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Exceptional Musical Provenance
Hamma, Fridolin. Meisterwerke italienischer Geigenbau-Kunst Ihre Beschreibg und bisher erzielte Preise. Stuttgart: Hamma & Co., [ca. 1933]. 4to (29.5 cm, 11.6"). [2], xiii, [3], 345, [5] pp.; 9 double plts., plts., illus.
$1000.00
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First edition of this important treatise on Italian violins and their makers. The author (1881–1969) was himself an accomplished luthier, and the son of the founder of the famed instrument-making firm Hamma & Co. His scholarship is here illustrated with numerous photographic reproductions of violins, representing the masterworks of many eminent Italian artists; a few of these violin images are printed in color, and at the back of the volume are
nine double-spread plates providing life-sized diagrams with measurements of instrument exemplars. This is
hand-numbered copy 518 of 1200 printed, this particular copy having outstanding provenance (see below). The publisher's prospectus — with sample illustrations — is also laid in.
Provenance: From the library of the great violinist, composer, and conductor Adolf Busch — owner of a Stradivarius violin made in 1716 — and by bequest to his daughter Irene Serkin and son-in-law, musician Rudolph Serkin. Half-title with author's signed presentation inscription to Fritz Baumgartner, who was, alongside Hamma, a co-founder of EILA, the International Association of Violin and Bow Makers (and who also owned a Stradivarius); half-title with another inked inscription signed by Busch recording gift of this volume “von Frau Baumgartner” in 1937, and with inked ownership inscription of Irene Serkin-Busch. Laid-in three-page manuscript letter dated 1937, addressed “Sehr verehrter Herr Professor” and signed by Frau Baumgartner. Herr Baumgartner and Busch had a noteworthy (so to speak) connection; the latter commissioned both a custom viola and a copy of a Stradivarius violin from the former.
Publisher's quarter (wide) vellum and brown sueded cloth, front cover with gilt-stamped coat of arms, spine with gilt-stamped leather title-label; covers slightly bowed, suede rubbed down to cloth along edges and in small spots on sides, vellum showing minor soiling. Pages faintly age-toned. Inscriptions as above; small piece of paper with inked annotations re. two Guadagnini instruments, laid in at the Joannes Baptista Guadagnini page.
A useful and authoritative work in and of itself, with remarkable connections to three different prominent musical families. (39715)

The Beckford & Durdans/Rosebery Copy
[Head, Richard]. Nugae venales, sive, thesaurus ridendi & jocandi. [bound with another, see below] Disputatio perjucunda qua probare nititur mulieres homines non esse. [The Hague: I. Burchornius, 1642]. 12mo (12 cm, 4.7’’). [4], 336, 48, 44 pp. [also bound in] Acidalius, Valens. Disputatio perjucunda qua probare nititur mulieres homines non esse. Hagae-Comitatis: I. Burchornius, 1641. 12mo. 191, [1] pp.
[SOLD]
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The elegantly bound copy of these works from the rich library of the novelist William Beckford (1760–1844). Interestingly, Beckford owned seven editions of the Nugae — this is his
first edition — printed between 1642 and 1720. In his sale catalogue, a note attributes it to the Irish novelist Richard Head (1637–ca. 86), author of the successful The Irish Rogue, although scattered sentences in Dutch or German cast doubts; the work also had an English edition, this perhaps translated by Head. The first part is a collection of ironic, witty questions and answers on satirical topics, often concerned with women — e.g., what is a liberal woman? — as well as with curiosities (e.g., why are Ethiopians black? is begging preferable to wealth? {‘it is’}). There follow essays on unrelated topics including pseudo-medicine, with the Nugae's second part — Crepundia poetica — then being a collection of short poems on sundry subjects from doctors to astrologers. The third part — Pugna porcorum — is
a satirical poem written solely and perhaps preposterously with words beginning with P.
The Disputatio, here in the second collected edition after a first of 1638, is “a jeu d’esprit against the opinions of the Socinians” (Brunet). Its two parts, propounding rhetorical paradoxes, first appeared separately in 1595, when a debate broke out following the Socinian affirmation that women were animals, not humans, as Eve was not created in the image of God. Attributed to Acidalius Valens, the work
seeks satirically to prove, through numerous mainly theological sources and following Socinian logic, that women are not men; the second essay defends women as a sex.
The title-pages offer three instances of the same handsome woodcut vignette.
Binding: 19th-century straight-grained citron morocco, raised bands, spine gilt-extra with flowers and flourishes; inner dentelles gilt, puce endpapers, all edges gilt over marbling. Red silk bookmark present and attached.
Provenance: William Beckford, with 19th-century note “Beckford sale 1883 lot 174" on front free endpaper verso and cutting from sale catalogue on front pastedown; red leather Durdans (Rosebery) booklabel to front pastedown and that library's small blind-stamp to first title-page and elsewhere. Later bookplate of Lawrence Strangman to front free endpaper; most recently in the library of American collector Albert A. Howard, with his small booklabel (“AHA”) at rear.
I: Wing (rev.ed.) N1462;ESTC R219402. II: Brunet II, 759 (1638 ed.). Bound as above, with significant rubbing to joints and spine especially and with discoloration especially affecting raised bands; gilt ornamentation still impressive. Short closed tear to B4 not quite reaching print, another with loss to margin just touching text on L4; age-toning, with a few leaves slightly browned.
Desirable texts in a desirable copy, with very desirable provenance. (41315)

19th-Century American
Signed Blind–Embossed Binding
This Copy Extra-Illustrated
Hemans, Felicia; Reginald Heber; & Robert Pollok. The poetical works of Hemans, Heber and Pollok. Complete in one volume. Philadelphia: Grigg & Elliott, 1838. 8vo (22.2 cm, 8.75"). Frontis., engr. t.-p., [10], vii, [ii]–xvi, 479, [1], [ii]–xvii, [1], 43, [1], 79, [1] pp.; 2 add. engr. plts.
[SOLD]
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A stereotyped collection of works by three early 19th–century British poets, presented in
a handsome American blind-embossed binding. This anthology includes some of Hemans' (1793–1835) most admired works, such as Records of Woman and Hymns on the Works of Nature, along with the best-known hymns and poems of Heber (1783–1826) and Pollok (1798–1827).
The present example is an extra-illustrated copy. In addition to a frontispiece of Hemans and a pastoral title-page vignette, both engraved by W.H. Ellis, it bears tipped in on the back of the frontispiece a stunning added engraving of Hemans after a plaque by Edward William Wyon (“by A. Collas's Patent Process”). A portrait of Pollok “engraved by T.A. Dean from the only drawing from life ever taken” is mounted on a leaf before his Course of Time.
Binding: Intricately embossed burgundy calf with gilt lettering to spine; the spine design is derived from a Remnant & Edmonds spine plaque, according to Wolf. Each board has a medallion in the center featuring a woman in a chariot pulled by two galloping horses with several delicate stars in the sky; the medallion is framed by elaborate acanthus and foliate motifs. Blue marbled endpapers; all edges gilt. Signed by
Benjamin Gaskill (“Gaskill, Phila”) on spine.
WorldCat locates only eight copies of this 1838 edition.
Wolf, From Gothic Windows to Peacocks, 190. Bound as above, mildest rubbing; marbled endpapers rubbed and slightly discolored just along edges from action by turn-ins. First set of contents with pages bound out of order. Interior age-toned as expectable, with instances of foxing especially along top edges throughout and with light evidence of old waterstaining along bottom ones; title-page with short inked line from outer edge, added engraving with small closed tear
A nice example of Gaskill's embossing work and a delightful volume overall, “personalized.” (38710)

