ai pope 84 — (eo Moora. | pa SALE NUMBER 2007 ee Ere 8,4%925 Dec .8 NeAnR ae ee ee | PIS LL: FIRST EDITIONS OF ' BYRON FIRST EDITIONS, ORIGINAL MANUSCRIPTS OF CHARLES DICKENS & ORIGINAL DRAWINGS FOR HIS WORKS Lg Bf ORAS 8 Be OTT VITTUN Ls ee ee —— A'S 2S ct «4 beget y = MT ’ a oa TO BE SOLD TUESDAY AFTERNOON — =m AND EVENING, DECEMBER EIGHTH v AT TWO-THIRTY & EIGHT-FIFTEEN incase vastaw 1990 toe i Tr, ¥ s 4 (pile vy Lipe Y, ; La G 2 1} i bem 4, we See Sees SA ee a Y OL Uf fae, \ WSS a Ses = hy 47, rae Ler eid mig SS t j - , e. Pi fi. y ts, A C. ‘he *) cn ty x “s, = ) MAMI Lita e ZZ, Ie vs 3 Le & ty 5, Yl Py “i a “*, y AKA ME 7 we wee 3 TY hl q ENS y ‘ r rt Z Mga # id Lie i = Se 3 Ai, = , r) a te is eS t s Ty eer r! Wiza Bee ; J 2 ul Zi i: > — em ee ee Le a) ee mT Mm THE ANDERSON GALLERIES ce ans Pll ene {MITCHELL KENNERLEY, Presipent) BHT AHL willl alll) Hilt wanoqesasetre=eeversi eg OR errr ryt S@awselecussew savastl FANDOUOVOCAUUApHENt to rT ee si TT TELEPHONE REGENT 0250 ¥ * . ’ - ‘ uw ery . a Ce ek a ae Jhih A vat & fh CLL of, He Wand’ aru hoe fcr & Ok CM pry (tas Che as Uit yoke f Weed - uno bo a DArmnl faces Ge MRS. LEO HUNTER’S FANCY DRESS DEJEUNER ORIGINAL WASH DRAWING BY PHIZ FOR “THE PICKWICK PAPERS” WITH CRITICISM iN DICKENS’ HANDWRITING [NUMBER 266] SALE NUMBER 2007 PUBLIC EXHIBITION FROM MONDAY, NOVEMBER THIRTIETH A NEW YORK COLLECTION OF FIRST EDITIONS, AUTOGRAPH LETTERS & RELICS OF LORD BYRON FIRST EDITIONS, ORIGINAL MANUSCRIPTS MieehARLES DICKENS FROM THE COLLECTION OF NEW BURY EROST READ NEW: YORK. CITY ORIGINAL DRAWINGS FOR DICKENS WITH INSCRIPTIONS IN HIS WRITING fee ial EDITIONS OF TENNYSON & OTHER CHOICE BOOKS ‘LavieArROPERVY OF AN ENGLISH BARONET ORIGINAL DRAWINGS OF BEARDSLEY FROM THREE COLLECTIONS A NEW YORK COLLECTION OF SHAKESPEARE QUARTOS & SOURCE. BOOKS BOOKS IN BEAUTIFUL BINDINGS Seite PROPERTY OF A FAMOUS NEW YORK COLLECTOR Penwiy PRINTED BOOKS, ETC., ETC. THE PROPERTY OF THE BANKRUPT ESTATE OF JOHN J. PHELAN SOLD BY ORDER OF HAROLD P. COFFIN, REFEREE IN BANKRUPTCY FOR EDWARD W. STITT, Jr., TRUSTEE IN BANKRUPTCY HENRY M. STEVENSON, AtTrorNey Fil CyeE LG: hee Q 2 iA? 7 TO BE SOLD BY AUCTION i TUESDAY AFTERNOON & EVENING, DECEMBER EIGHTH AT TWO-THIRTY & EIGHT-FIFTEEN ae THE ANDERSON GALLERIES [MITCHELL KENNERLEY, PresiwentT] 489 PARK AVENUE AT FIFTY-NINTH STREET, NEW YORK 1925 CONDITIONS OF SALE All bids to be PER LOT as numbered in the Catalogue. The highest bidder to be the buyer. In all cases of disputed bids the lot shall be resold, but the Auctioneer will use his judgment as to the good faith of all claims and his decision shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased to be immediately resold. Goods bought to be removed at the close of each sale. If not so removed they will be at the sole risk of the purchaser, and subject to storage charges, and The Anderson Galleries, Incorporated, will not be responsible if such goods are lost, stolen, damaged or destroyed. TERMS CASH. If accounts are not paid at the conclusion of each sale, or, in: the case of absent buyers, when bills are rendered, this Company reserves the right to recatalogue the goods for immediate sale without notice to the defaulting buyer, and all costs of such resale will be charged to the de- faulter. This condition is without prejudice to the rights of the Company to enforce the sale contract and collect the amount due without such resale at its own option. Unsettled accounts are subject to