600.00

15. [DESIGN] FURUYA KÔRIN. UME ZUKUSHI. Kyoto, Unsôdô, Meiji 38 [1905]. Oblong album, 18.3 X 25 cm, Final colophon page, along with 50 designs on 25 pages of color woodcut designs on a plum flower theme by Furuya Kôrin, one of the most important of Unsôdô's early neo-Rimpa designers. Well-printed with bokashi, tarashikomi and metallic inks. A very lovely copy of this fragile work, with just a hint of internal browning. $985.00

16. [DESIGN] Kamisaka SEKKA. UTA-E Kyoto & Tokyo: Unsôdô, Shôwa 9 [1934]. 1 volume, 31 x 22 cm, cloth, ribbon bound covers, paper label. 25 color full page images after designs by Sekka. As Sekka's last work, it crowns his remarkable career with a lovely evocation of Kôetsu's Saga-bon. (For more on this important work, see Hillier's description on p.976 of the second volume of his ART OF THE JAPANESE BOOK.) The condition is a bit better than average, with relatively little of the offsetting from the prints to the poems that is usual in this book. Slight foxing and slight edgewear. The printing is very good, the colors lovely. It is a very good copy overall. Housed in the original titled chitsu case which shows general soiling all over, no clasps and with some folds starting. One volume (complete): $3250.00

17. [DESIGN] Kamisaka Yoshitaka [SEKKA]. Bekkô Kyôzome MIYAKO NO OMOKAGE. Kyôto, Tanaka Jihei [BUNKYÛDÔ], Meiji 23 [1890]. 23.7 x 16.7 cm, string-bound, Japanese-style, fukuro-toji. Design-printed paper covers, printed title label. 54 pages of color-printed designs for kimonos. This appears to be the first separate work containing the designs of Kamisaka Yoshitaka, later to be known as Sekka, published when he was but 24 years old. Sekka was, of course, the greatest representative of the Neo-Rimpa style and its progenitor, and has to be considered one of the greatest designers of the 20th century in Japan and the world. This earliest of his works is extremely scarce. In very good impression and colors, very clean condition. $2,850.00

18. [DESIGN] ODA Kazuma, artist and designer. ÔYÔ ZUAN Gekkan Dai-ichi-go. Tokyo, Papiyon Zuansha, Taishô 7 [1918]. Folio-sized wrappers, 34.5 x 24.2 cm. This "Practical Design" monthly features the work of Oda Kazuma (1882-1956) in this, its first issue. This issue features articles on the use of electric lights at night for advertising with a note at the end on some recent advertising posters that have appeared. Obviously a periodical by professionals for professionals in the design and advertising world. Not a world one usually thinks of Oda Kazuma belonging to, but here he turns his talents at lithographic printmaking to more practical ends, with several examples of advertising designs and commercial art. Very good condition throughout. Very unusual. $1,850.00

19. [DESIGN] Shirokiya Department Store. 38 COVERS FROM RYÛKÔ MAGAZINE. Tokyo, Taisho era design, done by the design staff, including Furuta Tachiji, of Shirokiya Department store for this, their monthly magazine. Here we have a group of 38 front covers, removed from the original magazines. They were trimmed by a collector to uniform size andstab bound into an album. Here removed again, they provide a repository of Taishô chic design at its best. Save for the trimming and occasional foxing, in very good condition. $1,450.00

20. [DESIGN] Sugiura HISUI. 44 COVERS FROM MITSUKOSHI MAGAZINE. Tokyo, Meiji 44 to Taishô 6 [1911-1917] Hisui, perhaps the most influential design figure in the development of "Taishô Chic", joined Mitsukoshi department store in 1908 at the age of 32 as a part-time designer and became their head of design two years later. His graphic work on the covers of the monthly Mitsukoshi magazine marked the beginning of his rise to prominence and he would spend decades as an illustrator and book designer thereafter, a prime mover in the spread of a native Deco design tradition in Japan. Here we have a group of 44 front covers, removed from the original magazines. They were trimmed by a collector to uniform size and stab bound into an album. Here removed again, they provide a remarkable record of Hisui's graphic genius. Save for the trimming and occasional foxing, in very good condition. $2,850.00

21. [DESIGN] Sugiura HISUI. HISUI KACHÔ ZUAN-SHÛ. Tokyo, Heiandô Shobô. Taisho 6 [1917] The first printing. Portfolio of preliminary materials including a table of contents, followed by 50 numbered sheets of designs printed using woodcut, some machine printed but most printed by hand from multiple blocks. The blocks were cut by Iida Shigezô, the printing done by Enomoto Kinsaburô. A wonderful epitome based on bird and flower motives, of Taisho-era "chic". Designs for book publications, sheet music covers, posters, etc., etc. Hisui, responsible between the wars for Mitsukoshi department stores' trendsetting design and publicity, has been rediscovered within the last decade. There was a wonderful retrospective on his work done at the Tokyo Museum of Modern Art in 2000 and his portfolios are very sought-after. Very good over all, complete. In the original printed publisher's slipcase. $4,850.00

22. [DESIGN] Sugiura HISUI. HISUI ZUAN-SHÛ. Tokyo, Kanao Tanejirô [Bun'endô]. Taisho 4 [1915], Taishô 8 [1919] The sixth printing. Folder of 50 numbered sheets of 187 designs in various media and styles (woodcut, lithograph and offset). A wonderful epitome of Taisho-era "chic", produced by Bun'endô, perhaps the finest publisher of the time using all the most advanced techniques. Designs for book publications, sheet music covers, posters, etc., etc. Hisui, responsible between the wars for Mitsukoshi department stores' trendsetting design and publicity, has been rediscovered within the last decade. There was a wonderful retrospective on his work done at the Tokyo Museum of Modern Art in 2000 and his portfolios are very sought-after. About very good over all, complete (though the "first series", it is believed no further work was published in this format). In the original (tape-repaired) publisher's slipcase. [SJ] $5,850.00

23. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai Go. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This fifth volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in fairly good condition - the pages are loose. $275.00

24. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai Ichi. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This first volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. However plate seven is missing. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

25. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai Roku. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This sixth volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL contain 8 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

26. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU EDEHON Dai San. Tôkyô, Kinkôdô Shoseki, Meiji 32 [1899]. 2nd printing (originally published in 1895). Oblong 8vo., wrappers. 18.2 x 25.5 cm. This third volume of the series A DRAWING MANUAL FOR MIDDLE SCHOOL originally contained 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. However plate four is missing. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in good condition - the pages are loose and the one plate is missing. $195.00

27. [DRAWING TEXTBOOK] ASAI CHÛ, artist. CHÛGAKU SHÛGAJO 7-kan Jô Tôkyô, Yoshikawa Kôbunkan, Meiji 34 [1901]. 4th printing. Oblong 8vo., wrappers. 18.2 x 26.3 cm. PRACTICE ALBUM FOR MIDDLE SCHOOL, Volume Seven, Part One. Containing 5 sheets of color woodcut reproducing watercolor sketches from part one of volume seven and one odd sheet from part two is laid in. By Asai Chu^ and meant to serve as a guide for middle school students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of Western watercolor rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. Complete in aof itself as a peret of the series and including an extra plate. $265.00

28. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chu^tô ENPITSUGA TEHON Dai Isshu^. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the first volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in near fine condition. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $375.00

29. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chu^tô ENPITSUGA TEHON Dai Nishu^. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the second volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

30. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chu^tô ENPITSUGA TEHON Dai Sanshu^. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the third volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

31. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chu^tô ENPITSUGA TEHON Dai Yonshu^. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the fourth volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

32. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chu^tô ENPITSUGA TEHON Dai Goshu^. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the fifth volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

33. [DRAWING TEXTBOOK] ASAI CHÛ, artist. Chu^tô ENPITSUGA TEHON Dai Rokushu^. Tôkyô, Yoshikawa Kôbunkan, Meiji 39 [1906]. 2nd printing. Oblong 8vo., wrappers. 18.4 x 26 cm. Containing 10 sheets of sumi-e woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for secondary students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools. This is the sixth volume.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil rather than the brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in very good condition - the pages are loose. It should also be noted that Yoshikawa Kôbunkan was a famous house, capable of great skill in woodblock printing projects. $365.00

34. [DRAWING TEXTBOOK] ASAI CHÛ, artist. JIZAIGA KYÔKASHO Dai Gohen. Tôkyô, Kinkôdô Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This fifth volume of the series A TEXTBOOK OF FREE SKETCHING contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

35. [DRAWING TEXTBOOK] ASAI CHÛ, artist. JIZAIGA KYÔKASHO Dai Roppen. Tôkyô, Kinkôdô Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This sixth volume of the series A TEXTBOOK OF FREE SKETCHING contains 6 sheets of color woodcut reproducing watercolor sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

This brief notice is not the place to expand but it should be noted that this series represents an important milestone in the see-saw cultural battle being waged between artistic traditionalists and "modern" Western-style artists. The fact that the Asai Chu^ strove to familiarize students with the use of the pencil (and in this case Western watercolor) rather than the traditional brush is significant in that context. Asai, himself, actually, though an accomplished Western-style oil painter who had studied in France was also a skilled traditional painter and a top-rank graphic designer, as well. It appears he believed in giving students all the tools, all the media, available for their expression. His various textbook series are rightly famous though almost never found, being fragile to begin with and meant to be used by students. This volume is in good condition - the pages are loose and the images have a degree of foxing throughout. $375.00

36. [DRAWING TEXTBOOK] ASAI CHÛ, artist. JIZAIGA KYÔKASHO Dai Yonpen. Tôkyô, Kinkôdô Shoseki, Meiji 36 [1903]. 1st printing. Oblong 8vo., wrappers. 18.6 x 26.5 cm. This fourth volume of the series A TEXTBOOK OF FREE SKETCHING contains 10 sheets of sumi woodcut reproducing pencil sketches by Asai Chu^ and meant to serve as a guide for students in their drawing classes. The Japanese Education Ministry, the Monbushô, had commissioned Asai Chu^, one of the foremost artists and educators of the day to create a series of such handbooks for schools.

37. [EARTHQUAKE]. NUMAZU JISHIN-KI. Manuscript, oblong, 13.5 x 19.1 cm. String-bound brown paper covers, 17sheets. 15 watercolor drawings and text. A record of the huge [8.4 magnitude] earthquake of the 11th month of 1854 [December 23, 1854], the Ansei-Tôkai quake, which destroyed many buildings and lives and was followed by a large tsunami estimated to have reached a height of 40-50 feet in some harbors. There was a Russian ship, the Diana, under Admiral Putyatin in the harbor at Shimoda, where it suffered so much damage from the tsunami that it soon sank.

The crew of the Diana came ashore and the Shogunate eventually directed shipbuilders in the town of Heda, to construct a Western-style schooner, the Heda, with help from the Russians, which the latter sailed back to Russian territory. That ship is known as the product of the first cooperative venture between the Japanese and a foreign power. The area around Heda later became the center of a modern shipbuilding industry.

Interesting and important as a record of the earthquake itself and the fate of the Diana and her crew, this manuscript is quite clean and well-preserved. $18,500.00

38. [EHON - BIRDS & FLOWERS] [Nakayama SÛGAKUDÔ]. Shasei SHIJÛ-HACHI TAKA GAJÔ. Tokyo, et al., Hakubunsha, 1888. 35.8 x 23.4 cm. Orihon folding album, in cloth-covered boards with printed paper title label, of 48 color woodcut images of birds and flowers after designs done by Sûgakudô, an important student of Hiroshige, for a series of prints printed circa 1860. This set from recut blocks was printed under the supervision of Nagao Keihitsu, for the publishing house Hakubunsha. Clearly, the same team of skilled engravers and printers who had worked on Taki Katei's album of birds, done the same year for Hakubunsha, worked on this album as well. The images are titled in both English and Japanese. The printing is exquisite, the colors lovely, in excellent impression and condition. Former owner's stamp on the front cover, brief title on the rear cover. Complete, as issued. Very scarce and lovely work. $4,750.00

39. [EHON] Katsukawa SHUNSHÔ. SAYAMA-RYÛ SANJÛ-ROKKASEN. Temmei 9, [1789] Kyoto: Katsumura Jiemon; Osaka: Shibukawa Yozaemon; Edo: Yamazaki Kimbei. 29.3 x 20.4 cm. String-bound, Japanese-style, fukuro-toji. The 36 poetic geniuses are here depicted with examples of calligraphy from the Sayama school by Sayama himself and with his seven page introduction. The 36 lovely figures are preceded by a portrait of Dainagon Kintô the editor who had created the 36 poet canon centuries before. This work comes from the end of Shunshô's life and represents a fitting coda to his production in printed books. The colors are subtle, the printing by Shunpu^dô Ryu^ko is exquisite with much karazuri and like effects. This copy was probably printed a bit after the very earliest impressions which had patterns printed "under" the calligraphed entries, but the blocks are still very fresh and the colors seem earlier than those of the copy Roger Keyes described at Item 381 in his catalogue of the Beatty collection. Thus our copy is probably from the mid-1790's. A remarkably scarce book, much less commonly found than the Shunshô and Shigemasa 100 poets album, and, to my mind, at least its equal, if not its superior. There are a few virtually invisible paper repairs, else internally very clean and lovely. There is no title label. Overall, a lovely and very unusual book. See Binyon & Sexton 11, Duret 131, KSSM v.3 795-4. $12,500.00

40. [EHON] Katsushika HOKUSAI. Hokusai Ehon NANKA NO YUME. Kobayashi Bunshichi, Asakusa [Tôkyo], nd [c.1900]. 23.0 x 15.1 cm. Green, blind-patterned paper covers with printed paper title label, string-bound, Japanese-style, fukuro-toji. 40 pages of sumi-e woodblock illustrations. These represent a selection of images from the early 19th century novel by Bakin, illustrated by Hokusai, entitled SANSHICHI ZENDEN NANKA NO YUME. Kobayashi Bunshichi was a famed print dealer who also published illustrated books, both original and restrikes. These are a very unusual set of images by Hokusai, neither the original edition nor this one come to the market very often. Fairly good impressions, very good condition (there is a library pocket in the back). $485.00