Master Violin Makers (Both Subjects & Authors) — Equally Masterful Binders
Extraordinary Provenance
Hill, William Henry; Arthur F. Hill; Alfred Ebsworth Hill. The violin-makers of the Guarneri family (1626–1762): Their life and work. London: William E. Hill & Sons, 1931. 4to (29.9 cm, 11.75"). xxxvii, [3], 181, [5] pp.; 58 plts., 2 fold. maps, illus.
$3250.00
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The first edition in its deluxe format, in an eye-catching Riviere binding: a carefully detailed, extensively illustrated examination of the careers and productions of all five of the master instrument-makers of the Guarneri family. The text is enhanced by
58 full-page depictions of known examples of Guarneri work, often in multiple views, with many color-printed and the rest in crisply impressed photogravure, along with two oversized, folding maps and numerous in-text illustrations. And it bears a touching dedication to the memory of William Hill (1857–1929), noting that this history “embodies the knowledge and considered views of three brothers who lived and worked in a life-long intimacy.” The Hill family was itself known for fine violin-making and expert instrument repair work, and the W.E. Hill & Sons firm continues to be active today.
This is hand-numbered copy 137 of only 200 produced in this special limited format, there having been apparently fewer than 700 copies produced for subscribers overall.
Binding: Signed brown morocco, covers framed and panelled in gilt double fillets with gilt corner fleurons and floral decorations enclosed by strapwork, front cover with central gilt-stamped Guarneri coat of arms, spine with gilt-ruled raised bands, gilt-stamped title and author, and gilt-stamped decorations in compartments. Turn-ins with one wide gilt roll and one narrow, joined by gilt double fillets. Page edges untrimmed. Binding dated 1931 (at spine foot) and gilt-stamped by Riviere & Son on lower front turn-in.
Provenance: From the library (sans indicia) of the great violinist Adolf Busch and by bequest to his daughter Irene Serkin and son-in-law Rudolph Serkin.
Binding as above; back cover with one scuff, front cover with small unobtrusive area of darkening towards upper outer corner. Offsetting to edges of free endpapers from turn-ins. Pages and plates clean and fresh.
A striking, elegant volume, of surpassing interest for music historians and aficionados. (39690)

Holbein’s Dance of Death — HIS ALPHABET with “New” Borders
Holbein, Hans. L'alphabet de la mort de Hans Holbein entouré de bordures du XVIe siècle et suivi d'anciens poëmes français sur le sujet de trois mors et des trois vis publiés d'après les manuscrits par Anatole de Montaiglon. Paris: Edwin Tross, 1856. 8vo (21.8 cm, 8.625"). [96] pp.; illus.
$450.00
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Tross's careful and elegant 19th-century edition: The Dance of Death concept experienced a revival in French Romantic literature of the era and the main text here, in French and Latin, is prefaced by Anatole de Montaiglon's introduction (in French). The reproductions of Holbein's initials were done by Heinrich Loedel, and each page is given an
exquisite death-themed, wood-engraved border by Léon le Maire after designs from a Book of Hours printed by Simon Vostre. The alphabet is represented (excluding J and U) by magnificent engraved historiated letters, five of which are repeated.
Binding: Chocolate brown morocco, covers framed and panelled in blind with gilt-tooled corner fleurons and gilt strapwork central medallions; spine with blind-ruled raised bands and gilt-stamped title and date and cover fleurons repeated in compartments; turn-ins with wide composite gilt rolls. All edges gilt; striking and distinctive marbled endpapers.
Signed by binder L. Claessens with tiny stamp in roll on lower front turn-in.
Provenance: From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
Bound as above and in lovely condition; extremely minor spots of rubbing and scraping to boards, one raised band with a short cut(?) and a sliver of leather lost.
An overall wonderful copy of this beautiful reprint. (37923)

A Delightful, Eye-Pleasing Horace — A Chromolithographic Tour de Force
Horatius Flaccus, Quintus. The works of Quintus Horatius Flaccus illustrated chiefly from the remains of ancient art. London: John Murray, 1849. 8vo (22.5 cm, 8.8"). [6], 194, [6], 490, xiv pp.; 8 col. plts.
$550.00
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First edition of this
lavishly decorated, deluxe production of Horace's works in the original Latin, with a life of the author written in English by the Rev. Henry Hart Milman. Each page of the preface appears in a color-printed, antiquity-inspired frame (ochre, maroon, blue, green, or violet, with several different styles of frame used); the poems appear in simpler frames, but with each section preceded by a chromolithographed title-page (with a total of eight color plates), and almost every text page bearing an in-text wood engraving done by George Scharf after “remains of ancient art” (an index of the original sources and their locations is present at the back of the volume).
The decorative elements were created by architect and pioneering design theorist Owen Jones.
This volume's price at publication was two guineas which, although less than production cost, priced the work out of the market. McLean suggests most of the 2,500 copies were pulped!
Signed binding: Contemporary brown morocco, front pastdown stamped “J. Wright Binder.” Boards with triple fillet gilt border at edges; center panel on each board composed of a triple fillet outer border with a floral/vine gilt roll within; gilt corner devices with elements extending along the outer edges of the center panel. Board edges with double fillet rules, turn-ins with same gilt roll as in the center panels of the boards, cream calendared endpapers. All edges gilt.
Evidence of readership: 20th-century notes relating to the text on rear free endpaper.
Provenance: Large engraved armorial “Kimmel Park” bookplate of Hugh Robert Hughes of Kimmel (1827–1911), Co. Denbigh, and his small library shelf label to top of front pastedown. His signature in full, dated “June 11th 1855,” on front fly-leaf. “G.L.D. 1937" on front free endpaper.
NSTC 2H30539; McLean, Victorian Book Design, pp. 94, 174. Binding as above; joints (outside) abraded, so too lower edges of boards and corners. 20th-century notes as mentioned above; shelf label largely obscured by a later blank one; a very few dog-ears or short edge tears; age-toning with some foxing and other spotting, especially towards beginning and end.
A remarkable, wonderful book. (37188)