interest at the rate of six per cent. per annum. i : All books are sold as catalogued, and are assumed to be in good SECOND- HAND condition. If material defects are found, not mentioned in the cata- logue, the lot may be returned. Notice of such defects must be given promptly and the goods returned within ten days from the date of the sale. No exceptions will be made to this rule. Magazines and other periodicals, and all miscellaneous books arranged in parcels, are sold as they are, WITH- OUT RECOURSE. Autograph Letters, Documents, Manuscripts and Bindings are sold as they are, without recourse. The utmost care is taken to authenticate and cor- rectly describe items of this character, but this Company will not be respon- sible for errors, omissions, or defects of any kind. Brps. We make no charge for executing orders for our customers and use all bids competitively, buying at the lowest price permitted by other bids. Telephone bids accepted at the sender’s risk. Priced Copy of this Catalogue may be secured for One Dollar for each Session of the Sale THE ANDERSON GALLERIES INCORPORATED PARK AVENUE AND FIFTY-NINTH STREET, NEW YORK TELEPHONE REGENT 0250 CATALOGUES ON REQUEST SALES: CONDUCTED BY MR. F. A. CHAPMAN AND MR. A. N. BADE SALE TUESDAY AFTERNOON, DECEMBER 8, AT 2:80 FIRST SESSION NUMBERS 1-188 A NEW YORK COLLECTION OF FIRST EDITIONS AND PRESENTATION COPIES OF BYRON AND BYRONIANA NUMBERS 1-147 PRESENTATION COPY TO BYRON’S MASTER AT HARROW 1 BYRON (LORD). Hours of Idleness. A Series of Poems, original and translated. 8vo, origina] boards, uncut, paper label (back repaired top and bottom). In a half blue mo- rocco slip case. Newark, 1807 FINE COPY OF THE VERY RARE FIRST EDITION, WITH THE HALF-TITLE. PRESENTATION COPY, inscribed on inside front cover: “From the author to the Revd. H. Drury.” This inscription is said to have been written by Byron. If so, then this volume is of unusual association. Henry Drury was Byron’s master at Harrow School, and under whom he would not study. In later years the two became reconciled and Drury named his son after the poet. Byron wrote Drury some very interesting letters while on his “Childe Harold’s Pilgrimage.” Poems Original and Translated. Engraved frontis- piece. 12mo, original boards (rebacked and hinges cracked), uncut. In a half maroon morocco slip case, gilt back. Newark, 1808 SECOND EDITION, but the FIRST to contain several . poems—‘Song,”’ “To the Duke of D »’ “To the Earl of —————,,” etc. On the front fly-leaves are pencilled poems, occupying 4 pp., which Frederickson the well-known collector asserted were in Byron’s hand- writing. The First Edition of this work, “Hours of Idleness,” is practically unobtainable. This, the Second Edition is also @ VERY RARE BOOK. WITH AUTOGRAPH LETTER OF LORD BYRON 3 BYRON (LORD). English Bards and Scotch Reviewers. A Satire. 12mo, half red morocco, gilt and inlaid back. London: Printed for James Cawthorn, n.d. [1809] FINE COPY OF THE VERY RARE. FIRST EDITION, with the watermark “1805,” and with the spelling “Despatch” on p. 5, line 7. The half- title is also present. INSERTED IS AN A. L. s. of 2 pp., 8vo, with a postscript, the letter signed “N.B.” To Lord Blessington. A FINE LETTER in which he refers to Lady Blessington and her sister, Miss Power, the French Ambassadress “who it seems is a Dillon—Irish but born or bred in America—hus been pretty and is a blue,” etc. Lady Blessington was the famous beauty and London hostess