41. [EHON] Katsushika HOKUSAI. HOKUSAI ONNA IMAGAWA. N.P.; N.D.; [Eirakuya Tôshiro, Nagoya; late 1830's?] String-bound Japanese-style, fukuro toji, printed title label, 22.7 x 15.7 cm. A nice impression in b+w of this classic work, illustrated by Hokusai. The ad on the inside back cover is Forrer's #29, placing it as an early and unusual variant reprint of the first edition with the streaked yellow covers and no preface as he describes in the Eirakuya bibliography. Some outside wear and soiling, otherwise very good. An unusual Hokusai work, usually only seen in tired late Edo editions. [AV] $1250.00

42. [EHON] Kawanabe GYÔSAI, Artist. Tsuuzoku ISOPPU MONOGATARI. Tokyo: Inada Sahei, Meiji 8 [1875] (Meiji 5-8). 6 volumes. Hanshibon, 22.5 x 15 cm. Blindstamped patterned yellow paper covers, string-bound Japanese-style, fukuro-toji. The interesting and now very scarce translation of Aesop's Fables into Japanese from the English version of Thomas James. Illustrated throughout in b+w (without the grey block) woodcuts by the famed artist Kawanabe Gyôsai, the illustrations based on the English original. (For more on this work, see Scott Johnson's article, "The Illustrations for a Victorian Aesop and a Meiji Isoppu", 1983, Kansai University). Good impressions, very good condition. Enclosed in a modern clasped chitsu case, complete: $3,500.00

43. [EHON] Kitao SHIGEMASA [attributed to]. ONNA BÔKUN OSHIE GUSA Zen. n.p., n.d. [Edo: Maekawa Rikuzaemon, Kansei 2 (1790)] Original dark blue covers with printed paper title labels. 26.7 X 18.2 cm. A practical guide to woman's etiquette, with furigana included to allow easier reading. Includes an interesting section on the marriage ceremony. Profusely illustrated in an ukiyo-e style in black and white woodcut. Overall good condition in worn covers, fair to good impressions. [Attributions, etc., courtesy of R. Sawers] Not in Ryerson, Brown, Mitchell or Hillier. Not found, at least not under this title, in KSSM. Obviously unusual. $1,200.00

44. [EHON] Kitao SHIGEMASA. EHON KAGAMI GUSA 2 vols. 21.5 x 15.4 cm. Original flower-printed covers with original printed title labels. N.D., printed by Nishimura Genroku. A book with the same title (but written with differfent Kanji) is cited in KSSM as published in Meiwa 5 [1768] but from a different publisher and in three volumes. The Nishimura Genroku catalogue at the end of our volume 2 lists the current book EHON KAGAMI GUSA (with the proper Kanji) as complete in 2 volumes. One might assume that this work is actually a different work from the one which appears in the KSSM with the same (pronunciation of the) title by Shigemasa, as another work advertised by Genroku in the book catalogue at the end of our volumes as "to be printed soon" actually appeared in the late 1780s. So, I would date this volume as appearing in the late 1780s, when Shigemasa was in his 40s, rather than much earlier in his career. A lovely book on a small scale populated with historical and contemporary figures with an innocence and a "look" reminiscent of Sukenobu. Slight internal soiling, good sumi-e impressions throughout. Internally complete collation. Obviously very scarce and interesting, especially as this is the Bing collection copy. $2,850.00

45. [EHON] Kiyomizu Nôsaburo, artist. Tsuchiya Ihei, editor. TAKETOMI-ZÔ GAROKU. Tokyo, Meiji 12 [1879]. 16.6 x 24.1 cm., oblong string-bound Japanese style, fukuro toji, with printed paper title label. Grey wrappers. Illustrated throughout in fine and precise b+w woodcuts that resemble wood engravings more than traditional Japanese woocuts, though they are obviously the latter. 1879 was a low point in Japanese book illustration but this little work rises above the contemporary mediocrity. Detailed and realistic images of animals, plants, landscapes, etc. Especially interesting for its association - it bears the front cover signature of non-other than Isabella Lucy Bird, the important late 19th century female explorer, whose UNBEATEN TRACKS IN JAPAN [London 1880] was one of the most famous travellers tales of Japan in that era. Perhaps Isabella obtained this very copy while she was in Japan. Good condition, good impressions. Not found in Mitchell. Very unusual. $975.00

46. [EHON] Kumasaka TEKIZAN, artist. SANSUI KARA-E SHINAN Suharaya Môhei, et al., Ansei 4-5 [1857-8]. 2 volumes [Shohen, Ni-hen] Small format string-bound fukuro-toji binding in paper covers with a printed paper title label, 17.6 x 12 cm. Nanga-style color illustrations throughout. Mitchell refers to one volume in the BM. [Mitchell pp. 185, 460] Pleasant and gentle one page landscape studies. The condition is about very good, as are the colors and printing.

Nanga works are by no means common and this is a particularly lovely example of the genre. 2 volumes. $875.00

47. [EHON] Nishimura NANTEI. NANTEI GAFU KÔHEN. Kôto [Kyoto]: Bunchôdô, Bunsei 6 date of 1826 on the preface. 25.7 x 18.3 cm. Blue-grey covers, string bound Japanese style, cover label. Our copy is complete and comparable to the copy catalogued in Mitchell, p.432. [See also Ryerson 375 for alternative titling of this work.] save that this copy does not have the inside back cover colophon dated Bunsei 9 [1829] Rather it has an 8 page book catalogue bound in from Bunchôdô [Yoshida Shimbei], which lists this book, NANTEI GAFU KÔHEN and the KIHÔ GAFU (which appeared in 1827) as being "printed soon" so this indeed seems to be an early copy of the catalogue and the printing quality indicates this is an early printing of the book as well, probably before the Mitchell and Ryerson copies. The covers and interior of our copy are clean, the title label is slightly chipped and the impressions and colors are very good or better. The nicest copy of this book we have seen.

Hillier, in his ART OF THE JAPANESE BOOK [pp. 705-7] calls this book "one of the high points of the Japanese colour-printed gafu". Ours is one of the "well-printed, unfaded" copies Hillier specifies for that distinction of excellence. At one time, not a particularly rare book, it has become unusual in the marketplace, especially a special copy like this. $4,750.00

48. [EHON] Nishimura NANTEI. NANTEI GAFU. Kyoto, Kyôwa 4, [1804]. 3 vols. in one, gappon, in tan covers with a blindstamped vegetal gourd pattern. 25.8 x 18.2 cm. The printed papaer label is present but chipped, the covers are soiled. Good printing with slight worming. Overall a good copy of this classic Shijô work. See Mitchell 432 for a description of this book. Our version is printed without the kyôka poems. Complete. $1,450.00

49. [EHON] Ryûkatei Shojaku, artist and poet. KYÔKA RYÛKA TAWAMUREGUSA-SHÛ. [Ansei 6 (1859)]. 21.8 x 15.1 cm. Green, original blind-patterned covers with printed paper title labels. There are 2 double page and 9 single page charming color woodblock illustrations for the poems in a simple Shijô style. 3 copies are located in KSSM 2, 502. An unusual book of late Edo. $2,500.00

50. [EHON] Satô SUISEKI. SUISEKI GAFU. Bunka 11 [1814]. 25.6 X 18.8 cm. This copy of the first series of Suiseki's gafu of figures is a classic of the Shijô genre, universally praised. [See Mitchell pp 505,6; Hillier Vol.2, pp. 753-6; Holloway 51; Ryerson 379; Brown p.93] This copy is of a very good impression with excellent color. It differs from the Mitchell copy at page 505 as follows:

It has yellow covers and the one page sumi images of pine and bamboo before and after the 40 color pages of "occupations" are replaced by a blank page instead of the pine print and Suiseki's printed signature and seal instead of the bamboo. There is no printed title label. This copy does have the "shotei" seal on the hashira throughout. Finally the colophon does list the same publishers as Mitchell's but Suiseki's name and seal appear the page before (instead of the bamboo design, as above) There is no mention of the nihen and sampen versions to come. The prefatory material and first five color images have very light waterstains. Overall, a very nice copy in a good printing and excellent colors of this cornerstone work of Shijô illustration. A very scarce and important work. $5,850.00

51. [EHON] Shijô School Anthology. TAMA HIROI. Kyoto: Omiya Matashichi. 2 vols., circa 1860. String-bound Japanese style [fukurô toji], 25.8 x 17.1 cm. Identical to Mitchell's "Example A", the Omiya issue in two volumes, complete, with the red stamp on the inside back cover. All the prints, poems, finals, etc. are the same as the Mitchell copy. This variant issue is an excellent printing in good colors.

TAMA HIROI is an important anthology, providing exclamatory punctuation to the development of Edo Shijô book illustration. The quality of the technique would not be approached again until the heyday of Meiji color printing thirty years later when the aesthetic had been irrevocably transformed. Therefore, in our opinion, TAMA HIROI is a cornerstone piece in any Edo ehon collection. [Re: Mitchell p. 512,3; Brown 127; Ravicz 45; Hillier Vol.2]

Our copy has the original covers and title labels. It is a clean and well-printed copy of this important work. Complete. $3,500.00

52. [EHON] Shunsôdô, publisher. TÔJUN KAGETSU-CHÔ. 3 Vols., orihon, bound in brocade covered boards with printed silk title labels. The tall slender volumes, 29 x 10.2 cm, are reminiscent of sutras in their format. Enclosed in the original chitsu (clasps missing) with printed paper title label. The colophon is integrated with the closing directory of participants, dated Meiji 16 [1883]. The zodiacal date of 1827 is contained in many of the contributions to the work. Why almost sixty years went by until this work was published in woodcut is problematical, but the centrality of the great scholar, Rai Sanyô, and his followers to the work is undeniable. There are a total of twelve woodcut printed illustrations, some with light coloration, 11 are double page and one is a four page foldout landscape. The subjects are the flowers, landscapes, etc. of Nanga art, but the execution is superlative in printing, coloring and composition.

As remarkable as the prints are, the other aspect of the albums, the calligraphed poems, etc., are equally impressive. In my opinion, the printer's ability to capture the diverse style of each writer and the uniformly excellent quality of each contributor's work make this A FEW BRIEF MOMENTS INSCRIBING MOON AND FLOWERS one of the finest illustrated works of the Meiji period.

It would not do to ignore the historical importance of the work, either. The Nanga revival of the 1880's which iterated an earlier flowering approximately a zodiacal circle earlier is at the heart of the work, and the lavish nature of the production illustrates the intellectual, artistic and financial resources available to the bunjin literati of mid-Meiji Japan. Each poem and woodcut is sealed, and the study of both seals and signatures throughout the book provided in its day and to us also many insights into the relations of the many intellectuals in Rai Sanyô's 1820's movement. See Mitchell 528 and articles on such of the contributors as Sanyô himself, Kagawa Kageki, Rai Kyôhei and Kan Sazan in the Kôdansha ENCYCLOPEDIA OF JAPAN.

In very good condition and excellent color and impression. Three volumes, complete: $1,675.00

53. [EHON] Tachibana YASUKUNI. EHON NOYAMA GUSA. 5 vols. bound in one [gappon], Bunka 3 [1806]] Ôsaka. Yanagihara Kihei. 22.0 x 15.9 cm. Original covers and title label, string-bound, Japanese-style, fukuro-toji. Delicate and lovely botanical prints throughout. Surprisingly unusual work complete, though this is a reprint done after the original edition of 1755. Complete, in a tied paper wrappered case. (See Bartlett & Shiohara 126 and Kerlen p. 121) Fairly good condition and impressions, with its faults, still an important and impressive work. $1,850.00

54. [EHON] Torii KIYONAGA, artist. EHON MUCHI BUKURO. Tôto [Edo], Iseya, Temmei 2 [1782]. 2 vols. in one. Extremely rare color printed book of military scenes, rendered in Kiyonaga's wonderful style. Ten double page and three single page plates. Rubbed and a bit soiled, especially the first half of the work. With a [later] hand drawn sketch of a tiger on the cover which is quite lovely in and of itself. There is a copy of this work in the British Museum, but I have not been able to track down any other copies outside Japan and the KSSM only lists the copy in the Diet Library.. [See Hillier 383, 387 for more on this work]. As the covers are not original, the tobira, which had been laid down to the inner front cover, is missing as well. Else complete. $3,850.00

55. [EHON] TSUTAYA JÛZABURO, publisher. MOMO SAEZURI. Published in Edo in Kansei 8 [1796]. Bound in orihon folding album style with stiff covers, handpainted, with the original printed title label. Hillier in his ART OF THE JAPANESE BOOK considers this perhaps the most famous of all kyôka anthologies and the Shunman print of the two bijin boarding a boat perhaps the best-known image of the genre. There are 6 prints in all, one each by Shôhô and Kahô Sanbei, two each by Tsutsumi Tôrin and Kubo Shunman.

See the British Museum copy: here. This is a very nice printing in original condition, but there are several old worming repairs, but overall quite lovely still. A cornerstone of any ehon collection. $9,500.00

56. [EHON] Yamaguchi SÔKEN. SÔKEN GAFU Sôka no Bu. 3 volumes, complete. Medium grey paper covers with original printed title labels. String-bound Japanese-style, fukuro-toji. 26.2 x 19.0 cm. Bunka 3 [1806] Illustrated in b+w and grey woodcut throughout. This is perhaps Sôken's most successful ehon - illustrating a series of plants and grasses quite wonderfully. There is much use of block scraping to produce wonderful printing effects, especially on leaves and stems. The difficulty of the printing techniques means that this book always hovers on the edge of aesthetic disaster - when it is good it is very good, when it doesn't work it dissolves into pictorial chaos. Ours is very good. I have compared our copy to the Chaikin/Gillot/Hayashi copy which is the benchmark for the book and it holds up very well - the main difference being in the paper - the Chaikin copy being printed on whiter, thinner, harder "chinese-style" paper and this copy being on a heavier, softer, Japanese-style buff paper. As for bibliographic details, our colophon is identical to the Mitchell, etc. copies, save that in ours the names of the Kyoto bookseller/publishers have been excised from the block. A remarkably nice copy of a very scarce and important book. The Louis Gonse copy sold at the Beres sale in 2002. $4,750.00

57. [EHON] Yanagawa SHIGENOBU II. EHON FUJI BAKAMA. 2 vols., Tôto [Edo], Suharaya Môhei et al., Tempô 7 [1836] 15 x 20.7 cm. String-bound Japanese-style, fukuro-toji. Lovely work with many images of famous woman of Japanese history. Volume one has eight and volume two has seven double page color woodblock images in Shigenobu's ukiyo-e style. Bound two volumes in one [gappon] with brocade covers and the remains of a [late 19th century?] handwritten European title label. Originally published in Bunsei 6 [1823]. Illustrated at pp. 785-7 in Hillier's Art of the Japanese Book. The printings and colors are good for this edition. There is some thumbing and soiling to the bottom margins. Good condition overall. Complete. $1,750.00

58. [EMAKI - HANDSCROLL]. HANDSCROLL OF DUCK IMAGES Ishizaki Kôyô, artist. Emaki handscroll in decorated handmade Japanese paper with a blank title label, internally sealed. 5.545 meters in length, 26.2 cm in height, image size. A series of art anatomical drawings of a male magamo (mallard) Uses a technique of depiction seen in the important EISHÔ HYAKUSHÔ GAFU, a series of bird images in 4 volumes printed in the Taisho era, edited by Takeuchi Seihô, in which a combination of sumi sketching and detailed realistic coloring gives a surrealistic flavor to the bird studies.

