[London: Pierce Tempest, 1689]. Two volumes in one, comprising the complete set of 74 engraved copperplates, including two separate pictorial title-leafs. Folio, ff unpaginated; early paneled calf (rebacked leather spine, a bit amateurish with later marbled endpapers). Aside from minor light soiling, a clean copy throughout. With an early ownership signature at top right corner of first title ("Richd Butler"). The Britwell copy.
FIRST COMPLETE EDITION of this famous series of 17th century street-vendors, originally begun 1687 as a smaller series of prints and gradually increased to seventy-four images. The earliest printings (like ours) have the plates unnumbered, only a few pictures are set within recognizable London landmarks, and there is fine sharp detail on all of the plates. Of extreme rarity, with not many genuine 17th century copies surviving as the work was frequently reprinted, revised and modernized and usually is thought of as an 18th century series of prints because most copies known were issued by Henry Overton (1711) or his family (as recorded in Karen Beall's monumental bibliography on Street Cries (Hamburg 1975). Prof. Sean Shesgreen locates only five copies of our printing in its earliest complete form: the British Library, Huntington (2), Pierpont Morgan, and Lilly (imperfect). Our copy is from the famous Christie Miller (Britwell) library, one of the great collections of early English texts formed over several generations throughout the nineteenth century. Often called "Tempest's Cries" in recognition of its engraver and first publisher, Marcellus Laroon (1653-1702) is now credited with making its designs and several of his original drawings survive. Laroon emigrated from Holland to London at the age of ten and was responsible "more than any other artist before Hogarth to sketch the common folk of London in ways that permit his audience to see and understand what it was like ... without sentimentality" (Shesgreen). Serving as a social document of the times, there are girls selling strawberries and eels, a vender of singing birds, peddlers of ink, brooms, rabbits, onions, &c with chimney sweeps, chapmen, street fiddlers, rope dancers, hawkers of newspapers and almanacks, a "merry Andrew", a prostitute, a Quaker, and much more. PML Gottlieb 149 describes the Pierpont Morgan Library copy (identical with ours) as the source for the first children's edition Cries of London (Edward Ryland, ca 1760, vol. 2 only, defective). Consequently, one can add that this work also served as the primary source for all 18th and early 19th century London cries. Gerald Gottlieb, Early Children's Books and their Illustration (New York 1974); Sean Shesgreen, "The Editions, Imitations and Influences of Laroon's Cryes of the City of London" as published in Studies In Bibliography XXXV (Charlottesville: Bibliographical Society of the University of Virginia, 1982) pp 258-271.
Avec des Moralitez. Par le Fils de Monsieur Perrault de l'Academie Francois. Suivant la Copie, ? Paris [Amsterdam: Jacques Desbordes,] 1697. Copperplate frontispiece (captioned within "Contes De Ma Mere Loye") + 8 pictorial headpiece illustrations, all engraved in reverse after the designs of Antoine Clouzier. 12mo, [vi] 175pp +  table with all edges gilt; crushed blue morocco binding by Trautz-Bauzonnet with extra-gilt brown leather doublures inside both covers, traditional marbled endpapers at each end. With three small book labels and one ownership signature attesting to its provenance: Marigues de Champ Repus (cat. 1893: 231); Bull. Morgand (Nov 1898: 34,103); A Perreau (cat. III, 1946: 196); Roger Paultre (cat. 1993: 228).
Second edition, 1st state, being an unauthorized version published within a very short time of Claude Barbin's first edition (also 1697); the anonymous imprint has sometimes been misattributed to Moetjens at The Hague, but it is most likely from Desbordes' Amsterdam print shop based upon later printings known to have been from his press. The attribution to Perrault's young son Pierre (1678-1700) appears here for the very first time, now considered to be a courtly conceit as Pierre's name is used in signing the dedication to "Mademoiselle", a niece of Louis XIV and more her contemporary. All eight of the fairy tales are reprinted in full, and there have been times when this version has been mistaken as the original first edition. This is the earliest printing of these sheets (especially rare), easily identified by the attribution of the author's son on the title-page printed in three lines, no woodcut ornament at page 60, and the rear index lists "pag." alongside page numerals for the 4th, 5th and 8th tales. For the 2nd state of this version, the type is entirely reset with different values than above, most ornamental tailpieces and decorations have been changed (except initial letters), and many variant readings occur throughout the text. Perhaps there is no earlier text stories for children (aside from the fables of Aesop) that are more familiar or historically significant than the fairy tales of Charles Perrauult. Red Riding Hood, Cinderella, Puss-in-Boots, Sleeping Beauty, even Blue Beard, all of these tales are well-known and beloved by children and adults alike, reprinted and translated countless number of times in nearly every civilized country in the world. Of the original Paris: Barbin edition, it is estimated that eight or nine copies survive in various states of completeness (the Bibliotheque Nationale copy of the 1st edition is lacking 2pp of text, both Harvard and NYPL copies lack the engraved frontispiece); on 28 June 2001 a rebound copy of the 2nd Barbin printing sold at Sothebys Paris for FF 2,165,050 including premium (= US$284,000.). Our 1st printing of the "counterfeit" or pirated version may have preceded the 2nd printing by Barbin, and is nearly as rare. The earliest Desbordes entry in OCLC online is for a 1698 reprint (UCLA and Oxford: Bodleian-Opie) with no copies of any Desbordes version detailed in RLIN. The Lilly Library (Indiana Univ) has a variant 2nd state of the Desbordes, which has been catalogues as Moetjens, the Hague. Having previously had two copies of the Paris Barbin edition pass through our hands in the last twenty years, we are now happy to be able to offer such a distinguished copy as the earliest Desbordes version in our anniversary catalogue. Osborne Collection (Toronto Public). p. 608; PML Cahoon, Children's Literature (1954), 91 (Oppenheimer copy, now Cotsen Children's Library); PML Gottlieb, Early Children's Books and their Illustration (1975), 104 (Amsterdam: Desbordes, 1700 reprint of the above).