A Variation on One of Bodoni's Greatest Hits
Horatius Flaccus, Quintus. Q. Horatii Flacci Opera. Parmae: Ex Regio Typographeo, 1793. 8vo (22.5 cm, 8.85"). [2], xxi, [1], 376 pp.
$1000.00
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This first octavo Bodoni printing of Horace preserves the famously austere title-page setting of the legendary 1791 folio edition. It is less commonly seen than the quarto edition which came from the Bodoni press in the same year, with De Lama and Brunet not citing it at all; Schweiger notes that
only 200 copies were printed.
Binding: Contemporary red English straight-grain morocco, covers framed with a Greek key roll surrounding a border composed of arabesque and floral tools around a central gilt-ruled panel cornered with sunburst ornaments; spine sympathetically gilt extra using greek keys, sunbursts, and fleurons. Board edges and turn-ins with gilt roll of a rope design, all edges gilt. Original green silk bookmark present and attached.Provenance: Front pastedown with armorial bookplate of George Henry Cherry; front fly-leaf with early stamped inscription (strongly resembling handwriing) of Vernon J. Watney, Cornbury (author of Cornbury and the Forest of Wychwood).
Brooks 494; Giani 37 (p. 46); Schweiger, II, 413. Not in Brunet, not in De Lama. Binding as above; joints, spine, and extremities lightly rubbed, sides with a few small spots of minor darkening. First and last pages mildly foxed.
One of Bodoni's most neoclassically restrained productions, in a rather less restrained binding. (40156)

Narrow Escape! Dangerous Publication
Surreptitiously Printed & a Pseudonym Used
Hotman, François. De furoribus Gallicis, horrenda & indigna Amirallij Castillionei, nobilium atq[ue]; illustrium virorum caede, scelerata ac inaudita piorum strage passim edita per complures Galliae ciuitates, sine vllo discrimine generis, sexus, aetatis & conditionis hominum: vera & simplex narratio. Edimburgi [i.e., London: Printed by Henry Bynneman], 1573. 8vo (15.7 cm; 6.125"). CCXII [i.e., 212] pp.
$3250.00
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One of six different editions printed in 1573 describing the St. Bartholomew’s Day Massacre as told by an enraged French Huguenot jurist who unintentionally avoided it due to a teaching assignment at the University of Bourges. According to the ESTC, the six editions were produced by four printers, one edition in Basel by T. Guarin, one in La Rochelle by B. Berton, and four in London by Henry Bynneman or W. Williamson, all but one bearing a false location. This offering is an altered version of an earlier printing with two leaves reprinted and one reimposed to remove any mention of Bynneman.
Hotman here writes under the pseudonym of Ernestus Varamundus, although the work is also sometimes erroneously attributed to Théodore de Bèze and Hubert Languet. In England, Hotman was the main narrative source for the first, “historical” portion of Marlowe's The Massacre at Paris (Paul Kocher, PMLA {1941}, 349–68).
Binding: Early 19th-century speckled calf, spine compartments gilt-stamped and one with a gilt red leather label; covers with gilt double rules, board edges and turn-ins with gilt single rules, all edges gilt. Signed with stamp by Roger de Coverly, an apprentice of Zaehnsdorf.
A very pretty “container” for some very un-pretty history.
Provenance: Armorial bookplate of the Marquess of Bute's Cardiff Castle on front pastedown; most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
A rather uncommon edition, with searches of WorldCat, NUC, and COPAC revealing only one U.S. copy (Huntington Library).
ESTC S104240; STC 13845. Bound as above, gentle rubbing, leather a little flaking, joints refurbished and covers solidly attached. Bookplate as above; title-page dust-soiled with one small inked word, a faded ownership signature, one small pencil mark. Light pencilling and some chipping to endpapers, general light to moderate age-toning with an occasional spot and some pages unevenly trimmed; one gathering with very light, limited waterstain to lower margin.
An important work in an unusual edition and an attractive copy. (37745)

Chromolithographed/ILLUMINATED Symbols & Stories
A Victorian “Medievalesque” Binding
Humphreys, Henry Noel. The miracles of our Lord. London: Longman & Co., 1848. 8vo (17.1 cm, 6.75"). iv pp; 16 double-sided col. plts.
$700.00
$700.00
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First edition of this Victorian interpretation of a medieval book of meditations: Biblical miracles, delicately calligraphed and
framed in 32 vividly illustrated, chromolithographed, illuminated borders. The main figures were adapted from the Old Masters and the decorative details “all strictly original, and not borrowed,” according to the artist (p. ii), a successful illustrator with particular interests in natural history, numismatics, and classical and medieval studies.
Binding: Publisher's boards of papier-mâché and black plaster, molded to resemble a medieval carved binding, each cover with six figural medallions surrounded by a border of interlaced vines and strapwork incorporating small creatures; spine with embossed title, edges and turn-ins with gilt roll. All edges gilt; marbled endpapers.
The following image of this very “matte” black binding is brightened, the better to show its detailed, deep relief work.
Ray, Illustrator and the Book in England, 232. Binding as above, small red shelfmark at foot of spine; corners and spine extremities chipped, one small chip to outer edge of back panel design, one very unobtrusive break in inner frame of front panel design, nicely refurbished. Sewing loosening as is common, with last leaf separated and previous one threatening; pages gently age-toned with occasional minor smudging in margins; text pages (not plate pages) foxed.
A striking binding and equally striking color-printing. (41192)
Sumptuously Bound
First American Edition of Irving's FIRST HISTORICAL Work
Irving, Washington. A history of the life and voyages of Christopher Columbus. New York: G. & C. Carvill, 1828. 8vo (22 cm; 8.625"). 3 vols. I: xvi, 399 pp., 1 folded map. II: viii, [1], 10–367. III: viii, [1], 14–419, [1] pp.
$850.00
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First American edition of Irving's somewhat fanciful yet readable work on Christopher Columbus. Irving notes in the preface “the sight of disjointed papers and official documents is apt to be repulsive to the general reader” so he has decided to create a narrative rather than simply translate pertinent documents related to Columbus as originally asked. This edition comes with a
large folding map of Columbus' route through the Bahama Islands.
Binding: Gorgeous 19th-century acid-stained autumnal binding: Covers framed with a gilt floral roll and brilliantly crossed with bands of walnut brown, ochre, deep green, russet red, black, and grey, all
very bright. Spines gilt extra with compartment devices and multiple interesting rolls, and bearing black leather gilt labels; board edges touched at corners with gilt; marbled endpapers.
Provenance: Signature of Sam Baird on front endpaper and title-page of vol. I and half-title of vol. II.
As described in the BAL, signature sign 6 is not present on p. 41 in vol. I and the last page of vol. III is unnumbered.
BAL 10124. Bound as above, bindings moderately rubbed with one sliver of leather lost at a joint and a small patch lost near the bottom of one back cover. Age-toning, foxing, and some other spotting; some corners creased (some corners improperly trimmed during manufacture. Inscriptions as above, light pencilling on endpapers of one volume; map wrinkled with some old light staining and a tear repaired some time ago from back, with cloth tape — folds strong.
A classic semi-historical work most strikingly bound. (36170)