Kôyô [1884-1947] was a member of the second generation of the Kyoto School of painters. Born in Toyama, he was first a student of the Rimpa artist Yamamoto Kôichi, then, not surprisingly, the great Takeuchi Seihô. Kôyô is an important artist in his own right, whose colorful and decorative paintings have gained popularity in recent decades. This scroll is in near perfect condition. $3,250.00

59. [FURNITURE] Kenmochi Isamu. Kenchiku Shinsho 9 KIKAKU KAGU. Tokyo, Shôwa 19 [1944] 2nd printing after the first of 1943. 12mo., bound Western style in illustrated boards, heavily illustrated with photos. THE STANDARDS OF FURNITURE was an important work, as is evidenced by its production in the closing days of a losing work effort. Kenmochi is generally acknowledged to be one of the foremost industrial designers of the 20th century. In very good condition. $450.00

WITH WOOD VENEER COVERS

60. [HORTICULTURE - Trade catalogue] YOKOHAMA NURSERY COMPANY, LTD. BULBS, PLANTS, SEEDS: 1909-10 DESCRIPTIVE CATALOGUE OF THE YOKOHAMA NURSERY CO., LTD. Yokohama, Japan: The Yokohama Nursery Co., Ltd., 1909. Profusely illustrated throughout: seven full-page color lithographs, all flowers but for one plate showing porcelain flower pots, and many black and white photo illustrations and line drawings in the text that show plants and flowers, stone lanterns, and the gardens and nurseries at the Yokohama Nursery Company. [vi], 98 pp. Flexible wood laminate covers, backed with paper, side-sewn with red thread. 25.3 x 18.5 cm. Title information taken from the front cover. One page has a little offset, and the back cover is gently creased, vertically at the center; otherwise it is a clean and remarkably well preserved copy. A descriptive catalogue of flowering and ornamental trees, shrubs, bulbs, herbs, climbers, fruit trees, etc. Also offered is a selection of dwarfed trees (bonsai) accompanied by instructions for their care. Copies of these catalogues are uncommon, particularly with the veneer covers, and quite scarce in this condition. $1,400.00

61. HOUSE, Edward H. THE JAPANESE EXPEDITION TO FORMOSA. Tokio: [No Publisher], 1875. Map of Formosa facing p. 114. xiii,[1],231 pp., + errata slip bound-in at end. Octavo, side-sewn and glued into (original) printed paper wrappers with brushed Japanese-language title on spine, and housed in a modern chitsu case with paper labels on spine and upper board and bone clasps. Wrappers show some general wear and soiling. Clean text, and in very good condition overall.

In 1874 Japan sent a punitive expedition to Formosa to avenge the killing of some Ryukyu islanders who had been ship-wrecked on the coast of Formosa and murdered by the inhabitants. The sovereignty of the Ryukyu Islands, which at that time belonged to China, was disputed by Japan; and when China refused to punish the Formosans, Japan claimed that it was the legal protector of the Ryukyu Islands and sent a military expedition to Formosa to avenge the murders.

In a brief introductory note, dated April 1875, House says that the materials presented in this book were "chiefly collected from memoranda of personal observation of the incidents described, and of authentic narratives of the diplomatic transactions between the governments of Japan and China ... Many of the earlier chapters originally appeared in the form of letters to the New York Herald, during the summer and autumn of 1874."

(Cordier I:295). $1,500.00

62. Kamisaka SEKKA, artist. PORTFOLIO OF 4 WOODBLOCK PRINTS. These four prints are mentioned as a group as item 243A in the Sekka catalog: KAMISAKA SEKKA: RIMPA MASTER-PIONEER OF MODERN DESIGN. The catalogue attributes there creation to the 1920's. Though we have the original paper sleeve with printed paper title label ("HANGA- MAI SEKKA-HITSU") in which they were issued, they do not appear to resemble a "set" per se, as they are 4 different sizes. There is a native woman bearing goods in a basket on her head [27.5 x 20.5 cm]; A lion dancer and flautist [30 x 20.5 cm]; a samurai [26 x 17.3 cm] and a boatman on a raft [30 x 21.6 cm]. In good condition, impressions and colors, classic Sekka. Very unusual in the original enclosure. $1,200.00

63. [LILIES] IKEDA SHOTEN. Saishoku Shasei YÛSHUTSU YURIBANASHÛ. Tôkyô, Ikeda Shoten, Meiji 28 [1895]. Hybrid Japanese-Western binding in cloth covered paper covers. Printed paper title label. Ribbon-bound. 26.3 x 19.3 cm., 43 pages of color woodblock printed pints of lilies. This copy A COLLECTION OF COLORED SKETCHES OF LILIES FOR EXPORT is quite rough - the worn covers have been repaired and there is internal staining and soiling. Still and all, early Japanese nursery catalogues of lilies are very scarce and those done in woodblock printing, virtually unheard. Sold with all faults. In a clasped cloth chitsu case. $1,250.00

64. LUM, Bertha. GODS, GOBLINS AND GHOSTS. The Weird Legends of the Far East. Philadelphia: J.B. Lippincott, 1922. The limited edition, signed by Lum, illustrated with 6 additional color plates in color and with special binding and case. Large 4to, 65 pp., with illustrated endpapers, half-title and title page, and 15 plates (one double) in color and halftone; string-bound in beige cloth boards with paper labels. A fine and lovely copy in the folding case with some wear at the folds, quite scarce thus. $1250.00

65. (Maki Haku, Artist) Brannan, Noah, & William Elliott, translators. FESTIVE WINE. ANCIENT JAPANESE POEMS FROM THE KINKAFU. New York & Tokyo: Weatherhill, 1969. #135 of 150 deluxe copies, signed and sealed by the artist Maki Haku and including 21 signed color woodblock prints by him. This deluxe edition is folio in size, 31.5 x 24.6 cm, and the prints have an image size of approx. 19.5 x 14 cm. It is printed on kyokushi handmade paper and bound in hemp and goatskin with a washi dustwrapper which has had a window cut in the area covering the title. This has been covered with a transparent plastic slip, producing light offsetting to the portion of the spine which has come into contact with this plastic film. It is housed in a cedar wood slipcase. Truly a deluxe production, this represents one of the finest books of its kind issued in the postwar period in Japan. It is about fine. $3,850.00

66. (Markino Yoshio, artist). "THE DARLING OF THE GODS." 1903. 16.2 x 22.7 cm, pictorial paper-covered boards, bound accordion style. This keepsake, illustrated by the famous expatriate Japanese artist "Mr. Yoshimo [sic] Markino", is dated "Monday, December 28th, 1903, and every evening at 8:15". Other copies we have seen of this souvenir were issued in commemoration of the 100th performance of this play, which had been written by David Belasco and John Luther Long. This appears to be a different, earlier issue of the work, commemorating the opening of the play in 1903.

As a piece of Japonaiserie, it is remarkable. Done in colour lithography with some hand coloring, there are 7 double page images, each 32 x 22.5 cm when opened out. The colour printers, J.Miles and Co., Colour Printers; London, as indicated by a stamp on the back cover, in their effort to duplicate the effect of a Japanese crepe paper book (itself, ironically, a Japanese reaction to Japanese-influenced Western art), have imitated a crepe texture pattern (with blind-stamping?) in the paper surface!

This piece is truly a product of its age, a tour de force of turn of the century cultural interaction between Japan and the West. The covers of this copy are relatively clean and though the hinges of the folding album are less than perfect, the book is in very good condition overall and the images are very striking. An interesting and ephemeral item. $600.00

67. N.Y.K. LINE. NITTA MARU YAWATA MARU KASUGA MARU. A folding color brochure , one sheet, folding into 23 x 15 cm covers. Details the "three graces of NYK", the luxury liner flagships of the NYK line launched in 1940-41. The text is all in English, the illustrations quite striking. Overall a sad document, coming as it did at the end of an era. The entry of Japan into WWII was mere months away and the 3 ships ended up stripped of their luxury appointments. They were used first as troop ships and then as converted aircraft carriers. None of the three survived the war. Very ephemeral and unusual document of the era. $375.00

68. ONCHI Kôshirô & FUKUDA Katsuji. Shikashû JINTAI SHÔKA. Tokyo: Fugaku Honsha, Shôwa 22 [1947]. Tall 8vo, bound in wrappers with a dustwrapper. The book design, editing, and a few of the poems were composed by Onchi Kôshiro, the 8 photo reproductions of nudes, etc., are after photos by the important photographer Fukuda Katsuji (1899-1991). In very good condition throughout, a scarce and important work. $785.00

69. ONCHI Kôshirô, et al. HAKUBUTSU-FU. Tokyo: Shôwa 25 [1950]. Small oblong western-style book, printed paper over boards, leather spine, 11.2 x 14.5 cm. Number 12 of 200 [of 250] copies, signed and sealed by the editor, Onchi. This "NATURAL HISTORY SKETCHBOOK" represents the first creative effort of the ICHIMOKUKAI, the print group around Onchi. Though designed during the early years of the Pacific War, it wasn't actually printed until 1949-50 in a small limited edition.

There are five color woodcut sôsaku hanga prints by each of the five artists involved; Onchi created the animal prints; Yamaguchi Gen did shells; Sekino Jun'ichirô, insects; Katô Tarô, trees; and Sugihara Masami, flowers: 25 prints in all. Plus, there is a printed "shita-e" style design on the contents page, and the title page and covers are printed as well.

This is an extremely important and handsome work from Onchi's school. In near fine condition with a hint of occassional foxing in the original box with a printed paper label. $2,250.00

70. ONCHI Koshiro. Shikashû NIHON SANSUI. Tokyo: Fugaku Honsha, Shôwa 21 [1946]. Edited by Inoue Tôbun, this wonderful illustrated collection of poetry on the natural beauty of Japan is a testament to the resiliency of Japanese culture, published as it was just a year after the end of the war. Creative Print movement artists were deeply involved in the Fugaku Honsha: Onchi Kôshiro did the binding (an original woodcut design), and Yamaguchi Susumu, Azechi Umetarô, and Maekawa Sempan contributed the color woodcut illustrations. The poets are distinguished, as well: Onchi, himself, Itô Sei, Kitahara Hyakushu, and many others. In fine condition, in a modern clasped chitsu case. $985.00

71. [PAINTING ALBUM] TOSHINDO, artist. [A HUMOROUS ALBUM OF INDELICATE LADIES, c. 1880] 22 x 13.8 cm, Orihon folding album in raw silk covered boards. Shibata Toshindo was married into the Shibata family, her original family name was Niwa and birthplace Nagoya. The brother of one artist and married to another, she became a student of Tsukioka Yoshitoshi and developed her skills as a painter of beautiful women. In this album she has turned her brush to a more humorous angle. In a series of 12 double page paintings she has recast the traditional "farting scroll" genre to the feminine side. Feats of strength, wrestling, games, even the ultimate farting contest, performed by robed and (hopefully) perfumed ladies. Fun and obviously irreverent. In very good condition. Quite skillful with a sure line. $2,400.00

72. [PAPERMAKING] GOTÔ Seikichirô. NIHON NO KAMI (JAPANESE HAND-MADE PAPER) Vol.1 Northeastern Japan. Vol.2 Western Japan Bijutsu Shuppansha, Tokyo 1958, 1960. 42.3 x 26 cm, Folio in size, bound Japanese style. With many paper samples, illustrated throughout with katazome prints. Volume 1 has a Bi-lingual English and Japanese text detailing a journey to the main paper-making sites in Northeastern Japan undertaken in 1957 by Mr. Gotô, the foremost scholar of papermaking in the post war period. The second volume details a similar trip to Western Japan. Both volumes are signed in Kanji by Gotô and, volume one is #128, volume two is #89. (out of a edition of 200) Our volumes are both in their individual tied chitsu cacses. The chitsu of volume one is quite worn and has had its hinges strengthened. The books themselves are fine. A lovely set of this classic work, in the original outer shipping boxes. $3,250.00

73. [PREWAR ADVERTISING] Matsubara Korenori, designer. TOKEI KINZOKU MEGANE-TEN KÔKOKU ZUANSHÛ. Seibundô, Tokyo, Shôwa 5 [1930]. 29.9 X 22.1 cm. From an important series of design portfolios produced by Seibundô. This one is dedicated to shops specializing watches, jewelry, metalwork & eyeglasses. This volume consists of 50 pages of plates in both color and monochrome. In the original tied publisher's folding cover. Very good overall. Printed paper wrappers. Very unusual. $1,200.00

74. [PREWAR ADVERTISING] YAMANA Ayao. KAFEE BAA KISSATEN KÔKOKU ZUANSHÛ. Tokyo, Seibundô, Shôwa 5 [1930]. 11 13/16" X 8 3/4". 48 pp. of b+w and color plates, and 4 pp. of preliminaries and finals, depicting designs by the important 20th Century Japanese designer, Yamana Ayao (1897-1980) the originator of the "Shiseidô-style" during his long tenure as the cosmetic company's head designer.