[Paris] circa 1810. Copperplate title-leaf + 24 superb costume plates of clothing for children, delicately engraved and hand-colored, numbered in sequence at the top right corner; attributed to either Boilly or Bosio. Small folio, [i, 24]ff; early gilt leather-backed boards, gilt-title label on upper cover, speckled red paste-paper on covers (front cover partly faded), corners rubbed. With several bookplates inside front cover from the library of distinguished collectors: Prof L C Deneux (Techener auction beginning 27 May 1844, lot 567), Edouard Rahir (Druout auction 9 May 1935, lot 854), André Langlois (Paris), and without bookplate, from the former library of Edgar Oppenheimer).
Issued to provide fashion designs to France's best dressed nurseries, this series of hand-colored plates from the early reign of Napoleon I is extremely rare: and when we first handled this copy back in 1978 Walter Schatzki told us it was the only example he knew of that was complete and still retained its original title-leaf. The images of playful robust young boys and girls and infants are presented in appropriate clothing with the fabric or textile used being noted below in the engraved caption. Each child is set off against a contrast of a doll or similar play-toy, a musical instrument, another piece of clothing, or running to catch a butterfly. The designs suggest the fine romantic images of Philipp Otto Runge and Maurice Sendak's Outside Over There. This is the finest series of children's costume plates known to us. Rene Colas, Costume et de la Mode (Paris 1933) 2097, citing only our copy from the 1913 Montgermont auction, identified as such by a clipped catalogue description inside our front free endpaper (verso).
With a course of English Reading, adapted for Schools ... enabling youth to acquire the Latin Language in the shortest period of time. [Edited] by Robert John Thornton. London: F C & J Rivingtons, 1821. Two volumes, illustrated with engraved frontispieces + 230 illustrations: of which William Blake has contributed 17 original woodblock designs for the First Eclogue + six copperplates of Classical poets and philosophers, all of which he also engraved, and with four other Blake designs engraved by other hands. 8vo, xii (-vii/viii), 12, xxiv (-i/iv) 214pp, [i] (215-)592pp + plates, erratic preliminaries nonetheless complete as matching collations in both Keynes and Easson/Essick; smooth bluish-green calf with decorative extra gilt spines, gilt-stamped bust of John Colet [founder] and coat-of-arms of St. Paul's School, each with an inked printed certificate label pasted inside front cover awarding them "for diligence, and as an ecouragement to future exertion" (recipient's name erased), signed by George Palmer, Esq. and dated 6th May 1822. Aside from modest stains and a little rubbing along outer hinges, this is an extraordinary set in remarkable condition.
"Third edition" of the text, the first edition of which (1812) was unillustrated though a volume of woodcuts appeared (1814) to augment it, and in 1819 both text and woodcuts were brought together for a second edition. However, it is not until this version of 1821 that new illustrations were commissioned, which explains it containing the first printing of these Blake pictures. His efforts were not well received, however; some of the plates were entirely re-cut and others, were saved only by the enthusiasm for them of Sir Thomas Lawrence, James Ward, John Linnell and others. The blocks "moreover, proved in the first instance too wide for the page and were, irrespective of the composition, summarily cut down to the requisite size by the publisher". Nonetheless, they remain the only woodcut engravings known to be done by Blake, and with the full strength of his craft. Often called "visionary", they rank among the artist's greatest illustrations -- initiating and influencing the English pastoral tradition of Samuel Palmer, Edward Calvert, George Richmond, and the early work of Graham Sutherland. Samuel Palmer describes them in his Notebooks, saying "I sat down with Mr. Blake's Thornton's Virgil woodcuts before me ... they are visions of little dells and nooks and corners of Paradise; models of the most exquisite pitch of intense poetry ... there is in all such a mystic and dreary glimmer as kindles and penetrates the inmost soul and gives complete and unreserved delight, unlike the gaudy daylight of this world".