whom Byron met in Italy. She wrote a delightful account of her conversa- tions with the poet. [SEE ILLUSTRATION ] if Sold Mustigimn Line 2 ¢ O77 F SJ, received 5 * eee oH tone, LK ne a” sieel one er TK * Aare Ky Go fark fore fuera — hg 7 wee omy ree vey ayreer ZZ. — ae (Pmt eh hon mbt foro (née ple eee fend [Foe aes ies nn ZS) 7 tissex Yer FIL Be ei fonse we Lew Les tn Betaced— - Pear ig, 9 panel flac oe iS klice 09 Lie een ot KGa. foo OS ee fnew an vey nea x HE Z Ki Far tie Bo enylen wy 208 pany, the. (oflee - ee nee ALES me eho” tn fin mn Fle Hath om fate LO Fennel (jp erin Yile LK J au mony enym Lo fotos th. rh Tonm mews 5 Yo Ygp tins» = fey LEED LD GE a a ores Bree gl wh Ahir Login fp — are XK 7th1n 5 ae ACL ou a3 ae VP on na lane > > ca yg fam pr-cly ~ hind eee fice AUTOGRAPH LETTER OF LORD BYRON INSERTED IN “ENGLISH BARDS AND SCOTCH REVIEWERS” [ NUMBER 3] 4 Another Edition. 12mo, three-quarter blue morocco, gilt and inlaid back. London: Printed for James Cawthorn, n.d. THE RARE PIRATED ISSUE OF THE FIRST EDITION, published by Caw- thorn. Byron sued this publisher and forced him to withdraw the book from sale and destroy the edition. PRESENTATION COPY FROM LORD BYRON IN BEAUTIFUL ORIGINAL BINDING WITH AUTOGRAPH LETTER BYRON (LORD). English Bards and Scotch Reviewers; A Satire. Second Edition, with considerable additions and alterations. 8vo, original dark blue straight-grain morocco, gilt back, gilt borders, gilt edges. In a half purple morocco slip case, gilt and inlaid back. London: Printed for James Cawthorn, 1809 AUTOGRAPH PRESENTATION COPY FROM LORD BYRON, inscribed on the half-title: “For Chandos Leigh”. On the verso of the end leaf Byron has also written: “Chandos Leigh,” and again on the fly-leaf “Chandos Leigh from .’ The following note also appears on the verso of the end leaf: “Given to Lord Leigh by his schoolfellow Lord Byron— and by Lord Leigh to me. J. R. Young, 1845.” INSERTED IS A FINE A.L.s., signed “N.B.” [Noel Byron] of 3 pp., 8vo, dated June 1, 1828. To Lord Blessington. A P.S. occupies half of the last page. There is also an autograph note, signed by Lord Leigh, at the foot of p. 67. Another copy. 8vo, half blue morocco, gilt and inlaid back. London: Printed for James Cawthorn, 1809 Buxton Forman’s copy, with his autograph on fly-leaf, dated 25th November 1862 (when he was 20 years of age). Another Edition. 8vo, contemporary calf, gilt back, gilt borders. In a half purple morocco slip case, gilt and inlaid back. London: Printed for James Cawthorn, 1811 FourTH EDITION. This volume is filled with interesting manuscripts by a former owner. On the fly-leaf a borrower of the book has written: “The binding of this volume is considerably too valuable for the contents. Nothing but the consideration of its being the property of another prevents me from consigning this miserable record of misplaced anger and indiscriminate acrimony to the Flames.” These are part of Byron’s remarks made in a copy of the Fourth Edition in the possession of John Murray, the publisher of London. — Another copy. 8vo, original boards, cloth back, uncut. London: Printed for James Cawthorn, 1811 Buxton Forman’s copy, with a pencilled note by him of six lines, regarding a variation in the note on p. 58 between this copy and another which he possessed. With the Buxton Forman bookplate. 3 3 10 English Bards and Scotch Reviewers; A Satire. 