This particular portfolio is a compilation of his designs for the coffeeshop/bar trade - introducing a modified Deco aesthetic which was the height of chic in the interWar years all over the world. In the original printed wrappers, all enclosed in the original portfolio cover. Remarkable, ephemeral, rare, complete. $2,950.00

75. [PREWAR ARCHITECTURE] ISHIMOTO, Kikuji. KENCHIKU-FU Utsukushiki FORM no SYMPHONIE, Tokyo, Gei-ensha, Taishô 13 [1924]. 27 x 19.4 cm. Printed cloth spine, printed paper over board covers. Produced by the Bunriha Kenchiku-kai, the first and perhaps the most important voice of "modern" architecture in Japan. Organized by a group of Tokyo Imperial University graduates in 1920, by the time this volume appeared, the members had secured an important foothold in the public imagination of the new intelligentsia, sponsoring department store shows of designs, publishing works like KENCHIKU-FU [Its title might be translated as AN ARCHITECTURAL PICTURE BOOK, Symphonic Form of Beauty], containing prospective and accomplished commissions, etc. A color frontispiece and 50 pp. of photo illustrations of buildings and projections which exemplify the "modern" style. No text save captioning and a very brief afterward. The book covers are worn, about good overall. Scarce and important. $975.00

76. [PREWAR ARCHITECTURE]. TÔGYÔ KYÔKAI KENCHIKU GASHÛ. Sasaki Takeichi, editor. Tokyo: Showa 14 [1939] 26.0 x 19.1 cm, wrappers. The Watanabe Setsu Architecture firm designed and the Kiyomizu-gumi construction company built a lavish 3 story building for the Sugar Board, in effect a club for the 4 major players in the Japanese sugar industry. There are banquet halls, dining halls, meeting rooms, parlors, all quite elegant and all in a hybrid modern style with Deco elements and traditional elements from both East and West. Very good. $650.00

77. [PREWAR DESIGN] ITAGAKI Takao. GEIJUTSUKAI NO KICHÔ TO JICHÔ. Tokyo, Rokubunkan, 1932. 4, 3, 425pp., 36 pages of photo plates. 21.2 x 15.3 cm. Bound Western-style in cloth, in the publisher's printed slipcase. Itagaki was the most important theorist of Modernism in the arts and design of the pre-war period in Japan, as well as being the father of the concept of "shinkô shashin" [modern photography]. A very uncommon and important treatise, the title of which could be translated as THE WORLD OF ART - ITS CONTEMPORARY CURRENT AND EDDIES. With a hint of discoloration and a bit of bowing to the covers, else very good or better in the soiled original slipcase. $975.00

78. SERIZAWA Keisuke. EHON DON KIHOUTE. Mukômachi: Sunward Press, Shôwa 11 [1936] #22 of 25 of 100cc. 28.7 x 20.7 cm String-bound Japanese style in lacquered, printed paper covers, done by Suzuki Shigeo. Enclosed in the publisher's patterned cloth-covered chitsu clasped case. Perhaps the finest and most important Creative Print Movement illustrated book of the 20th century and a cornerstone for any collection of Japanese ehon. This copy includes the publisher's order sheet with description of the book's origins, limitation, etc. Interestingly enough, the English language order sheet claims that the copy at hand is of the original 75 copies printed in Japan, while the Japanese colophon inside the book reveals it was part of an extra 25 copies printed specifically to be shipped abroad. It was commissioned by Carl T. Keller, the collector of Don Quixote material and illustrated with 31 hand-colored "stencil-engravings" [katazome], by the master Serizawa, later named a Living National Treasure.

The covers, being lacquered, are subject to cracking with any use. This copy is amazingly unblemished, with only the slightest cracking along the hinge line. The chitsu case is complete with the original detached clasp included and some weakening to the hinges. A lovely production in remarkable condition. $17,500.00

79. [SHAREHON] Jippensha IKKU. ZATTO ICHIRAN Zenpen. 2 vols. 21.9 x 14.3 cm. Grey-green covers, original printed paper labels. String-bound Japanese-style, fukuro-toji. Jippensha Ikku (1765-1831), comic author and "man of mode" was an important member of the gesaku literary movement of the 19th century, his most famous work being the TOKAIDÔ-CHÛ HIZAKURIGE. Here he has created a little "sharehon" for the playboy set. The title illustrates the work's sly humor, one could imagine its translation as "AN OVERVIEW OF THIS AND THAT" or even "A PERSPECTIVE ON STUFF"..... In this work, Ikku has combined his light humorous touch with his own illustrations, as well. Hardly deathless art, his naive and silly pictures compliment the contents of this clever work admirably. In good condition overall, with some wear to the covers. By no means common, the KSSM only locates only a handful of copies in Japanese institutions. There are no copies in WorldCat. Complete. $875.00

80. Shimizu Seifû & Nishizawa Tekihô. UNAI NO TOMO (A CHILD'S COMPANIONS). 10 vols., Kyoto, Unsôdô, 1891-1924. The complete set of this series of color illustrations of traditional Japanese toys. Hundreds of color plates, mostly single page, with a few double page as well. The pigments are very bright, and include some metallic inks. The overall colors, condition and printing of the set are very good. An excellent resource for mingei as well as the history of toys, as the images are all captioned (in Japanese) The most important work of its kind, seldom found outside Japan. In two old and worn chitsu folding cases. $3,250.00

81. [SKETCHTOUR BOOK] HASHIMOTO Kunisuke. PARI E-NIKKI. Tokyo: Hakubunkan, Meiji 45 [1912]. 8vo., printed paper-covered boards, bound Western-style. 6, [ills.] 162pp. + colophon + ads. Hashimoto (1884-1953), a member of the White Horse Society, here expands the limits of the Sketchtour genre by taking his brush to Paris and London in the years 1909-10. There are some 11 color lithographs, 40 b+w lithographs and 12 halftones. The text is that of Hashimoto's travel diary. [See Johnson's ANDON article for more on this work.]

Our copy is quite clean externally, with a bit of starting internally. An unusual example of the genre in any condition this is a nice copy of this fragile book. $525.00

82. [SKETCHTOUR BOOK] KINAI ANGYA. Kanao Bun'endô, Taishô 8 [1919] Thick 8vo., flexible printed pictorial covers, 35; 959 + colophon & ads. (The extensive ads make up a useful bibliographical resource on Bun'endô.) First printing of this interesting work - the artists include Nakazawa Hiromitsu, Mizushima Nihou, Nabei Katsuyuki, Katô Seiji, Shima Seien and Yamaguchi Sohei. The writers are an eminent group: Yosano Akiko, Kambara Ariake, Takahama Kyoshi, Katô Hekigotô and Aoki Gettô. The book resenbles the SANYÔ ANGYA and the OFUDA ANGYA. With the usual Bun'endô eclectic mix of color woodcut, lithography, halftone, zincograph, collotype, etc.

This copy is very slightly foxed, with the original slipcase. Overall, a lovely copy of this important and scarce work. $650.00

83. [SÔSAKU HANGA] ONCHI, Kôshirô, artist & author. UMI NO DÔWA. Tokyo: Hanga-sô, Shôwa 9 [1934]. Self-wrappers, with Onchi's text and accompanying 6 polychrome woodblock prints, the blocks of which were carved by him. Each print is a vortex of images with the female form as visual pivot. Onchi and his work need no introduction - he is considered the most important Japanese printmaker of the mid-Century and one of the most innovative and creative of all time. As a leader of the Sosaku Hanga Creative Print movement, he guided the development of many of the dominant figures of post-war art until his premature death in the 1950's.

UMI NO DÔWA is a remarkable work and a scarce one, it is almost never seen outside of Japan and is by no means common even there. This copy is a bit worn and browned, about very good overall - particularly as the 6 plates are much cleaner than usual. $3,600.00

85. UNGER, Mary E. THE FAVORITE FLOWERS OF JAPAN Tokyo: T.Hasegawa, Meiji 44 [1911]. The third printing of the second English version of this catalogue. 24.5 x 18.2 cm., viii + 61pp. Printed paper over boards. Profusely illustrated catalogue of flowers, with an advertisement in back by L. Boehmer & Co., of Yokohama, an important exporter of flowers and bulbs. FAVORITE FLOWERS is not creped, but it is beautifully illustrated in color woodcut throughout and represents one of Hasegawa's loveliest creations. This copy is clean inside and out, well-colored and printed, about fine overall. $575.00

86. [UNSÔDÔ] Sakai HÔ-ITSU, Suzuki KI-ITSU & Nakano KI-MEI. SHIKI NO HANA. Kyoto, Meiji 41 [1908] 10 volumes [18.8 X 27.9 cm], complete, bound orihon style in stiff paper covers with printed paper title labels. There are 2 spring, 4 summer, 3 autumn and 1 winter volumes, with a grand total of 237 (232 of which are double page images, approx. 24 X 32 cm, within printed borders) color woodblock prints of Japanese flowers. Identified in the introduction to each season, there is no printed text to mar the lovely color plates. After designs by eminent 19th century Rimpa artists, printed by Unsôdô while at the height of their considerable powers. This is a complete set in a clasped chitsu with printed set title label. Good impressions and colors which is almost never found complete nowadays. All in a near-new clasped chitsu case. A very nice example. $7,500.00

87. [YANASE MASAMU] HOSOI Wakizô. KÔJÔ. Tokyo, Kaizôsha, Taishô 14 [1925]. 8vo., [2] 427pp, [8]. This work by Hosoi, FACTORY, carries on the reportage of his JÔKÔ AISHI of the same year. No stranger to the world he described, Hosoi began work in textile factories at the age of 13, an orphan without family. This landmark of proletarian literature appeared the year he died of peritonitis at the age of 29. Ironically his common law widow, Takai Toshio, herself an important activist, would later be denied compensation from his royalties by Kaizôsha because of her "lifestyle". She would later write an important memoir of their life together and the horrors of the factory system.

Yanase Masamu was an important avant-garde artist of the time who began with the MAVO group and whose proletarian sympathies led him to illustrate not only this book but also JOKÔ AISHI and MUGEN NO KAGAMI, both important sociological and feminist works written by Wakizô. This is a first edition in very good condition (slight internal foxing), here with the very scarce paper jacket (slight edgewear and a chip from the head of the spine) replicating the Yamase cover illustration from the original wrappers. Very unusual thus. $985.00

88. ACCUM, Fredrick. A TREATISE ON ADULTERATION OF FOOD, AND CULINARY POISONS EXHIBITING THE FRAUDULENT SOPHISTICATIONS OF BREAD, BEER, WINE, SPIRITUOUS LIQUORS, TEA, COFFEE [...] AND METHODS OF DETECTING THEM. London: Longman, Hurst, Rees, Orme, and Brown, 1820. Second Edition. 360 pp. Duodecimo. 18.5 X 11.5 cm. In a later green cloth binding that shows light wear and is slightly frayed at top edge, with a leather spine label. Interior is clean and bright, edges are untrimmed. An interesting title on food and beverage poisons, additives and adulterations, offering historical insights into English food safety and health concerns. Very good. $375.00

89. BARRIE, J. M. PETER AND WENDY. New York: Charles Scribner's Sons, 1911. 267pp. Boards covered in green cloth with detailed gilt stamped illustrations to front and spine. 12 black and white illustrations present, all called for. Family inscription on flyleaf, overall a very good copy. $575.00

90. BARTON,William P.C. VEGETABLE MATERIA MEDICA OF THE UNITED STATES; OR MEDICAL BOTANY: CONTAINING A BOTANICAL, GENERAL, AND MEDICAL HISTORY, OF MEDICINAL PLANTS INDIGENOUS TO THE UNITED STATES. Volume I. [& II.] Philadelphia: H. C. Carey & I. Lea, 1825-1818. A mixed set: second edition of volume one, printed seven years after the first, and a first edition of volume two. Illustrated with 50 colored engravings (24 in Vol. 1 + 26 in Vol. 2) after drawings by the author, including one folding plate. There is a note `to subscribers' page, with an erratum, at the end of Vol. 1., and a 'list of subscribers' at the end of Vol. 2. Two quarto volumes rebound to period in 1/4 maroon leather and marbled boards. Ex library, the only mark being ink and perforated stamps on title-pages and in a few other places in text, not effecting plates. The plates are clean and bright, and unmarked, despite scant light foxing to some tissue guards. A lovely set.

Barton (1785-1856) was a botanist, teacher and naval surgeon. He studied medicine at the University of Pennsylvania. After completing his medical studies he was appointed naval surgeon in 1809. In 1815 he was appointed Professor of Botany at the University of Pennsylvania, where he led herborizing expeditions along the Schuylkill River. But he remained on the Navy's rolls all his life: In 1842 he was ordered by Navy Department to Washington and became the first of the chiefs of the Bureau of Medicine and Surgery and, in 1852 was president of the Board of Medical Examiners. (D.N.B.). References, for the first edition: Barton, p. 9 - "a key book"; Nissen 85; Sabin 3863, Wellcome II, p. 110, G & M 1841). $4750.00

91. BIGELOW, Jacob. AMERICAN MEDICAL BOTANY, BEING A COLLECTION OF THE NATIVE MEDICINAL PLANTS OF THE UNITED STATES, CONTAINING THEIR BOTANICAL, HISTORY AND CHEMICAL ANALYSIS, AND PRPOERTIES AND USES IN MEDICINE, DIET AND THE ARTS, WITH COLOURED ENGRAVINGS. Boston: Cummings and Hilliard, 1817-1820. First edition. 4to. Ex library copy, three volumes bound in one. Perforated stamp on title page. 10 hand-colored copper engravings and fifty plates printed in color, probably from an etched stone, some finished by hand. Nineteenth-century binding of 3/4 leather and marble boards with moderate wear. There are a few library stamps. Overall the text and plates are exceptionally clean and bright.