As this was intended from the beginning as a Latin schoolbook, large quantities of this edition did not survive at the hands of young students and those that do are often in poor shape or rebound. Dr Robert Essick in his recent monograph notes that "most copies ... remain in original sheep, crumbling from use" though our set in its original bindings couldn't be nicer. We call this binding original for several reasons: the work is dedicated to "The Rev. Dr. Sleath, High Master of St. Paul's School" and it would be expected that the school might order several sets for their own use. Also, the typeface used for the spine lettering of copies bound in sheep matches the same typeface as on our copy, while the Essick collection also has a copy in a St. Paul's School binding similar to ours and with another 'reward of merit' inscription to a young student. Easson and Essick mention another problem frequently encountered: "The [woodcut] impressions are very poor in many copies", but here the impression of the Blake plates is excellent, with unusually strong light-dark contrast. One could describe images 7-9 as slightly fainter than the rest but still crisp and vivid. And as it was known for more than a century that all the Blake woodcuts are contained in the first volume of Thornton's Virgil, seldom does the second volume survive. Geoffrey Keynes, Bibliography of William Blake (1921) #77; Roger R. Easson and Robert N. Essick, William Blake: Book Illustrator I (1972), pp 48-52; G. E. Bentley Jr, Blake Books (1977) #504; Robert N. Essick, A Troubled Paradise, William Blake's Virgil Wood Engravings (1999).
(the family home from the time Charles was eleven until his father's death in 1868), taken in July or August 1857. Excellent albumin print from a glass plate negative, with fine toned coloration and detail, the image size 10.4 x 7.7 cm with rounded top corners, mounted onto an album leaf (23.3 x 15.8 cm) with the name "Charles Lutwidge Dodgson" written below the image in pencil; on the reverse side of the album leaf is an unrelated mounted photograph captioned in pencil "L'Eglise Bon Secours" [i.e. la Paroisse Notre-Dame de Bon Secours].
Fine early "assisted self-portrait" of Charles L Dodgson, of which only three other copies are recorded in the inventory files of Mr Edward Wakeling: one identical to ours from the Arthur Houghton collection, now Pierpont Morgan Library (reproduced as a cropped version in Letters of Lewis Carroll (1979, opposite page 1057, 2nd volume); idem, from the George Macdonald family albums, sold at Christies South Kensington, 1 November 1990, lot 106 (current whereabouts unknown), and a smaller carte-de-visite version owned by the National Portrait Gallery (London, bequeathed 1984 by G. Edward Pine: reproduced in Anne Clark, The Real Alice, page 45). Our example was de-accessioned from the Rubel collection (exhibited in "Masterworks of Photography", Crocker Art Museum, Sacramento 1982; Achenbach Foundation for Graphic Arts, San Francisco 1984; detailed in Sun Pictures, Catalogue Eight, Hans P Kraus Jr, 1997: R128). At one time this photograph was attributed to Dodgson's uncle Robert Wilfred Skeffington Lutwidge (1802-1873), but it has since been authenticated by Mr. Wakeling ("without doubt ... The confident pose, the general composition, and the overall appearance of the photograph seems to me to indicate a self-portrait. My guess is that CLD set up the camera and decided the position he would take, and one of his siblings removed the lens cap"). Mr. Wakeling suggests that the image number in Dodgson's inventory would probably be within the range 240 to 292 based on the date he has given to it, though none of the existing albumin prints have any inventory sequence recorded. We are grateful to Mr Wakeling for his generous help in cataloguing this photograph.
Copyright. [London: Strangeways, privately printed for the Author, December 1901]. With colored frontispiece and 41 black line illustrations by the Author. 16mo, pp + blank endleaves, with minor spotting to lower margin of title-page and endpapers, also occasional slight spotting to a few other leaves but generally quite clean; original pictorial gray-green boards, lower cover lightly stained, flat backstrip spine darkened and a bit wrinkled.