A QUITE
Luxurious & Useful Production
Jacquemart, Albert. Histoire de la céramique. Paris: Librairie Hachette, 1873. 4to (26.5 cm, 10.43"). [2] ff., 750, [2] pp. 12 pls.
$425.00
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Canvassing ancient Egypt to the Italian Renaissance and modern times, this monograph on ceramic art distinguishes classes and styles of pottery, is illustrated with
200 wood-engraved figures by Hercule Catenacci and Jules Jacquemart, bears
12 full-page engraved plates by the latter, and tells how to identify many works' makers, cataloguing
1,000 marks and monograms. Each full-page plate is protected by a guard sheet with a brief letterpress description.
Jules Jacquemart (1837–80) was but in his mid-twenties when he began drawing from the renowned art collection of his father, Albert, an art historian. The Jacquemarts' first book on the subject was the Histoire de la porcelaine, followed shortly by this, its companion, in 1873, when Jules was “at work again on his own best work of etching.” He also made the etchings for Techener's Histoire de la bibliophilie (1860–64) and, in 1864, received an important commission from the French crown for Gemmes et joyaux de la couronne (1865).
The monograph's original
color-painted beaux-arts wrappers are bound in at the front and back here, including the spine in front (rubbed and faded, hinting at original splendor). The title-page is printed in red and black. An extensive index appears at the end.
Binding: Three-quarter evergreen morocco bordered with gilt fillets over bubble gum and mint marbled paper boards; spine with raised bands, gilt-framed compartments containing author, title, date, and appropriate devices in gilt; endpapers matching marbled boards and top edge gilt.
For J. Jacquemart, see: The Nineteenth Century, Vol. IX, pp. 681–90. Leather lightly scuffed at extremities and sunned to a woody green on spine and upper front cover; offsetting from turn-ins onto endpapers. Mild to (occasionally) moderate foxing throughout and old water damage on a few leaves only. (30132)

American Acid-Stained Autumnal Binding Spine with a DISTINCTIVE Stamp
Josephus, Flavius. The genuine works of Flavius Josephus; translated by William Whiston, A.M. New York: Published by William Borradaile, 1825. 12mo (18 cm; 7"). Vol. 6 only of 6. Frontis., 317, [1] pp.
$85.00
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A marvelous example of an American acid-stained autumnal binding with a gilt spine extra. The boards are tooled with a gilt double rule border around their perimeter; inside that border and almost touching the inner rule is a blind-impressed roll of flowers and leaves. The spine is richly tooled in gilt with a variety of single rules, rolls, and a handsome, large, finely detailed stamp used twice. A black leather spine label offers author, title, and volume number; the autumnal colors of the binding overall are red, pale yellow, brown, and green.
The stamp so effectively used here has been identified as one engraved by Samuel Dodd, 19th-century bookbinders' tool maker of Bloomfield, NJ.
The text present is preceded by a good engraving by Maverick entitled “People of Masada.”
Provenance: Late 19th- or 20th-century ownership stamp on front free endpaper of Henry M. Bissell.
Shoemaker 21077; Rosenbach, Jewish, 276; Dodd's stamp identified by scholar Steve Beare. Binding as above, lightly rubbed at the joints (outside); browning to endpapers from glue action and ownership stamp on front free one. Some foxing. Vol. 6 only: Sold as a binding and very good as such. (35830)

Fairies, Medieval Ladies, & Ancient Greeks
24 Color-Printed Plates by Averil Burleigh
A Sangorski & Sutcliffe Binding
Keats, John; Averil Burleigh, illus. The poems of John Keats. London: Chapman & Hall, [1912]. 8vo (19.4 cm, 7.63"). viii, 360 pp.; 24 col. plts.
$200.00
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From the “Burlington Library” series: Keats, here with
the first appearance of the 24 illustrations done by Averil Burleigh, color-printed in dusky, twilight shades. The fairy tale–style images incorporate Pre-Raphaelite and Art Nouveau influences, and include
Burleigh's take on the pot of basil so beloved by the Pre-Raphaelites, as well as a stunning Belle Dame Sans Merci.
This is the first edition. While some sources offer 1910 or 1911 as the publication date, our suggested date is based on announcements in contemporary publications including The Dialand The Independent; another such notification, in The Bookseller, Newsdealer & Stationer (vol. XXXVII, 1912), lauds the “pictures of graceful imagery, of subtle, tender sentiment, charming alike in color and presentment from the brush of Averil Burleigh.”
Binding: Signed binding by Sangorski & Sutcliffe (rubber-stamped on front free endpaper): green calf, covers framed in gilt double fillets with small gilt-tooled corner fleurons, spine gilt extra, edges with gilt fillets, turn-ins with gilt roll. All edges gilt; iridescent green marbled endpapers.
Provenance: From the library of Robert L. Sadoff, M.D., sans indicia.
Binding as above, somewhat rubbed; front pastedown with two small traces of paper adhesion. Occasional mild to moderate foxing, largely confined to margins, with pages mostly clean overall.
Gorgeous plates. (41210)

Chicken Soup for the HUGUENOT Soul?
L'Espine, Jean de. Excellens discours de I. de l'Espine angevin. Touchant le repos & contentement de l'esprit. La Rochelle: Hierosme Haultain, 1594. 12mo (13.7 cm, 5.38"). 758 pp., [5 (blank)] ff.
$875.00
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Early, uncommon edition of these seven essays on combating sin in order to bring peace and contentment to the soul, written by an Augustinian monk and correspondent of Calvin's, and edited and introduced by French humanist Simon Goulart. Here L'Espine (also known as Delespine, de Spina, and Spinaeus) expounds on
avarice, ambition, anger, envy, lechery, curiosity, and fear.
First published in 1587, this popular work found an audience among both Protestants and Catholics, and went through a number of editions in not only the original French, but also several other European languages as well as Latin. The present early French printing is handsomely accomplished, with nice head- and tailpieces and decorative capitals. WorldCat finds
no U.S. institutional holdings of this edition.
Binding: Later dark blue Jansenist-style morocco: spine with raised bands and gilt-stamped title and date, board edges with double gilt rules, and turn-ins with particularly elegant gilt dentelles. All edges gilt. Signed binding done by Hans Asper, with Asper's minute rubber-stamp on the front free endpaper.
Provenance: Front pastedown with bookplate of Swiss theologian, historian, and professor Gaspard Ernest Stroehlin (1844–1907), a notable scholar of Protestantism. Most recently in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
Index Aurel. 164.928; Pettegree, French Vernacular Books, 34461. This ed. not in Adams, not in Brunet. Binding as above, spine showing very slight sunning, lower back outer corner bumped. Bookplate as above, with small paper adhesion over one corner. Pages gently age-toned with scattered small, faint spots, otherwise clean.
A striking copy, with notably apropos provenance. (38345)