"This is the first botanical work published in America. Bigelow originally planned to use hand-colored copper plate engravings, which are employed in the first half of the first volume. This method proving too expensive and laborious, he sought a method of printing color rather than applying it by hand. Richard Wolfe, who has made an exhaustive study of the work, believes that the rest of the plates (the book was issued in six parts over a three-year period) were made by etching a stone block, then applying the colors to the stone 'a la poupee'. The stone, inked with multiple colors, was then printed in a single impression. This is the only use of such a process an American color plate book." - Reese, 19th Century American Color Plates Books, #10. (Bennett, p. 11, Nissen 164, Pritzel 773, Staflue & Cowan 514, Sabin 5294.) $4,500.00

WITH ALBUMEN PHOTO PORTRAIT OF BROWN

92. (BROWN, John). WEBB, Richard D., editor. THE LIFE AND LETTERS OF CAPTAIN JOHN BROWN, who was executed at Charlestown, Virginia, Dec. 2, 1859, for an armed attack upon American slavery; with notices of some of his confederates. London: Smith, Elder, and Co., 1861. First edition. Oval albumen photo frontispiece portrait of Brown, from the original daguerreotype (now lost) taken by the photographer Benjamin Battels 1855, mounted above a facsimile inscription. Title-page printed in red and black. xiv, 453 pp. 16mo., publisher's brown cloth with blind embossed decoration on all surfaces, gilt lettering on spine, brown coated endpapers. Binder's ticket, John Mowfat of Dublin, on rear pastedown. Ink ownership stamp (Jos. Lowrey) on ffep. and back of frontispiece, and an early 20th century date (1926) written on ffep. A fresh and near-fine copy but for a tiny bit of wear at crown, the top joint which is just starting, and a couple of creased pages within. Housed in a modern, brown cloth clamshell box with a leather spine label.

John Brown was a militant abolitionist whose personality and bloody deeds galvanized the United States in the years leading up to the American Civil War, culminating in his daring raid on the U.S. Arsenal at Harper's Ferry, Virginia, and his subsequent trial and conviction for treason, and his execution. While historians continue to question and debate his motives and methods, the editor of this contemporary volume, Richard Davis Webb, an Irish publisher and abolitionist, states in the Preface that it was his object "to present from all accessible sources such a memoir of Captain Brown as will place him fairly before the British public" and, where possible, "to allow John Brown to speak for himself in his conduct and conversation, his actions and familiar letters." To that end a number of letters that Brown wrote are included in the text. The book concludes with a section of extracts from speeches, letters, and articles "respecting the character of Brown, and the probable influence of his life and actions upon the institution of slavery and the future prospects of the United States" by the Rev.George B. Cheever, Ralph Waldo Emerson, the Rev. Theodore Parker, William Lloyd Garrison, Oliver Johnson, Wendell Phillips. $4750.00

93. CHARLETON, Walter. DE SCORBUTO LIBER SINGULARIS. Autore Gualtero Charleton, M.D. [...] Londini: Typis E. Tyler & R. Holt, prostant apud Guliel. Wells & Rob. Scot ..., 1672. First edition. Octavo. Old calf boards, worn and rubbed, sympathetically rebacked in matching calf. Nineteenth-century armorial bookplate of Edward Shipperdson.

Charleton (1619-1707) was a fellow of the College of Physicians, eventually served as president of the Royal College (1689-1691), and was one of the first elected fellows of the Royal Society in 1662. Although Charleton was a brilliant individual and an active investigator, he continued to believe in many of the classical concepts of disease, and this treatment on the causes and treatment of scurvy is written in this vein. His medical books are hard reading, and contain no new observations of his own, but they show the transition from the old scholastic way of writing on medicine to the new method of stating observations and drawing conclusions from them. (D.N.B.; D.S.B. 3, pp. 208-210; Heirs to Hippocrates 527: Leiden 1672, 2nd ed.; Waller 1918; Wellcome II, p. 329; Wing C3669). $850.00

CHANCELLOR OF THE EXCHEQUER

94. CHURCHILL, Winston S. AUTOGRAPH CARD, SIGNED `WINSTON S. CHURCHILL' IN INK, ON BLIND-EMBOSSED TREASURY CHAMBERS LETTERHEAD WITH THE CHANCELLOR OF THE EXCHEQUER'S SEAL AT THE HEAD. 3.75 by 4.5 inches. The card has a slight horizontal crease from folding and a small spot at the bottom edge. Attached to the back of the autographed card is another card upon which is written `With Mr. Churchill's compliments.' It is blind-stamped Treasury Chambers, Whitehall, S.W. Churchill was Chancellor of the Exchequer from 1924-1929, during which time he oversaw Britain's return to the Gold Standard and the General Strike of 1926. $1,250.00

THE LAST OF CONGREVE'S PLAYS TO BE PERFORMED

95. CONGREVE, William. THE WAY OF THE WORLD, a Comedy. As it is acted at the Theatre in Lincoln's-Inn-Fields,by His Majesty's Servants. London: Jacob Tonson, 1700. First edition, with the catchword "Lady" on p. 80. (ESTC notes at least two states for this edition, but no preference is given.) Small quarto. 21 x 16 cm. [12],89,[3] pp. Half-title page present. The last page is a publisher's list. Bound in full black morocco with gilt title on spine and gilt inner dentelles. Binding shows light wear at joints and fore-edges of boards. Text is age browned with some occasional light spotting. Very good plus.

This is the most finished of Congreve's comedies. However, as it wasn't written to suit the prevailing taste, it wasn't very well received. Not that Congreve had been expecting better, he said as much in the preface. It is said that he also told the audience to their faces that they need not take the trouble to disapprove, as he meant to write no more. And he didn't. The Way of the World was the last of Congreve's plays to be performed upon the stage. (ESTC R8381; Tinker 734; Grolier 100, no. 37; DNB). $2,750.00

Inscribed by 'Gentleman Jim'

96. CORBETT, James L. THE ROAR OF THE CROWD: The true tale of the rise and fall of a champion. With a forward by Robert Gordon Anderson. New York: G. P. Putnam's Sons, The Knickerbocker Press, 1925. First edition. Ink inscription from Corbett on the ffep. "with best wishes" and signed "Jas J Corbett Apl 11/25." Illustrated. Octavo. xiv,329,[1] pp., + [2] adv. pp. Publisher's green cloth binding with title printed in gold on spine and upper board. Cloth is slightly darkened on spine and shows occasional light wear overall. Front hinge has a hairline crack. Text leaves are clean but for some small spots of soiling and/or thumbing in margins. One leaf (p. 145/6) has a short closed tear. A very good copy, inscribed. $1250.00

97. COWLEY, A[braham]. ODE, UPON THE BLESSED RESTORATION AND RETURNE OF OF HIS SACRED MAJESTIE, CHARLES THE SECOND. London: Printed for Henry Herringman ..., 1660. First edition. Small quarto. 19 x 14.5 cm. [2],19,[1] pp. Missing the last leaf, a blank. The title-page has been remargined at top-edge, quite close to the tops of the letters in the first line, but without any loss of type. The paper is toned at top and bottom edges throughout, with occasional short edge-tears. The catchwords on pp. 8 and 9 are trimmed (the Pforzheimer bibliographer conjectures that "probably they are cut into in most copies for the text on these two pages is two lines longer than any other"), as are the page numbers on C2. Bound in Roxburghe style quarter straight-grain morocco with plain paper sides. The binding is shelfworn and lightly soiled, and starting at crown. Ex-library. Cowley (1618-67) supported the Royalist cause during the Civil War. His Ode was written at the Restoration in expectation of a reward, as were similar efforts by many others. Although he never did receive royal preferment, on his death Charles II remarked "That Mr Cowley had not left a better man behind him in England." He is buried in Westminster Abbey. (ESTC R202041; Pforzheimer 229). $475.00

DOW'S WOODBLOCKS: "INFINITE CARE AND CRAFTSMANSHIP"

98. DOW, Arthur Wesley & Everett Stanley HUBBARD. BY SALT MARSHES: PICTURES AND POEMS OF OLD IPSWICH. Ipswich: Privately printed, 1908. No. 103 of approximately 200. [32] pp. 8vo. Quarter brown cloth (unmarked) with color illustrated (front cover only) paper covered boards. Covers worn but still attractive; interior near fine, small pencil numerals to front pastedown. Eight lovely color woodblock illustrations, with other monochrome and two color designs/headpieces. "BY SALT MARSHES is Arthur Wesley Dow's tribute to the old North Shore town of Ipswich, where he was born and spent most of his life, and to his boyhood friend, Everett Stanley Hubbard. It is a collaboration somewhat in the spirit of Meteyard, Carman and Hovey in their Vagabondia books, though Hubbard was undoubtedly a lesser poet and Dow a greater artist. BY SALT MARSHES is his masterpiece, and it is evident from the numerous sketches and proofs in the Ipswich Historical Society and the Society for Preservation of New England Antiquities - some dating back as far as 1895 - that it was a labor of love. Infinite care and craftsmanship were expended on every detail. The illustrations are color woodblock prints, such as Dow described in an article in MODERN ART (1896), entitled "Painting with Wooden Blocks." This was a technique Dow had discovered in the course of his study of Japanese art, and he was a master of it, using as many as four or five different blocks, accurately registered, thinly inked to show the grain of the wood, and printed in subtle gradations of tone to achieve a luminosity that effectively evokes the quality of the light on the marshes. Although the text is printed from small gothic type, the lettering on the cover and title page was also cut by hand in woodblocks, after the manner of Meteyard and Dawson-Watson's lettering for the COURIER INNOCENT (1897)." Finlay - Artists of the Book in Boston, 1890-1910. $9,500.00

DRYDEN'S PENULTIMATE PLAY

99. DRYDEN, John. CLEOMENES, THE SPARTAN HEROE. A Tragedy, as it is acted in the Theatre Royal. To which is prefixt The Life of Cleomenes. London: Printed for Jacob Tonson ..., 1692. First edition. Quarto. 21.5 x 16.5 cm. [12],28,[4],72 pp. In a shelfworn Roxburghe-style binding: black quarter leather with marbled paper sides, gilt-stamped spine title. One leaf (*C4, pp. 15-16 in `The Life') has a 9 cm horizontal closed tear near the bottom edge. The top of the running title on p. 43 (G2r) is shaved. Otherwise some mild age-staining and spotting throughout, and in very good condition overall. This was the next to the last of Dryden's plays to be produced. Owing to Dryden's illness, the fifth act of the play was completed by Thomas Southerne. The life of Cleomenes was translated from Plutarch by Thomas Creech. It is believed that the revival of some of Shakespeare's Roman plays about this time turned the attention of both playwrights and public to classical themes. (Macdonald 92; Pforzheimer 321; ESTC R19821). $375.00

FIELDING'S SECOND BOOK AND HIS FIRST PLAY

100. FIELDING, Henry. LOVE IN SEVERAL MASQUES. A comedy, as acted at the Theatre-Royal, by His Majesty's Servants. London: Printed for John Watts ..., 1728. First edition of the author's first play. Octavo. 19 x 12 cm. [viii, 1-3],4-82,[2] pp. Attractively bound in a later Roxburghe-style binding of quarter red calf with red linen sides, and gilt title on spine. The spine is slightly worn at the tale. Cross III, p. 290. $975.00

FIELDING'S SECOND PLAY

101. FIELDING, Henry. THE TEMPLE BEAU. A Comedy. As it is acted at the Theatre in Goodman's-Fields. London: Printed for J. Watts, 1730. First edition of Fielding's second play and third book. Octavo. 19.5 x 12 cm. [4],80,[4] pp. The final four unnumbered pages are comprised of the epilogue [1], two songs [2-3], and a publisher's advertisement dated Feb. 2, 1729 [4]. This copy is one printed on ordinary paper without a watermark, and with a price following the imprint. (There is a variant printed on fine watermarked paper without a price following the imprint.) Text is clean but for occasional light age spotting. Handsomely bound by Zaehnsdorf in light brown calf with a dark brown morocco label on spine, gilt triple rule frames on side, gilt inner dentelles with marbled endpapers. Near fine. (Cross III, p. 290; ESTC T49927). $1,250.00

102. FRENCH, John. THE ART OF DISTILLATION: or, a Treatise of the choicest Spagyrical Preparations, Experiments, and Curiosities, performed by way of distillation. Together with the description of the choicest Furnaces and Vessels used by Ancient and Modern chymists. And the Anatomy of Gold and Silver; with the chiefest Preparations and Curiosities thereof; together with their Vertues ... To which is added in this fourth impression, SUBLIMATION AND CALCINATION ... As also, THE LONDON-DISTILLER, exactly and truly shewing the way (in words at length, and not in mysterious Characters and Figures) to draw all sorts of Spirits and Strong-Waters; together with their Virtues, and other Excellent Waters. London: Printed by E. Cotes for T. Williams at the Bible in Little-Britain, 1667.