First edition, 1st printing of the first book to be written and illustrated by Beatrix Potter, also the first important children's book published in the Twentieth Century. This first privately printed edition of 250 copies (flat spine) was produced using family funds after Miss Potter could not convince any publisher that a Victorian woman could both write and illustrate a successful book. Her rabbit tale proved immediately popular, and a second printing was ordered two months later (of 200 copies) which corrected minor text errors and employed a rounded spine. While Frederick Warne had been one of the publishers who initially showed no interest, the success of this little book changed their minds and they arranged for thirty of her line drawings to be re-done as watercolors by the author and made into colored plates (canceling out the eleven remaining pictures), issuing their trade edition in October 1902. This story was first narrated as a picture-letter written in September 1893 and addressed to No?l Moore, son of Beatrix Potter's former governess: the actual original letter is now on deposit at the Victoria & Albert Museum (London). Ours is a very special copy of the first printing of this tale, since by tradition Miss Potter brought copies around to local bookshops in the Lake District to solicit interest in the forthcoming Warne version. For this purpose, the author has hand-written in pencil below the word "Copyright" on the title-page on this copy: "F. Warne & Co 15 Bedford St Strand to be published in the Autumn 1902". At one time in the collection of Mrs Marjorie James, when it had an accompanying note (now lost) which stated "Pre-Publication copy - given to my aunt by Beatrix Potter - M.M.W." (M. Mabel Wynne). There also appears an ink ownership inscription on the front free endpaper: "C. E. Cobb June 1902". Aside from a few marks on the lower cover and faint wear to the backstrip, this is a tight copy with the coloring of the upper cover binding paper especially clean. A significant copy bearing Beatrix Potter's own annotation about the forthcoming issuance of Peter Rabbit in its best-known format. Quinby 1; PML Gottlieb 220; V & A Potter 1622; Linder p. 420.
A very fine pen-and-ink brush drawing over pencil captioned by the artist, the actual image measuring approximately 16-1/4 x 11 inches on larger art board, as reproduced in the first edition of L. Frank Baum's TIK-TOK OF OZ, Chapter 22, page 239. Chicago: Reilly & Britton Co, 1914. Overall measurements 20 x 14-1/2 inches with various pencil notes by John R. Neill in the margins indicating "Chap 21" [sic] and asking the printer to add a "light vertical line - Ben Day" to the background wall of rocks. Usual light aging of artboard surface with light soiling, overall condition very good and with no chipping to the edges.
Seldom is one able to find on the market these days a masterful drawing to an early Frank Baum Oz book title, especially when it depicts a major character -- in this case, one of the most famous villains in all juvenile literature: Ruggedo the Nome King. He makes his first appearance in "Ozma of Oz" (1907), then re-appears here for the second time seven years later. He has tried on several occasions to conquer Oz, once leading a horde of vicious creatures through a tunnel under the Deadly Desert to the Emerald City. As the Oz series progresses, so does his evil presence with Ruth Plumly Thompson even naming the 20th Oz book "Nome King of Oz" (1927). This magnificent portrait of him has been miscaptioned by Neill, as it eventually illustrated a different text than what he quoted: "For there, squatted upon the floor with his back to the rock wall, sat old Ruggedo, puffing and blowing as if he was all tired out" (p 237). Neill drawings from this early vintage period rarely become available at the top quality level. When it was originally published, the picture was reduced considerably in size, losing much of its characterization and fine line.
Original ink and watercolor drawing apparently done for The Christopher Robin Book of Verse by A A Milne (New York: Dutton ), with the artist's full signature and Sussex address written in ink on the verso. Measures 6 x 9 7/8 inches (sight size) on larger artist's board, framed and glazed.
A splendid original Pooh watercolor. Though our drawing does not appear in this printed book, it is in the same style as the illustrations found and includes motifs used to illustrate several poems in that work: a fox (from "The Three Foxes"), geese (from "Happiness"), a toy train (from "The Engineer"), and a black-board (from "Us Two"). The blank margin beneath the image is captioned "title page - p2" and one assumes it was simply not used. Shepard's original pooh illustrations were done in black-and-white, and though there had been versions of those designs published in color, our drawing is significant as an entirely original pooh picture in color. Provenance: from the archives of the publisher. Together with a first edition of The Christopher Robin Book of Verse (which contains poems selected from Milne's When We Were Very Young and Now We Are Six).
Complete suite of 8 colored lithographs designed by Hosch (with hand-lettering by Hans Melching), expertly printed by W. Wassermannn. Oblong 4to, ff preserved within a colored decorative chemise, pictorial label designed by Hosch and Melching.
First edition. An extraordinary series of nonsense pictures by the architect Paul Hosch, with "instructional rhymes" written in the Basel dialect. Images reflect the influence of the decorative arts during the Vienna Secession but exhibit a sense of humor usually lacking from such ornamental work. Apparently the war (and perhaps the dialect) caused this juvenile to be poorly distributed, and aside from a small remainder of virtually ?as new? copies (like the above) which survived in storage, it is hardly known. Kaiser, Swiss Picture Books pp32-33.