A Most Creatively
Faux-Medieval Manuscript from
THE Lindsay Family
Lindsay, Margaret E.; Alice F. Lindsay, illus.; et al. Manuscript on paper, in English: “Dark Baron Rolf. Or a romance of the Middle Ages.” [U.K.]: “New Year's Eve,” 1866. 4to (26.1 cm, 10.27"). [2], 54 pp.; illus.
[SOLD]
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Stunning manuscript presentation epitomizing 19th-century medievalism: a handwritten and painted tale, lovingly calligraphed and illuminated as
a gift from four young sisters to their mother. The fair Lady Madeline's adventures — which show a certain degree of Sir Walter Scott's influence, and which begin in a convent and end in blissful marriage — feature
16 brightly rendered watercolor illustrations of various sizes, some quite large, as well as
several apparently original lyrics including lines such as “O I would that my heart would merry be,” and “Fill the goblet to the brim / Fa-la-la-la-fal-la-la.” Also present are a musical setting of the Miserere, with accompanying poetic English translation, and a troubadour-style song of four verses set to an original melody.
The “medievalesque” text (by sister Margaret Elizabeth, b. 1850) was indited throughout (by Mary Susan, b. 1852) in
red and black inks within red-line borders, with its accomplished, charming illustrations (by Alice Frances, b. 1849) similarly red-framed. Each page, numbered, carries a sometimes breathless red header (“The Choice,” “Gone to Palestine,” “The Widowed Bride,” “Found!”).
These talented Lindsay girls were children of Scots peer Alexander William Crawford Lindsay, 25th Earl of Crawford — the collector responsible for establishing the celebrated Bibliotheca Lindesiana — and his wife Margaret Lindsay, Countess of Crawford and Belcarres. Lady Alice Frances (later Archer-Houblin), Lady Margaret Elizabeth (later Majendie), and Lady Mary Susan Félicie (later Meynell) were clearly steeped from birth in bibliophilia as well as in the romances of elegant fiction, and they must have collaborated for months to produce this remarkable volume of knightly deeds, maidenly virtue, gentle nuns, and foul villainy — not quite always, they let us know, in perfect artistic harmony, for short pencilled comments, initialed by lead writer Margaret Elizabeth and entered outside the story-borders on two pages, record it that a scene involving a “matchmaking friar” was “composed by compulsion,” as was the introduction of a song with its music!
Labors done, the proud daughters (and their little sister, Lady Mabel Marion, b. 1855, who signed herself on their title-page as “May”) inscribed their manuscript to “our darling Mother, on her birthday,” and had it elegantly bound.
Their final result is, without exaggeration, a treasure.
Binding: Scarlet morocco, covers bordered and panelled in gilt and black rules surrounding a gilt frame incorporating foliate motifs; front cover with gilt-stamped coronet and “M.L.” monogram. Spine gilt extra, board edges and turn-ins gilt with rolls, moiré silk endpapers, all edges gilt.
Binding stamped by C.E. Clifford of Piccadilly.
Bound as above, minor rubbing to corners and spine extremities. Pages age-toned with scattered faint smudges only, these testifying along with the title-page that many hands labored over the leaves.
A delightful fantasy creation, a charming family love-gift, a surviving family “period piece” with impressive family provenance. (41478)

The Dedication Has
NOT Been Removed — The Folio EXTRA Format
Longinus. [title in Greek, romanized as] Dionysiou Logginou [sic] peri hypsous. Parmae: In Aedibus Palatinos Typis Bodonianis, 1793. Folio extra (43 cm, 17"). [1] f., xxviii, 113, [1 (blank)] pp.; [1 (blank)] f., [1] f., 89, [1 (blank)] pp. Lacks the initial blank and final blank.
$7500.00
Click the images for enlargements.
One of only two Bodoni editions of De Sublimitate, the other being the 1793 printing in quarto format. It is printed on laid paper with a Latin translation following the Greek text, each with a separate title.
Brooks reports “Copie 15 in carta sopraffina e 15 in carta d’Anonnay.” Brunet says the dedication to the pope “a été supprimée dans beaucoup d’exemplaires”; it is present here.
Binding: Contemporary navy morocco, spine with six raised bands — an ornate gilt fleuron decoration in five compartments and gilt lettering in two. The covers are decorated with a gilt center panel of rectilinear and curved tooling that is framed by a thicker blind-tooled and a single-ruled gilt border. The board edges are tooled with a gilt double fillet and the turn-ins with a lacy gilt tulip-like motif. All edges are gilt, endpapers marbled.
A lovely, solid binding.
Provenance: On the front pastedown, the bookplate of Brian Douglas Stilwell.
Searches of NUC and WorldCat locate only four U.S. libraries reporting ownership of this edition (Harvard, Kansas, University of Texas-HRHRC, Princeton Theological).
Brooks 507; Giani 44 (pp. 47–48). Binding as above, rubbing to extremities and to spine/joints; somewhat noticeable scrape to length of front board and bump to bottom edge, very small spot of discoloration to top edge of front board, small scrape to rear board and rubbing to fore-edge. Without the initial and final blanks (i.e., two blank leaves total). Provenance marks as above; occasional light foxing to leaves, interior otherwise in very nice condition. (40159)

Baskerville's Twelvemo Lucretius, Morocco Bound
Lucretius Carus, Titus. Titi Lucretii Cari De rerum natura libri sex. Birminghamiae: Typis Johannis Baskerville, 1773. 12mo in 6s (18 cm, 7"). [1] f., 131, 128–214 (i.e., 218) pp. (text continuous despite pagination).
$300.00
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This long didactic poem in six books (almost completely preserved) was composed by Titus Lucretius Carus in the first century B.C. and is the most important exposition of the Greek philosophic system of Epicurus.
The work also serves as testimony to the transmission of the ideas of Epicureanism into Roman thought and society, and as evidence that the forms of Greek poetry had become at home in the Latin language. Lucretius's materialistic, anti-superstitious philosophy was much favored by the disciples of the Enlightenment.
This is Baskerville's second printing of Lucretius and the first in twelvemo format: The 1772 first printing had been a quarto. The text is printed using his Bourgeois font and the Greek seems to be Caslon's Long Primer. Gaskell tells us that following Baskerville's death, 980 copies were remaindered in 1775.
Provenance: Bequest to Yale University of Norman Holmes Pearson, properly deaccessioned.
Binding: 18th-century red morocco with a gilt roll forming a border on the perimeter of the boards; round spine divided into compartments using a roll featuring chain links, with author's name gilt in one compartment and the five others each with the center device of a lyre, Greek key roll in gilt at base of spine. Board edges tooled in gilt with a rope design; turn-ins tooled using two rolls, one of which is dentelles. Green stone-pattern endpapers and all edges gilt.
Gordon 20A; Gaskell 50; ESTC T50366. Binding as above. Front joint (outside) cracked, abraded, and with loss of most leather; scuffing to both joints and to spine ends. Library bookplate on front pastedown, discreet deaccession stamp on verso of title-page. A “decent” copy of a good press book. (39839)