Fourth (and most complete) edition. "The Art of Distillation" is illustrated throughout with many woodcuts showing scientific apparatus; "The London-Distiller" has one woodcut illustration. Small quarto. "The London-Distiller" has separate title-page, pagination, and register. Modern full calf binding with gilt title on spine. Ex library, with only an ink stamp on the (blank) verso of title-page and at the top of p. 51, and no other marks. Text leaves have darkened with age and show occasional spotting and/or staining. Title-page has irregular loss in fore-edge margin, without any loss of type, and has been remargined for stability. Other leaves with short edge-tears and/or nicked corners have careful paper mends, both old and new. One leaf (2A4 recto) has a small bit of paper loss at the inside bottom corner, resulting in the loss of a couple of letters in the final line and catchword. (Bibliotheca Chemica, pp. 292-293; ESTC R778; Kress S.1295; Wellcome III, p. 67; Wing F2172). $3500.00

103. FRIEDMAN, Milton, & Anna Jacobson SCHWARTZ. A MONETARY HISTORY OF THE UNITED STATES 1867-1960. Princeton: Princeton University Press, 1963. First edition. xxiv + 860 pp. 8vo., green cloth stamped in silver, in a yellow and green dust jacket with closed tear at top of spine, some nickes and a bit of fading to spine. Book fine with signature of economist William R. Allen on front flyleaf. Two foldout charts in fine condition. Scarce in hardcover. $950.00

104. FRIEDMAN, MILTON. ESSAYS IN POSITIVE ECONOMICS. [Chicago]: Univeristy of Chicago Press, (1953). 8vo. First Edition. Blue cloth. Dust jacket, front flap detached, small chips and nicks along the edges, and a 1.5 inch chip to the crown of the spine. Ownership signature of economist William R. Allen on flyleaf. Overall a just about a fine copy in the rare dust jacket. $3750.00

105. FRIEDMAN, MILTON. PRICE THEORY, A PROVISIONAL TEXT. Chicago: Aldine Publishing Co., (1962). First Edtion 4to, Wrappers. Spine somewhat faded, overall a very good copy. The first collected edtion of mimeographed notes used in Friedman's classes in price theory at the University of Chicago. Friedman, who had resisted the publication because of "their scrappy nature", succumbed to the empirical evidence that he was not going to produce a refined version any time some. Also included in this volume are several Friedman journal articles. $550.00

WITH LEAVES FROM GREAT 16TH AND 17TH CENTURY BIBLES

106. FRY, Francis, F.S.A. A DESCRIPTION OF THE GREAT BIBLE, 1539, and the Six Editions of Cranmer's Bible, 1540 and 1541, Printed by Grafto and Whitechurch: also of the Editions, in Large Folio, of the Authorized Version of the Holy Scriptures, Printed in the Years 1611, 1613, 1617, 1634, 1640. Illustrated with Titles, and with Passages from the Editions, the Genealogies, and the Maps, Copied in Facsimile, also with Identification of every Leaf of the First Seven, and of many Leaves of the other Editions; on Fifty-One Plates. TOGETHER WITH AN ORIGINAL LEAF OF EACH OF THE EDITIONS DESCRIBED. London, Willis and Sotheran, 1865. Folio. [viii], 42pp. + 52[f., with two charts, one of them folding, and 14 original leaves from early Bibles. Francis Fry, a Quaker and an Abolitionist, based his fortune on railroads and the Fry chocolate factory. He collected more than 1300 early Bibles, focussing on Tyndale, Coverdale and Cranmer. This is an extraordinary leaf book, in almost perfect condition. Small library stamp to revero of title page; small tear to edge of p. 29, not affecting text; toning and half-inch tear to edge of folding chart. Rebound to period half morocco and marbled boards. $6500.00

WITH A SECRETARIAL NOTE AND ORIGINAL MAILING ENVELOPE

107. GANDHI, Mohandas Karamchand. AUTOGRAPH, SIGNED IN INK `M K GANDHI [AT] SABARMATI 7: 9: 28' on a 3.25 by 4.25 inch piece of paper. Included is a six-line typed note on Satyagrahashram, Sabarmati letterhead (8.75 by 5.24 inches), also dated 7-9-28, that begins "Dear Friend, Mr. Gandhi is sending you the autograph you required..." It is signed `A. Subbiah' in ink and is creased twice where it had been folded for mailing. The mailing envelope is present. It is jagged along top edge from opening, but the type-written address and canceled India postage stamps, again dated 7 September 1928, are present. $3,500.00

108. GOEBEL, Friedemann. PHARMACEUTISCHE WAARENKUNDE. Eisenach: Johann Friedrich Barecke, 1827-34. Two quarto volumes. 28 x 23.5 cm. 71 hand-colored illustrations from nature by Ernst Schenk. Ex-library, the only marks being a perforated stamp and an ink stamp to title pages. Very faint dampstain to bottom right corner a few signatures of volume two. Plates are bright and clean, and show roots, plants, tree bark, lichen etc. Rebound to period in half leather and marble boards. A lovely, appealing copy. Scarce. Medical botany. (Nissen 725). $3500.00

109. GRAVES, Robert. A POCKET CONSPECTUS OF THE NEW LONDON AND EDINBURGH PHARMACOPOEIAS Wherein the Virtues, Uses, and Doses of the several Articles and Preparations... are precisely stated, their Pronunciation as to Quantity is marked, and a Variety of other Particulars respecting them given, calculated more especially for the Use of Junior Practitioners. Sherborne: Printed by W. Cruttwell ..., 1796. First edition. 12mo., early half-leather and boards, worn. Ex-library, with stamps on pastedown, title-page, and dedication page, and p. 50 (only marks). Title-page reinforced and laid down on another sheet; some light spotting to text leaves, 1/4 inch tear to margin of dedication, otherwise internally very good. Rare. $1250.00

110. GREENE, Graham. RUMOUR AT NIGHTFALL. Garden City, NY: Doubleday, Doran & Company, 1932. First American edition. Octavo, red cloth spine printed in black, black cloth sides, red endpapers, top-edge stained red. A fine copy in a very good dust-jacket, which shows some edgewear and nicks, and light soiling all over. Scarce in the dust-jacket. $2500.00

FROM THE WICKED LORD'S LIBRARY

111. HERBERT, Thomas. SOME YEARES TRAVELS INTO DIVERS PARTS ASIA AND AFRIQUE. Describing especially the two famous Empires, the Persian, and great Mogull ... As also, many rich and spatious Kingdomes in the Orientall India, and other parts of Asia; together with adjacent Iles ... With a revivall of the first Discoverer of America. Revised and Enlarged by the Author. London: Printed by R. Bip. for Iacob Blome and Richard Bishop, 1638.

Second edition, revised and enlarged, four years after the first. Engraved title-page and numerous copper plates in text, including some maps. Small folio. 28 x 18 cm. [10],256,259-364,[14] pp. Old and worn Cambridge panel style boards, rounded at corners, have been recently and skillfully rebacked with matching brown calf and a red gilt-lettered label on spine. Pagination is confused in a couple of place, but the text is complete and continuous throughout. Text leaves are age toned and show occasional light soiling and/or foxing. Engraved title-page shows some loss at top-edge with an old paper repair on verso filling the gap. Another leaf has an old paper too: P4 has been remargined along the fore-edge without any loss but for the page number on recto. 2I2 has a closed tear at top edge.

Armorial bookplate of William Byron (1722-1798), the fifth Lord Byron, uncle to the poet and popularly known as the'Wicked Lord,' on the front pastedown and with two Byron family ink ownerships within. Another bookplate on front pastedown, that of Charles Benjamin Farwell (1823-1903), U.S. Representative and Senator from Illinois, with his ink ownership on p. 1.

Herbert's narrative, written in a lively and agreeable style, and containing much that is interesting and curious, was an immediate popular success. It went through four editions in his lifetime, as well as being translated into Dutch and French. Herbert's is the only detailed first hand account of the first English Embassy to Persia in 1626/7, led by Sir Dodmore Cotton, and as such is important. It also contains accounts of the many other places that were visited along the way: Cape of Good Hope, Madagascar, Surat, Madeira, Tenerife, Angola, Siam, Mauritius and Borneo, with many digressions by the way into historical and geographical topics. Before returning to England in 1629, Herbert coasted the eastern shores of North America, which he describes on pp. 355-362, and proposes a theory that America was discovered three hundred years before Columbus by the Welshman Madoc ap Owen!

References: Cox I, p. 248; D.N.B.; Graesse III, p. 246; Lowndes ("new edition" 1871) II, p. 1049; Sabin 31471: the 4th ed.; STC (2nd ed.) 13191. $2750.00

112. HOCHSTETTER, Christian Ferdinand, and Gotthilf Heinrich von SCHUBERT. NATUREGESCHICHTE DES PFLANZENREICHS IN BILDERN [Natural History of Plants in Pictures] nach der Anordnung des allgemein bekannten und beliebten Lehrbuchs der Naturgeschichte von Dr. G. H. von Schubert. Stuttgart & Esslingen, Schreiber & Schill, 1853. Quarto. [iv]pp., [104]ff.,[4]39pp., [3]40pp. +[3]ff. Contains 52 plates, each a folded folio sheet (double-page spread), with as many as 30 species illustrated on each plate. Vividly hand-colored. Hochstetter followed the example of Dr. von Schubert, a beloved teacher, philosopher, pastor, and author, who had published a "Natural History of Animals in Pictures" for the use of students, according to the Linnaean system. With a Forward by Schubert. Schubert's name appears on the title page above and in larger type than Hochstetter's, and the book is often listed under Schubert's name alone. It is hard to tell just what contribution Schubert made, when Hochstatter refers to himself as the "Verfasser" (author). The text, explaining the magnificent array of colored plates, appears first in German and then, paginated separately, in French. Smudges to title; library markings to title and first plate; small damp spot to fore-edge, not affecting printed area. Cloth-backed marbled boards, rubbed at edges. $2250.00

FIRST NEW ZEALAND EDITION

113. HUBBARD, L. Ron. A HANDBOOK OF DIANETIC THERAPY: DIANETICS THE MODERN SCIENCE OF MENTAL HEALTH. Auckland [New Zealand]: The Hubbard Association of Scientologists International, Inc. (1959). First New Zealand edition. xxviii + 432 pp. 8vo., yellow cloth stamped in black. Near fine, overopened at rear flyleaf. In near fine dust jacket with minor rubbing and minimal edgewear. $375.00

114. JONES, John. THE MYSTERIES OF OPIUM REVEAL'D. London: Printed for Richard Smith, 1701. Second edition, a reissue of the first edition of 1700. Octavo. [viii], 371 pp., + folding "Table of the Doses of the Best and Safest Opiates" between pp. 292-293. The table has a 4" closed tear (no loss) near center. Lacks the final errata sheet. Rebound in a handsome Cambridge-style calf binding. Ex-library with stamps on title page and page 50, and ink ownership of E. B. Symes on title-page (likely the 19th century inventor Edward Bowles Symes). A few ink marks in margins early on in text, and pencil marks and notes in margins scattered throughout. Scarce. (Wellcome III, p. 363). $2750.00

115. JOYCE, James. ULYSSES. Paris: Shakespeare and Company, 1930. The eleventh and final printing from Shakespeare and Company. The pages are brown and brittle, as is the case in all copies of this edition because of the paper used. The flyleaf is unopened, and has a short vertical tear. The covers are very near fine and bright, but with some small chips. Unusual in this condition. Housed in a cloth covered clamshell box. $950.00

116. THE LADIES DISPENSATORY: or, Every Woman her own Physician. Treating of the Natures, Causes, and various Symptoms of all the Diseases, Infirmities, and Disorders, natural or contracted, that most particularly affect the Fair Sex, in all their different Situations of Life, as Maids, Married Women, and Widows. London: James Hodges, 1740. Second edition. (The first edition appears to be printed without a date; but Wellcome notes a listing for the title in London Magazine for February 1739.) 12mo. xvi, 324, [8] pp. Contemporary full calf, rubbed, with small loss and 3/4 inch cracks at head of spine. Some foxing and soil. Slight worming to corner margin of pp. 180-215. Overall, a solid and appealing copy of a scarce title. An amazing variety of dreadful female conditions were thought to be due to hysteria, and treated with elaborate recipes. (Wellcome III, p. 428). $1250.00

117. LEGRAND, J. G., and C. P. Landon. DESCRIPTION DE PARIS ET DE SES EDIFICES... Paris: C. P. Landon, 1806(-1809). First edition. Illustrated with 98 engraved and numbered plates, of which three are folding, plus a folding map of Paris at the beginning. Two volumes in four parts that are bound together as one. [iii]-xx, [21]-211, 94; [3]-102, 48 pp. Octavo. 8 x 4 3/4 in. Contemporary three-quarter red morocco binding with gilt lettering and decoration on spine, blue marbled sides and matching endpapers, a.e.g. Binding shows superficial light wear, but is sound and attractive. Plates and text are mostly clean but for occasional light foxing. All primary text is present but is bound without half-titles and the sectional. Sectional index leaves are replaced by a comprehensive index at the end. A very good copy with nice impressions of the plates. $1,750.00

118. LEMERY, Nicolas. PHARMACOPOEIA LEMERIANA CONTRACTA: LEMERY'S UNIVERSAL PHARMACOPOEIA ABRIDG'D, in a collection of recepe's and observations compar'd with the London and with Bates's Dispensatories, and also with Charas's Royal Pharmacy: to which are added some remedies recommended by the members of the French Royal Academy of Science, most collected out of the history of that society lately published by John Baptista du Hamel. London: Printed for Walter Kettilby, 1700. Small 12mo. 14 x 7.8 cm. [12], 167, [1] pp. A list of errata is printed at the bottom of p. 167, with a publisher's advertisement on the verso; however, this copy is bound without the index (12 unnumbered pages signed I6) that should follow. In a much worn, contemporary Cambridge-style calf binding, with a red morocco spine label. The upper joint has been carefully strengthened at some point in time with Japanese tissue, and there is shallow loss at heel and crown. Contemporary ink ownership (Tho. Knight, 1707) on verso of ffep., with a Latin proverb and exhortation ("Contra vim mortis, non est modicamen in Hortis; -- Fides in Christum") on recto of rear free endpaper. The name `Boyl [sic] Godfrey' is also written in an early/contemporary hand on the ffep. (Boyle Godfrey, 1683-1753, was the eldest son of Ambrose Godfrey Hanckwitz, who was assistant to Robert Boyle for a time, after whom he named his son. Much to his father's annoyance, Boyle Godfrey became an alchemist and ruined himself financially in the prosecution of costly and futile experiments.--DNB) There are many small `pointing fingers' drawn in ink in margins for emphasis, with some occasional light pencil underlining in text. Ex library, with ink stamp on front pastedown, title-page and pages [1], 1, 50-51, and perforated stamp on title-page and page 1. Rare. (BMC 547.b.32; Bradley III, p. 251; Wing L1042). $3750.00

119. MANLIUS DEL BOSCO, Johannes Jacobus [et al.] LUMINARE MAIUS. Opus eximium quod Luminare Maius dicitur, Medicis et Aromatariis perquam necessarium. [The greater source of light for Physicians and apothecaries]. Leyden: Printed by Antonio Blanchard for Louis Martin, 1528. Quarto. 1-8, I-LXI,[LXII-LXIV]; I-XXVI; I-XXX [I] ff. This volume contains three separate works. The first, "Luminare Maius." (A Greater Lamp for Physicians," by J.J Manlius del Bosco, contains 11 sections on concocting different forms of medication (pills, unguents, plasters, oils). (8, LXIV ff.). It was first published in Milan, 1494. The second, "Lumen Apothecariorum," ("A Light for Apothecaries") by Quiricus de Augustis of Tortona, (XXVI ff.), intended for the use of pharmacists, was published in Turin in 1492. The third, "Thesaurus Aromaticum," by Paul Suardo (I-XXXI ff., originally Milan, 1496) lists medical substances alphabetically. All three Italian treatises from the 1490s are conveniently gathered here in one book, beautifully printed in the Low Countries. Title page in red and black, with ornamental woodcut border, and framed printer's device of two unicorns. Woodcut capital showing Saint Lawrence, and foliate woodcut capitals throughout. Internally fine, in 19th Century half-morocco showing only a few spots of rubbing. (Wellcome, Books before 1641: 4017, 4018, 6134, 543). Rare. $8,500.00

ON THE USE OF GLOBES IN 1659

120. MOXON, Joseph. A TUTOR TO ASTRONOMIE AND GEOGRAPHIE: OR AN EASIE AND SPEEDY WAY TO KNOW THE USE OF BOTH THE GLOBES, CELESTIAL AND TERRESTRIAL. IN SIX BOOKS... Whereunto is added the Antient Poetical Stories of the Stars : shewing several reasons why the several shapes and forms are pictured on the Celestial Globe. Collected from Doctor [Thomas] Hood. As also a Discourse of the Antiquity, Progress and Argumentation of Astronomie. London: Printed by Joseph Moxon, 1659.

First edition. Engraved illustrated title-page in Latin ("Ductor ad Astronomiam & Gographiam...") as frontispiece, plus engraved illustrations and wood-engraved figures in text. Small quarto. 18.5 x 14 cm. [14],224,40 pp. Two brief ink corrections in text on pages 27 and 62, and page 96 is soiled. Two leaves (G4 & H1) have paper repairs at bottom fore-corners and several leaves at the end have small loss at bottom fore-corner, none of which affects any text. Yet it is a clean copy overall and handsomely bound in modern full sprinkled calf done in period style, with a gilt-lettered red morocco spine label.

Moxon (1627-1691) was a hydrographer - that is a map and chart printer and seller - and mathematician who was skilled in many things (smithing, engraving, printing books and pictures) as well as globe and map making. He operated a shop 'on Corn-hill, at the signe of Atlas' where he sold astronomical books, maps, and instruments. He was elected a fellow of the Royal Society in 1678. (DNB, Wing M3021). $3,250.00

TWELVE FINE ETHNOGRAPHIC PHOTOGRAPHS, TINY FORMAT

121. [PHOTOGRAPHY - 19TH CENTURY]. TONKIN TYPES. Small (8.7 x 13.2 cm) red pebbeld cloth album stamped in gilt and blind, fine condition. Twelve early silver gelatin print photographs (5.5 x 8 cm) mounted to line-framed stiff pages. Captions in French at bottom of photographs (Pecheurs, Femme du Delta, En Famille, Fabricant de gongs, etc) describing location or "type" of subject. Photographs in excellent condition. French Indochina period, probably late 19th century. Not in OCLC or BNF. $750.00

"When you look for the bad in mankind expecting to find it, surely you will."

122. PORTER, Eleanor H. POLLYANNA. Illustrated by Stockton Mulford. Boston: The Page Company, 1913. First edition; first printing. In tan satin like patterned cloth-covered boards, with gilt lettering. Pollyanna was a best-selling novel in 1913 that went into over twenty printings the first year alone. It is now considered a classic of children's literature with the title character entering the American lexicon. Overall a fine copy with many handsome illustrations. Peter Parley to Penrod. p. 131. Quite scarce $2500.00

123. PURSH, Frederick. FLORA AMERICAE SEPTENTRIONALIS; OR, A SYSTEMATIC ARRANGEMENT AND DESCRIPTION OF THE PLANTS OF NORTH AMERICA. London: Printed for White Cochrane, and Co., 1814. First edition. Two 8vo. volumes. 24 full-color engravings. xxvi, 1-358; 359-751 pp. Ex-library, with only a couple of ink-stamps to text leaves in each volume. Rebound in handsome period style in 1/4 brown calf with tan cloth sides, and black spine labels. Ink ownership signature of "J.P.HALL Jun./May 8th, 1817" and occasional marginalia. Bound in at the rear of vol. 2 is a double-page contemporary manuscript account and description of an "orchis nova species," and laid in is a small sheet with a contemporary manuscript description of another orchid species. Some intermittent foxing, spotting and dampstaining to some plates along the fore-edge, but an attractive copy in very good condition overall.

Pursh was the first to publish information on the flora of the Lewis and Clark expedition. Sabin calls it "The most important work which had hitherto been published on the botany of North America." Many species are described for the first time. An important book. (Pritzell 7370; Nissen 1570; Stafleu & Cowan 8404; Sabin 66728). $3,750.00

POSTHUMOUSLY PUBLISHED

124. QUINCY, John. PRAELECTIONES PHARMACEUTICAE; OR A COURSE OF LECTURES IN PHARMACY, CHYMICAL AND GALENICAL; EXPLAINING THE WHOLE DOCTRINE OF THAT ART. By the late Learned Dr. John Quincy. Published from his original Manuscript, with a Preface, by P. S. Shaw, M.D. London: Printed for E. Bell, et al., 1723. First edition. xv, 212 pp. Small quarto, newly bound to period style in dark blue 3/4 morocco with marbled paper sides, and a gilt-stamped label on spine. Ex library, with a faint ink stamp on t.p and five other pages (nos. i, xv, 51, 109, 161). Light soiling to title-page, occasional light soiling/thumbing at fore-edge margin of some leaves, but presenting a clean and fresh appearance overall. This is a handsome copy of a scarce title.

John Quincy was an English apothecary and physician whose works had considerable influence on the practice of medicine and materia medica of his day. His Pharmacopoeia officinalis & extemporanea; or, A compleat English dispensatory, first published in 1718, remained in print until 1782, reaching the fifteenth edition. His Lexicon physico-medicum: or, A new physical dictionary, published in 1719, proved to be as popular, going through more than eleven editions, the last in 1811. The eighteen lectures in Praelectiones Pharmaceuticae had been delivered at Quincy's own house and, after his death in 1722, were published in 1723 with the preface by Dr. Peter Shaw, who edited the works of Francis Bacon and Robert Boyle, as well as translating works by Stahl and Boerhaave. (D.N.B.; Heirs to Hippocrates 712-715 for his Dispensatory and Dictionary). $1,500.00

125. RANSOME, Arthur. SWALLOWS AND AMAZONS. Illustrated by Helene Carter. Philadelphia: J. B. Lippincott Company (1931). First American edition. 343 pp. 8vo., green cloth stamped in brown. Illustrated (map) endpapers. This is a fine copy with just a hint of uneven color on the spine, in a fine dust jacket with a touch of sunning as well. A very scarce book in our experience. $2500.00

A FINE COPY OF THE FIRST EDITION IN THE DUST JACKET

126. RANSOME, Arthur. WE DIDN'T MEAN TO GO TO SEA. London: Jonathan Cape (1937). First edition. 351 pp. 8vo., dark green cloth stamped in gilt and blind. Map endpapers have a faint ouch of foxing - else the book is very clean internally. A few small spots to fore-edge, not affecting text. In a good dust jacket, spine darkened, with a 1/2 inch chip to top of spine above title, and a few small closed tears to rear panel. Jacket is lightly age-toned at edges. The Swallows adrift - a wonderful children's adventure at sea. $575.00

IN SUPPORT OF "A SECURE AND PRESENT PEACE"

127. (ROGERS, Daniel, et al.) THE ESSEX WATCHMEN'S WATCHWORD to the inhabitants of the said county respectively, dwelling under their several charges, by way of Apologetical Account, of the true Grounds of their first Engagement with them in the Cause of God, King and Parliament, for their Vindication from unjust Aspersions. Also by way of faithful Premonition of the dangerous evil latent in a printed Paper, entituled, The Agreement of the People, intended to be Tendred to them for Subscription. London: Printed for Ralph Smith, at the sign of the Bible near the Royal Exchange, 1649. First edition. The last two pages are a printed list of 63 ministers, beginning with Daniel Rogers, who endorsed this publication. The imprimatur (Ja. Cranford, 15 February 1648) is printed at the bottom of the last page. Small quarto. 18.2 x 14 cm. [2], 14 pp. Bound in later brown cloth-backed marbled boards, with a small typed label on upper board. Ex library, with minimal marks: an oval ink stamp on the outer margin, and a small library number on the inner margin of p. 1. This tract was written in support of `The Agreement of the People,' the army's petition for tolerance, when it was sent down for the Essex ministers to sign. Daniel Rogers (1573-1652) drew up `The Essex Watchmen's Watchword' on behalf of the presbyterians, and was the first to sign it, protesting against the toleration of any who refused to sign the 'Agreement.' A couple of small spots on the t.p., else a clean and very good copy. Rare. (D.N.B.; Wing E3342A). $1,500.00

WRITTEN IN IMITATION OF SHAKESPEARE'S STYLE

BY THE FIRST EDITOR (IN THE MODERN SENSE OF THE WORD)

OF SHAKESPEARE'S WORKS

128. ROWE, N[icholas]. THE TRAGEDY OF JANE SHORE. Written in imitation of Shakespear's style. London: Printed for Bernard Lintott ..., 1714. First edition, with the following readings on p. 18, line 3: "the heart" and on p. 19, line 17: "This trickling Show'r of Teats,"and the publisher's notice on last page dated January 28, 1713-14. Small quarto. A-I4. 21.5 x 16.5 cm. [8],63,[1] pp. Bound in Roxburghe style brown quarter morocco with brown linen sides that shows slight shelfwear. Early ink ownership (`Mr Wilkson his book') p. 13. Bookplate of Edgar F. Leo at front pastedown. The first three leaves and the final three leaves are browned and soiled; otherwise the text is clean but for an occasional bit of light foxing and/or soiling. The final leaf has been repaired along the inside edge and has a small lacuna. Very good overall.

Jane Shore was real person. She was a famous London beauty of humble origins, who, after her marriage to William Shore, a mercer, was annulled, became notorious as the mistress of Edward IV and others. She was charged with conspiracy against the protectionist government of Richard III and imprisoned at Ludgate, but only after having performed mandatory public penance for her promiscuous behavior. 'Mistress Shore' is mentioned only a few times in Shakespeare's Richard III as King Edwards's whore, Lord Hasting's whore, just about anyone's whore. But in Nicholas Rowe's `Tragedy of Jane Shore' - the story of a London wife seduced by one king, Edward IV, and harshly punished by another, Richard III - she is a suffering and penitent victim. Sarah Siddons was famous in the role. Beside being the author of lachrymose 'She-Tragedies' such as `Jane Shore,' `The Fair Penitent,' and `Lady Jane Grey,' Rowe did useful work as editor of Shakespeare's plays. He was the first to prefix a list of dramatis personæ to each play, to divide and number acts and scenes on rational principles, and to mark the entrances and exits of the characters. In addition, he corrected and modernized spelling, punctuation, and grammar. His octavo edition of Shakespeare's collected works (1709) was also a first: previous to its publication in 1709, they had only been available in the Folios of 1623, 1632, 1663-4 and 1685. (ESTC T55544; Jaggard , p.270; DNB; Helgerson, Richard: "Weeping for Jane Shore," pp. 451-476, The South Atlantic Quarterly 98:3). $1500.00

129. SACKVILLE-WEST, V. CHALLENGE. New York: George H. Doran Company, 1923. First edition, first issue: British sheets (though not published in England until 1973) bound in first issue green cloth. "This book was written during a passionate and, at the times, scandalous love affair, between V. S-W. and Violet Trefusis. The book was not published in England until 1973, 11 years after V. S-W's death. The characters of Julian and Eve represent V. S-W & V. Trefusis respectively and the Island represents V. S-W's husband Harold Nicolson. This book was sent to me by V. S-W's son Nigel Nicolson with whom I corresponded about my collection of his parents' books. I met him in England, where he showed me Sissinghurst, their home in Kent, most graciously, and completely." The book is generally quite clean and bright, with a stain on the rear board, the rare dust jacket has nicks along the edges, a one inch stain at the top of the spine and a crease in the back panel. Rare in first issue binding and dust jacket. (Cross/Ravencroft-Hulme A9) $3750.00

130. SALMON, William. PHARMACOPEIA LONDINENSIS. Or, the New London Dispensatory. In Six Books. Translated into English for the publick Good; and fitted to the whole Art of Healing. Illustrated with the Preparations, Virtues, and Uses of all Simple Medicaments; Vegetable, Animal and Mineral: Of all the Compounds, both Internal and External: And of all the Chymical Preparations now in LIfe. Together with several choice Medicines added by the Author. As also the Praxis of Chymistry, as it's now Exercised, fitted to the meanest Capacity. London: Thomas Dawks, 1678. First edition. (Wing S436A "s.n. 1676" reported edition of this title is an erroneous record) 8vo. [xvi], 896 pp. Full early calf ruled in blind with corner ornaments, worn, but solid, ex libary copy with only markings being two ink stamps on pastedown and title-page. The top outside corner of the first signature has a faint dampstain. An appealing copy in a contemporary binding, scarce. "Salmon drew most of the information he incorporated into his writings from his extensive personal library." - DNB. (Wing S437A). $2,500.00

INCLUDES WORKS BY PARACELSUS AND GERHARD DORN

131. [SEDZIWOJ, Michal, PARACELSUS, and Gerhard DORN]. A NEW LIGHT OF ALCHYMY: Taken out of the Fountain of Nature and Manual Experience. To which is added a Treatise of Sulphur. Written by Micheel Sandivogius: i.e. Anagrammatically, Divileschi Genus Amo. Also Nine Books Of the Nature of Things, Written by Paracelsus, viz. [...] Also a Chymical Dictionary explaining hard Places and Words met withal in the Writings of Paracelsus, and other obscure Authors. All which are faithfully translated out of the Latin into the English Tongue, by J[ohn]. F[rench]. M. D. London: Printed by A. Clark, for Tho. Williams at the Golden Ball in Hoster Lane, 1674. Second edition, this translation. (The first edition was printed in 1650.) Octavo. 17 x 10.5 cm. [xvi], 351 pp. In a modern calf binding done in period style, with blind rules and a gilt title to spine. Text leaves are age browned and show some occasional light spotting and/or dust soiling. Y2 has a small lacuna in margin at top corner, not affecting any text; and the final leaf has a short closed edge tear at top edge. Ink ownership of Urian Angier, dated 1720, on title-page. Some pencil and ink ticking in margins throughout and some contemporary ink notes on front flyleaf. Ex library, with only an ink stamp on t.p. and pp. 50- 51, and no external marks.