Latin–French Lucretius
Owned by a
Succession of Notable Collectors
Lucretius Carus, Titus; Jacques Parrain des Coutures, trans. Les oeuvres de Lucrece, contenant sa philosophie sur la physique, où l'Origine de toutes choses. Traduites en francois, avec des remarques, sur tout l'ouvrage ... Derniere edition, avec l'original Latin, & la vie de Lucrece. Paris: Chez Thomas Guillain, 1692. 8vo (15.8 cm, 6.22"). 2 vols. I: Frontis., [38], 425, [3] pp. II: Frontis., [2], 494, [6] pp. (pagination skips 73–92).
[SOLD]
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Although Michel de Marolle might have been the first to translate De rerum natura into French, 17th-century readers and scholars gave preference to Baron des Coutures' rendition of the classic of Epicurean thought, with his accompanying notes, commentary, and life of Lucretius; Voltaire called des Coutures's version “la meilleure qu’on ait en France.” Originally published in 1685 under the title De la nature des choses, this successful translation appears here with the original Latin verse and the French prose on facing pages, with frontispieces in each volume (engraved by D. Penninghen and Jan van den Aveelen, respectively) and title-pages in red and black — with Schweiger affirming that this is a more handsome edition than the first.
Binding: Dark green morocco, covers framed in Greek key gilt roll, spines gilt extra with gilt-stamped red leather title and volume labels, front covers with armorial “RJ” monogram (crest: a cubit arm erect vested holding three roses).
Provenance: Monograms as above and vol. I front fly-leaf with early inked ownership inscription of Irish-born poet and playwright Robert Jephson (1736–1803); fly-leaves also with pencilled inscription of American engineer, educator, and musical innovator Henry Ward Poole (1825–90, brother of influential librarian William Frederick Poole), dated 1860. Front pastedowns with bookplate of American author, bibliographer, and book collector Jacob Chester Chamberlain (1860–1905). First text page in each volume with early inked inscription reading “Miss Mupendens”; one fly-leaf of vol. II with early inked ownership inscription of William C. FitzGerald of Christ Church, Oxford. Most recently in the residue of the stock of the F. Thomas Heller bookselling firm (est. ca. 1928).
Schweiger, II, 580. Re: provenance, see: First Editions of Ten American Authors (catalogue of the collection of J.C. Chamberlain, pt. II), 780; Catalogue of the Library of the Late Henry Ward Poole 1557. Personalized armorial bindings as above, light wear overall with joints and extremities rubbed, vol. I with minor refurbishing of wear. Bookplates and inscriptions as above. Frontispiece of vol. I slightly oversized, with outer edge folded in; front. of vol. II with outer edge trimmed very closely along border, shaving lower portion of border and a tiny bit of image. Pagination skips from 72 to 93 in vol. II, with signatures and text uninterrupted. All page edges stained yellow, with stain sometimes slightly affecting page margins. Two leaves with vol. II each with short tear from outer margin, extending into text without loss.
The work that long most agreeably facilitated French Lucretian reading, here in its most attractive edition and with an impressive pedigree. (40495)

Marmontel's Political-Philosophical Novel with
Gravelot's Illustrations
Marmontel, Jean François. Bélisaire. Paris: Chez Merlin, 1767. 8vo (19.9 cm, 7.8"). [4], x, 340, [6] pp.; 4 plts.
$900.00
Click the images for enlargements.
First edition, early state, featuring the frontispiece and three copper-engraved plates designed by Gravelot. Quickly translated into numerous languages following its initial publication, Marmontel's controversial philosophical novel was written in great part in the hope that its retelling of the story of Gen. Flavius Beisarius of the Byzantine Empire would convince Louis XV to become, himself, the longed-for Philosopher-King. Chapter 15, however, in which Marmontel advocates freedom of opinion and religious tolerance, inspired extensive commentary by Voltaire and others and brought on condemnation by both the Sorbonne and the Archbishop of Paris — though it may ultimately have helped the Huguenot cause.
Merlin also printed a duodecimo edition in 1767; in the present edition, “Fragmens de philosophie morale” is found on pp. 273–340, followed by the Addition and Approbation.
Provenance: Front pastedown with large, round, gilt-stamped armorial leather bookplate of notable 19th-century bookseller and book collector James Toovey; smaller, round, gilt-stamped “I.T.” bookplate with motto “Inter folia fructus” (also Toovey's and of cream-colored leather); and bookplate of Sir Montague Shearman.
Binding: Contemporary crimson morocco, covers framed in gilt triple fillets; spine gilt extra with gilt-stamped leather labels, board edges and turn-ins with gilt rolls. This volume (complete in itself) seems at one time to have been part of a set of Marmontel's works, and bears an (unnumbered) spine label reading “Oeuvres de Marmontel.”
Brunet, III, 1440; Cohen de Ricci, Guide de l’amateur de livres à gravures du XVIIIe siècle, 688; Graesse 406; Tchermezine 455. Binding as above, with edges, extremities, and joints showing minor rubbing. Front pastedown with bookplates as above; front free endpaper with affixed slip of early cataloguing; rear pastedown with small chip out of paper. Light spots of foxing, slightly heavier around plates. All edges gilt. (25776)

Continental Blind-Embossed Binding
Martínez Villergas, Juan. Juicio crítico de los poetas españoles contemporáneos. Paris: Libr. Rosa y Bouret, 1854. 12mo (17 cm; 6.75"). [2] ff., 285, [1] pp., [1] f.
$200.00
First edition.
Binding: Full green calf, covers elaborately blind-embossed using the same plaque for both covers. Round spine with gilt ruling, gilt title, and gilt center devices in compartments; all edges marbled.
Palau 156283. Binding as above, a little rubbed, some loss of gilt; front free endpaper with a patch of abrasion. Signature on verso of title-page. The usual scattered foxing. (28726)

Part of the Series of Texts Printed by
DIDOT for the
Education of the Dauphin
Massillon, Jean-Baptiste. Petit careme. Paris: de l'Imprimerie de Didot l'aine, 1789. Large 4to (31 cm, 12. 25"). [4] ff., 312 pp.
$1000.00
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Massillon (1663–1742) was a noted, much admired, and greatly in demand Oratorian preacher remembered for his gentle persuasiveness. One of his most famous works is this Petit Carême, the compiled Lenten sermons which he delivered before the young King Louis XV of France in 1718. It is here in an edition of
200 copies, a part of the series of texts printed for the education of the Dauphin.