The nine books by Paracelsus (pseudonym of Philipp Theophrastus, of Hohenheim) are "Of the Generations, Growths, Conservations, Life, Death, Renewing, Transmutation, Separation, Signatures of Natural Things" and are a translation of part of the "Metamorphosis." The "Chymical Dictionary" is based on Gerhard Dorn's "Dictionarium Theophrasti Paracelsi" (Ferguson, J. Bibliotheca Chemica, v.1, p. 257). Both the "Nature of Things" and the "Chymical Dictionary" have separate title-pages; however, the pagination is consecutive throughout the volume, starting with the "New Light of Alchymy" through the end of the "Chymical Dictionary." (Wellcome V, p. 80). $2250.00

LIBRETTO ADAPTED BY GARRICK FROM SHAKESPEARE

AND SET TO MUSIC BY HANDEL'S ONLY PUPIL

132. [SHAKESPEARE, William, & John Dryden] [GARRICK, David, adapted by] THE TEMPEST, AN OPERA. As it is performed at the Theatre-Royal in Drury-Lane. The songs from Shakespeare, Dryden, &c. The music composed by Mr. [John Christopher] Smith. London: Printed for J. and R. Tonson, 1756. First edition - the libretto only, no music. Octavo. 20 x 12 cm. [8],47,[1] pp. Bound in Roxburghe style red quarter morocco with red linen sides. Elegantly designed and printed. Small ink smudge on p. 35 with offset to 34, else a very clean and attractive, near-fine copy. This adaptation is still commonly attributed to Garrick despite his denial. The music (not included here) was by John Christopher Smith, Handel's only pupil, who had already composed a popular opera , "The Faeries' (1755), based upon Shakespeare's `A Midsummer Night's Dream.' (ESTC T49920; Jaggard p. 463) $2,500.00

BASED ON SHAKESPEARE'S KING JOHN

133. [SHAKESPEARE, William] CIBBER, Colley. PAPAL TYRANNY IN THE REIGN OF KING JOHN. A Tragedy. As it is acted at the Theatre-Royal in Covent-Garden. By His Majesty's Servants. London: Printed for J. Watts ... and sold by B. Dod, 1745. First edition. Octavo. 20 x 12.5 cm. [12], 70, [2] pp. In a recent binding of marbled paper-covered boards. Price from imprint: Price 1 s. 6 d. Verso of a1 is signed A2. With a final leaf of epilogue. Despite a bit of spotting to title-page, and a small amount of light dampstaining to one corner of the last few leaves, this is a very clean and appealing copy.

Papal Tyranny in the Reign of King John was acted at Covent Garden on 15 Feb. 1745, but it was written and rehearsed nine years previously. Cibber, having been rebuked for meddling with Shakespeare's King John, withdrew it. Pope refers to this in the Dunciad: `King John in silence modestly expires.' Yet it appears that Cibber couldn't leave poor Will alone. In Papal Tyranny the first act of Shakespeare's play is omitted, the interest of the plot turns upon the conflict between John and the Legate, and scarcely a line of the original is retained intact. (ESTC T2384; Jaggard, p. 351, DNB). $1,750.00

INCLUDES THE RARE VERSES TO THE AUTHOR BY RICHARD DUKE

134. [SHAKESPEARE, William] DRYDEN, John. TROILUS AND CRESSIDA, or, Truth Found Too Late. A tragedy as it is acted at the Dukes Theatre. To which is Prefix'd, A Preface Containing the Ground of Criticism in Tragedy. London: Printed for Abel Swall ... and Jacob Tonson ..., 1679. First edition, bound with the leaf of commendatory verse by Richard Duke that is found in only some copies. It is bound in just before p. 1, where the play begins. Small quarto. 21.5 x 16 cm. [26],69,[3] pp. Bound in light brown, full calf, with gilt stamped title to spine. The binding is gently scuffed and has a small bit of ink splatter on lower board. Some light age toning and spotting and/or staining throughout, but clean and attractive overall. This is an adaptation of Shakespeare's TROILUS AND CRESSIDA, but greatly altered by Dryden: "I new model'd the plot; threw out many unnecessary persons, improv'd those characters which were begun and left unfinish'd... The whole fifth act, both plot and writing, are my own addition." (ESTC R4152; MacDonald 84 a ii; Pforzheimer 915; Jaggard, pp. 476-477). $2,750.00

TWO PLAYS IN A CONTEMPORARY BINDING

135. SHERIDAN, Richard Brinsley. THE CRITIC; OR, A TRAGEDY REHEARSED. A Dramatic Piece in three Acts as it is performed at the Theatre Royal in Drury Lane. London: Printed for T. Becket ..., 1781. First edition, first issue. Engraved title-page. Octavo. 20.5 x 12.5 cm. [vi], 98 pp. This copy lacks A4, the half-title that is supposed to appear before the engraved title, and H2, the last leaf with a page of publisher's advertisements. The Critic is an exuberant farce on the problems of producing a play, a tragic drama entitled "The Spanish Armada." The cast of characters include Mr. Puff, the author, and two theatre critics, Dangle and Sneer, and many other laughable types. Bound with another play in a contemporary quarter calf binding with marbled boards, and a red morocco spine label with "PLAYS" in gilt. Binding shows general rubbing and wear, and the upper joint is weak, but attractive nonetheless. (Rothschild 1846).

Bound with: [PRATT, Samuel Jackson]. THE FAIR CIRCASSIAN. A TRAGEDY. As performed at the Theatre-Royal, Drury-Lane. By the Author of SYMPATHY, A POEM. London: Printed for R. Baldwin, 1881. Presumed first edition. Octavo in fours. [xii], 75, [76-78] pp. + [1] f., a blank. Page 23 is misnumbered. Pratt (1749-1814) was a failed actor who became a prolific and popular writer. This is Pratt's first play, an Oriental tale in verse, that is founded upon the novel Almoran and Hamet(1761) written by his friend John Hawkesworth. The lead role was written for Mrs. Sara Siddons but was performed by Miss Eliza Farren, afterward the Countess of Denby. The play opened 27 November 1781 and was an immediate success. It went through three editions the first year. (DNB; Gent. Mag. 1814 pt. ii. pp. 398-9; Notes and Queries, 6th ser. vi. 212). $950.00

A SCARCE SEVENTEENTH-CENTURY BOOK ABOUT TOBACCO

136. STELLA, Benedetto. IL TABACCO ... Nella quale si tratta dell'Origine, Historia, Coltura, Preparatione, Qualità, Natura, Virtù, & Uso in Fumo, in Polvere, in Foglia, in Lambitivo, et in Medicina della pianta volgarmete detta Tabacco ... Trattato Naturale, Medico, Morale, e Curioso. Roma: Filippo Maria Mancini, 1669. First edition. Six woodblock illustrations of plants and pipes. Small quarto in eights. 15.4 x 10 cm. [xxxii], 480 pp., including illustrations. Old and worn vellum binding, probably contemporary, with hand-lettered title on spine. It shows general soiling all over and is darkened at spine, with a short split near crown and missing a chip at heel.

Text leaves are clean and flexible, though some sections do have light age toning and/or spotting. Two leaves have a small lacuna, ++8, A8, but the text is minimally affected - just a few missing letters in one line on only leaf A8. One leaf, D5, is missing the bottom fore-corner, affecting the closing words of the last four lines of text on p. 57; and the final seven lines of text on p. 58 are mostly missing due to a printer's error, where the (now missing) corner folded over during impression and blocked the ink transfer. A couple of other leaves (A7, I5) have small nicks on edges. Page 43 is misnumbered 34.

Ex libris Cardinal Lorenzo Nina (1812-1885, Italian), a longtime member of the Roman Curia who served as Prefect of the Congregation for Studies, Vatican Secretary of State, and Prefect of the Congregation of the Council, with his bookplate on front pastedown. An old ink ownership (Francisci Benigni) crossed through, on the half-title page, with a brief note on p. 39. Another note in a different hand, a five line saying attributed to P. F. Hurt, is on the final endpaper. Ex-library, with only a couple of small library stamps and a small label within, and no external marks.

A scarce title, in original condition.

References: Bragge 75; Haller DCXLII; Sabin 91215; Wellcome V, p. 181. $3500.00

137. THORNTON, Robert John. A NEW ILLUSTRATION OF THE SEXUAL SYSTEM OF CAROLUS VON LINNAEUS . A PRIZE DISSERTATION ON THE SEXES OF PLANTS . AND THE TEMPLE OF FLORA, OR GARDEN OF NATURE, BEING A PICTURESQUE BOTANICAL, COLOURED PLATES, OF SELECT PLANTS, ILLUSTRATIVE OF THE SAME, WITH DESCRIPTIONS. London: Printed for the publisher, by T. Bensley, 1807. 31 color-printed aquatint and mezzotint plates finished by hand to the Temple of Flora (3 allegorical & 28 botanical), preceded by 6 other engraved plates (portraits of Thornton, Linnaeus, Queen Charlotte, Thomas Millington, and "The Universal Power of Love"), 6 engraved tables, 11 engraved calligraphic titles and half-titles, 122 letterpress ff. Folio. 22 1/2 by 17 5/8 in. Elegantly rebound to period in crimson straight-grain morocco with gilt tooling. Expert cleaning to the margins of six color plates and additional letterpress leaves.

Thornton's masterpiece is considered by many the most famous English botanical plate book ever produced. The work is divided into three parts: 1.) preliminary observations on botany and an English translation of Linnaeus' prize dissertation of 1759 on the sexes of plants, 2.) a discussion of the origins of, and exposition on, the sexual system, 3.) The Temple of Flora, magnificent pictorial illustrations of Linnaeus' system, accompanied by prose and verse texts In this work he produced the first flower prints with landscape backgrounds depicting the natural habitat of the plant. While doing this he introduced an exotic and romantic element to his settings; he created life size flower prints in color and on a scale hitherto unseen. Accordingly he employed important artists such as Pether, Henderson, Reinagle and Sydenham Edwards among others, as well as Stadler, Sutherland Ward, Earlom and Dunkarton the best contemporary engravers and mezzotinters of the day. It was initially issued in parts between the years 1799 and 1807. However, Thornton never found sufficient subscribers to cover the cost of producing the elaborate plates and was very nearly bankrupted. It was reissued in 1807, the date on the title-page, although individual plates bear dates beyond that. Thornton made up copies using different combinations of plates when he found a customer for the book.

References: Dunthorne 301; Johnston, Cleveland Herbal. 722; Grigson & Buchanan, Thornton's Temple of Flora (1973). $115,000.00

138. THURNEISSER ZUM THURN, Leonhart. PROKATALEPSIS ODER PRAEOCCUPATION, DURCH ZWOLFF VERSCHEIDENLICHER TRACTATEN; GEMACHTER HARM PROBEN. Frankfurt: Johann Eichorn, 1571. First edition. Folio. Pp. [4], lxxxv, [2,1 blank]. Title red and black within an elaborate woodcut border. The first word in the title is transliterated from Greek. Portrait on Aii, framed by strapwork incorporating laboratory equipment and two nudes pouring chemicals. Colophon, on Hiiij recto, p.[lxxxv11]. Ex library, with the only markings being two faint, inconspicuous stamps. Bound in 18th century marbled boards, with new spine. The method of analysis and conclusions described in this book are noted by Johann Carl Moehsen p.72 and by Sprengel (Geschichte der Medicin, Halle, 1827, ii., p.499).

Thurneisser or Thurneysser, as well as five other spellings, was born in Basel in 1530. His father was a goldsmith. Arrested for selling gilt lead as gold, Thurneisser fled Basel, fought in the army of Albert of Brandenburg, was captured and imprisoned. By 1558 he was a metallurgist in the Tyrol, then from 1560 to 1570 was sent to many countries by the Archduke Ferdinand to research metallurgy. In 1569 he first published his Archidoxa and in 1570 the Quinta Essentia. He wrote on chemistry, alchemy, meteorology, pharmacology and medicine, making it up as he went along. From 1570 to 1584 he was a physician in the court of the Elector of Brandenburg, who put at his disposal an abbey in Berlin, where he had a laboratory as well as a printing press, employed 300 people, and amassed a large fortune. This he lost in a divorce from his third wife, and left Berlin for Rome, Florence and Cologne. History sees him now as a flamboyant charlatan. (Bibliotheca Chemica, p. 453; D.S.B.). $2,250.00

139. TURGENEF, Ivan Sergheievitch. FATHERS AND SONS. A Novel. Translated from the Russian by Eugene Schuyler. New York: Leypoldt and Holt, 1867. First English language edition of the author's best known work. [1] p. adv., viii, 248 pp., + [4] pp. adv. 12mo., blue-green cloth, gilt title on spine and publisher's monogram on upper board, grey coated endpapers. A bit of wear at ends of spine and along joints; some light spotting to cloth. Internally clean. Very good. $2500.00

VANBRUGH'S FIRST PUBLISHED WORK:

A SEQUEL TO CIBBER'S 'LOVE'S LAST SHIFT'

140. [VANBRUGH, John, Sir]. THE RELAPSE; OR, VIRTUE IN DANGER: Being the sequel of The Fool in Fashion, a comedy. Acted at the Theatre-Royal in Drury Lane. [London:] Printed for Samuel Briscoe ..., 1697. First edition. Small quarto. 21.5 x 16 cm. [8],29-56,59-106 pp. Pagination is a bit irregular (pp. 30-31 are misnumbered 32-33, and page nos. 57-58 are dropped completely), but the text is complete. Bound in Roxburghe style brown three-quarter morocco with brick red sides, gilt title to spine. Binding shows light shelfwear. Moderate to heavy foxing throughout text. One leaf (D1) has irregular loss in the blank fore-edge margin. Still, it is a very good copy of Vanbrugh's first play, which was published anonymously, that is rarely seen in the market. It is a sequel to Colley Cibber's Love's Last Shift; or, The Fool in Fashion (1696) and was an immediate success, remaining popular throughout the eighteenth century. Numerous editions were published, as well as several translations, and even some adaptations. (ESTC R23576; Pforzheimer 1021). $1750.00