WorldCat locates only two U.S. libraries reporting ownership (Cornell, Cleveland Public).
Binding: Contemporary red morocco, spine gilt extra with green leather gilt label and elegant tooling to top and bottom, bands, and compartments; covers with similarly elegant, well-composed gilt borders and with board edges and turn-ins gilt in complementary fashion. All edges gilt, silk bookmarker present.
Provenance: Bookplate of Brian Stilwell.
Brunet, Supplement, 981; Graesse, IV, 439. Bound as above in excellent condition with only the lightest shelfwear and a very short tear (not advancing) at head of spine; wide-margined leaves very clean with only the lightest sort of normal foxing.
A treasurable copy. (40323)
Presentation Copy
Fit for a Queen
Melgarejo y Salafranca, José, Conde del Valle de San Juan. Consideraciones sobre la iglesia en sus relaciones con la sociedad... Obra dedicada a S.M. el Rey. Madrid: Zacarias Soler, 1851. 8vo (23 cm, 9"). [6], 316, [2] pp.; 1 plt.
$3000.00
First edition of this uncommon defense of the Church and its involvement with contemporary politics. The work is preceded by a portrait of the Count, here depicted in his study, with cigarette in hand.
Binding: Signed binding (with Bilbao’s ticket on front pastedown) of oxblood morocco, front and back covers framed in a wide gilt roll surrounding gilt-stamped coat of arms of Francesco de Assisi de Bourbon, Duc de Cadiz (consort to Isabella II of Spain); spine with four raised bands, compartments gilt extra, with author, title, and date gilt-stamped. Board edges and turn-ins with gilt rolls; all page edges gilt; blue moiré endpapers. An advanced Spanish collector has observed to us that “the tool that decorates the covers is very similar to the one used by another great Spanish bookbinder, Pedro Pastor” but, neither he nor we can confirm an actual connection between them!
Provenance: Front pastedown with bookplate of Maria Christina, Queen of Spain.
Palau 350495. Binding as above, showing light wear, spine slightly faded; pastedowns with some offsetting, endpapers with spots of foxing.
Rare and attractive. (5876)

A VERY PRETTY American Binding
Methodist Episcopal Church. Hymns. Hymnal of the Methodist Episcopal Church. New York: Phillips & Hunt; Cincinnati: Walden & Stowe, 1882. 8vo (19.7 cm, 7.75"). viii, 775, [1] pp.
$125.00
Click the images for enlargements.
Hymns only, without music; effectively, a neat and handsome volume of religious verse.
Binding: Contemporary black or very dark navy morocco, covers framed and panelled in gilt triple fillets with floral and fan-shaped corner decorations, surrounding a (blank) cartouche; spine with gilt-stamped title and arabesque decorations, board edges with gilt roll, gilt inner dentelles. All edges gilt.
Binding as above with a few small scuffs, back cover with areas of faint discoloration and light scrapes. Pages clean. Very giftable. (29151)

Comely Shelf of Poetry Published by the
“Elzevirs of Britain”
THE FOULIS PRESS
Milton, John; Alexander Pope; & Others. Collection of English poets published by the Foulis Press. Glasgow: Robert & Andrew Foulis, 1769–74. Sm. 12mo (12.5 cm, 4.875"). 34 vols. [pagination below].
$6300.00
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In Western culture, the production of small, easily portable printed books of important or popular texts dates from the late 15th century and saw its first important and influential printer willing to dedicate his press to such productions with Aldus Manutius' issuing his series of standard texts in the early 16th century. In the 17th century the Elzevir family came to dominate that market. While the Foulis brothers and their press did not dominate the same way, in the 18th century, they did devote a goodly portion of their time to producing small, scholarly, handsome pocket editions of mostly British poets and essayists.
As a center of 18th-century learning, Glasgow was a happy fit for a printing house dedicated to quality productions made with exceptional type. Robert (1707–76) and Andrew (1712–75) Foulis, two leaders in the renaissance of British printing, are often referred to as the “Elzevirs of Britain.” They created hundreds of texts on a variety of topics and in several languages. Among their notable “firsts” were the first Greek text published in Glasgow and the first work of the English Divines published in Gaelic.
These uniformly bound poetry imprints date from the later years of the brothers' press before Robert's son took over the family business, which lasted until 1800. Their small format meant they could travel easily in the owner's pocket for enjoyment away from his library: while in a coffee house, tavern, or travelling. The collection in hand offers 14 authors represented in 21 different texts, 6 of which are the first or only appearance of the work from the Foulis Press, and includes the following:
*Dryden, John, translator. The works of Virgil. 1769. 3 vols. Variant according to Gaskell. *Thomson, James. The seasons. 1769. Variant according to Gaskell. *Addison, Joseph. Poems on several occasions. 1770. *Shenstone, William. The select works in verse and prose. 1770. *Gay, John. Poems on several occasions. 1770. 2 vols. Variant according to Gaskell. *Pope, Alexander, translator. The Iliad of Homer. 1771. 4 vols. *Prior, Matthew. Poems on several occasions. 1771. 2 vols. *Young, Edward. The complaint: or, night-thoughts on life, death, and immortality. 1771. 2 vols. *Young, Edward. Poems on several occasions. 1771. *Dryden, John, translator. Fables antient and modern. 1771. 2 vols. *Denham, John. Poems and translations. 1771. *Collins, William. The poetical works of Mr. William Collins. To which are added Mr. Hammond's Elegies. 1771. *Garth, Samuel. The poetical works of Sir Samuel Garth, M. D. 1771. *Akenside, Mark. The pleasures of imagination. 1771. *Gay, John. The beggar's opera. 1772. *Milton, John. Paradise lost, a poem in twelve books. 1771. 2 vols. *Milton, John. Paradise regain'd. 1772. 2 vols. *Pope, Alexander, translator. The odyssey of Homer. 1772. 3 vols. Variant according to Gaskell. *Parnell, Thomas. Poems on several occasions. 1773. *Thomson, James. Poems. 1774. *Thomson, James. Liberty, a poem. 1774.
A full list with pagination and illustration information as well as ESTC and Gaskell numbers is available on request.
All volumes uniformly bound in 18th-century polished calf, spines with raised bands, gilt ruling, and gilt lettering on leather labels; a beautiful “long shelf of short books” with spines slightly faded, slightest rubbing, occasional instances of a bit of leather lost to old worm along a joint or an abrasion to a spine or cover; all edges speckled red. Offsetting from turn-ins onto endpapers, pencil annotations in one volume, touch of ink at foremargin of three leaves of another; signatures trimmed closely on third volume of Virgil, first volume of Milton's Paradise Lost “bookmarked” with two paper scraps bearing manuscript annotations, skeleton frontispiece of Young's “Night Thoughts” with an inch-long internal, closed tear to background with no loss, and the maps to Pope's Iliad and Dryden's Virgil in excellent condition.
A handsomely bound, sturdy, and appealing representative collection of the Foulis Press. (35997)
Montjoie, Christophe Félix Louis Ventre de la Touloubre, called Galart de. Histoire de la conjuration de Louis-Philippe-Joseph d’Orléans.... Paris, 1796. 3 vols. 8vo (25 cm, 8"). I: Frontis., [4], xvi, 304 pp. II: [2], 392 pp. III: [4], 304, 8 (index), 4 (contents) pp.
$650.00
First edition of this Royalist history, in which Montjoie attributes most of the responsibility for the French Revolution to the Duc d’Orléans, that “wicked prince,” who was allegedly aided by a group of Masonic conspirators.
Binding: Contemporary treed calf; spines with gilt-stamped decorative bands and compartment devices, and with gilt-stamped leather title and volume labels. Edges gilt-rolled. All page edges stained yellow.
Bindings a little rubbed over joints and extremities, with a few instances of pinhole-type worming to back cover of vol. I; upper and outer edges dust-soiled. Some instances of light foxing.
An attractive set. (11404)

Coptic Texts, Special Fonts
Nani, Giacomo; Giovanni Luigi Mingarelli, ed. Aegyptiorum codicum reliquiae Venetiis in Bibliotheca Naniana asservate. Bononiae [Venice]: Typis Laelii a Vulpe, 1785. 4to (28 cm, 11.5"). 2 parts in 1. I: 7, [1], CCXIX, [1] pp. II: [2], CCXXI–CCCLXIII, [1] pp.; 2 facsims. (engravings).
$2500.00
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The Coptic language texts that are transcribed and edited here by G.L. Mingarelli (1722–93), a professor of Greek and Hebrew at the University of Bologna, were the property of Giacomo Nani (1728–97), a collector of Egyptian antiquities, and housed in the Bibliotheca Naniana in Venice.
Among the fragments of Coptic texts presented here, to mention just a few, are portions of the Bible, including parts of Jeremiah, and the Gospels of Matthew and John; homilies, the Apocryphal Acts of the Apostles, the life of St. Theodore, and the “Travels of John the son of Zebedee.” It must be repeated that
all are fragments.
In this
sole edition, the Coptic texts are reproduced as best was typographically possible in the 1780s, with special fonts, in double-column format. The apparatus is in roman, Greek, and Coptic characters.
Binding: Contemporary Venetian red goat, boards nicely and somewhat richly tooled in gilt with rolls, fillets, and sizable corner devices, board edges with a simple gilt roll, and each spine compartment with a gilt center device and defined by gilt fillets and a gilt roll. Stone pattern–marbled endpapers. All edges gilt and gauffered.
Provenance: From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.
Brunet, I, 60. Binding as above; a dozen small pin-type wormholes in spine not extending into text, sides with small spots of discoloration. Lower board edges a little scuffed. Lacks the free endpapers. Foxing, sometimes heavy, in text; still, a desirable copy. (38967)

Inconstancy of Apostasy — Multiple Metamorphoses
Nicholls [a.k.a., Niccols, Nicols], John. A declaration of the recantation of Iohn Nichols (for the space almoste of two yeeres the Popes scholer in the Englishe seminarie or college at Rome) which desireth to be reconciled, and receiued as a member into the true Church of Christ in England ... London: Imprinted by Christopher Barker, 1581. Small 8vo (14.5 cm; 5.75"). [98] ff.
$5750.00
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Nicholls (1555–84?) was educated at Brasenose but did not take a degree. Instead, he left upon completion of his course work and returned to his native Glamorgan, Wales, where he soon obtained a curacy. In 1577 he left his position, gave up his allegiance to the Church of England, travelled to Rome, and voluntarily submitted himself to the
Inquisition where he formally recanted his Protestantism. He was welcomed warmly into the Roman Catholic Church, and in 1580 was back in England.
He was arrested in Islington, London, sent to the Tower, recanted his Catholicism, became an informer denouncing various Catholics of his acquaintance. His allegiance changed yet again in 1582, in Rouen, where he recanted his most previous recantation and was
very cautiously received back in the Church of Rome. Death came soon after.
“Nicholls died on the continent in want and, probably, depression, most likely in 1584. He has been condemned by biographers for his want of constancy in what are assumed to be genuine, if bewildering, changes of faith and profession. Yet it may have been the case that there was a kind of cynical consistency in his animal sense of self-preservation, one actively encouraged by the systems of religious repression and polarization under which he managed for a while to operate with some success” (ODNB).
He was clearly one of the most troubled figures in the history of Recusancy.
This copy of his Declaration has setting 2 of the title-page, setting 1 of leaf N1r, and setting 1 of L1r (see ESTC). The title-page has a handsome, elaborate woodcut frame/border in a typical “Barker” style; the prefatory “epistola” is printed in italics, the preface in roman, and the text in gothic (i.e., black letter).
Searches of NUC, WorldCat, and ESTC locate only seven U.S. libraries reporting ownership of this, not one a Catholic institution.
Binding: Signed binding by Bedford. Full sprinkled calf, round spine, raised bands, gilt spine extra. Gilt triple-rule border on both boards; gilt double-rule on board edges; gilt turn-ins including a gilt dentelle rule and a gilt floral vine roll. Red French swirl marbled endpapers. All edges gilt.
STC (rev. ed.) 18533; ESTC S113205; Franks 6551. Apparently beyond the scope of Allison & Rogers (rev. ed.). Excellent 19th-century binding as above, lightly rubbed along the joints (outside). Very good. (37208)

One of 30 Special Copies — Extra Plates, Signed Binding
Nogaret, François-Félix, et al. Le fond du sac, ou recueil de contes en vers et en prose & de pieces fugitives. Paris: Leclere (pr. Lyon: Louis Perrin), 1866. 8vo (20 cm, 7.8"). xli, [3], 172, [2] pp.; 12 plts.
$1000.00
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Nogaret (1740–1831) was perhaps more noted as France's theatrical censor or as the Freemason responsible for various Masonic hymns than as an author — with one exception, that being his story about an automaton created by a man named Frankenstein, predating Shelley's by almost 30 years. In the present collection (originally published in 1780), he gathers some of his own poems, short stories, and literary essays, including “La Main Chaude,” “Délire bachique,” and “Bouquet à Jean” along with pieces by other contemporary hands. This is
one of only 30 copies printed on papier de Chine, this example with an extra suite of plates bound in offering a second state of the frontispiece and the eleven headpiece engravings by Duplessis-Bertaux.
Binding: Contemporary signed blue morocco, covers framed in gilt triple fillets with gilt-stamped arabesque central medallion surrounded by a frame of gilt double fillets with gilt-stamped corner fleurons, spine gilt extra, with gilt dentelles and marbled paper pastedowns; lower edge of front dentelle stamped “Allô” (Paul Charles Allô, 1823–90). All edges gilt. Original slim, tricolor silk bookmarker laid in.
Vicaire, Manuel de l’amateur de livres du XIXe siècle, 201. Binding as above, spine gently sunned, joints and extremities rubbed, area of light discoloration to each cover at joint, back cover with small scuffs; front hinge (inside) tender. Front pastedown with unidentified bookplate reading “Exploranda est veritas” (name effaced); back free endpaper with institutional rubber-stamp and note of proper deaccession. Bookmarker separated and laid in, as above, with offsetting on either side; scattered light foxing. Volume now housed in maroon cloth–covered clamshell case partially lined with marbled paper.
Interesting 19th-century French belles-lettres, beautifully produced, here in a beautifully bound example with the bonus suite of plates. (34918)

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