8vo, original boards, printed covers. In a half purple morocco slip case, gilt and inlaid back. Charleston, S. C.: Published by E. Morford, Willington, and Co., 1811 THE VERY RARE FIRST AMERICAN EDITION, from the Third London Edition. The Genuine Rejected Addresses, presented to the Committee of Management for Drury-Lane Theatre; Pre- ceded by that written by Lord Byron, and adopted by the Committee. 8vo, three-quarter blue morocco, gilt and in- laid back, uncut. London, 1812 FIRST EDITION. Byron’s Address was the one selected to be spoken upon the opening of Drury-Lane Theatre, and Mr. Elliston was chosen to recite it. WITH ORIGINAL MANUSCRIPT OF THE POEM BY BYRON Miah 12 13 “ON PARTING” BYRON (LORD). Childe Harold’s Pilgrimage. A Romaunt. Cantos I and II. 4to, London, 1812; The same. Canto III. 8vo, 1816; The same. Canto IV. 8vo, London, 1818. To- gether 4 vols. in three, 4to and 8vo, half green morocco, gilt backs. London, 1812-1816-1818 FIRST EDITION OF ALL THE VOLUMES. INSERTED IS THE ORIGINAL MANUSCRIPT OF BYRON’S POEM “ON PART- ING,” WHICH APPEARS ON PAGE 190 OF THE FIRST VOLUME. In the first volume, at the end, is the facsimile of a Romaic letter, and a portrait has been inserted; and one laid in. [SEE ILLUSTRATION ] The Bride of Abydos. A Turkish Tale. Engraved portrait inserted. Crushed purple levant morocco, gilt back, gilt panelled sides, with crested B’s in compartments on back, and on corners; doublures of orange levant morocco, gilt border; end leaves of white watered silk. London, 1813 A FINE TALL COPY OF THE VERY RARE FIRST ISSUE OF THE FIRST EDITION, with the slip of errata, and errata uncorrected. It is said that very few copies of this first issue are extant, as nearly all the edition had the errors corrected while the book was in the press. No half-title was issued with this book. The Giaour. A Fragment of a Turkish Tale. 8vo, three-quarter blue morocco, gilt and inlaid back. London, 1813 FINE COPY OF THE FIRST EDITION, with the half-title. 4 haa i pee zee Por wn Cee t VZ4 ics Nhe is Bul ert Ce ee, ORIGINAL MANUSCRIPT OF BYRON’S POEM “ON PARTING’ INSERTED IN ““CHILDE HAROLD’S PILGRIMAGE” [NUMBER 11] 14 15 16 17 18 19 20 The same. Fourth Edition, with additions. 8vo, three- quarter blue morocco, gilt and inlaid back. London, 1813 With the half-title, having on the verso the announcement of Mme. de Staél’s “long-suppressed” work. The Corsair. A Tale. 8vo, three-quarter blue morocco, gilt and inlaid back. London, 1814 FINE COPY OF THE FIRST ISSUE OF THE FIRST EDITION, WITH THE HALF-TITLE. This issue is easily identified on account of having only 100 pages, with the imprint at the foot of the last page. Mr. Wise, in the Ashley Library Catalogue says: “This must be a book of very considerable rarity. With two exceptions, every other copy I have examined belonged to the Second issue,” which consists of 108 pages and 4 pages of advertisements. The J. A. Spoor copy has not the imprint on page 100. Ode to Napoleon Buonaparte. 8vo, plain drab wrap- pers. In a half blue morocco slip case, gilt and inlaid back. London, 1814 FINE COPY OF THE EXTREMELY RARE FIRST EDITION; with the half- title. Hebrew Melodies. 8vo, original wrappers, uncut. In a half purple morocco slip case, gaits and inlaid back. London, 1815 FINE COPY OF THE FIRST EDITION, with the half-title, leaf of adver- tisements at the end, and the titles and half-titles inserted at the end, Hop AEe the pamphlet-poems issued to date to be bound in two volumes. Fare Thee Well! A Poem. A Sketch. A Poem. 8vo, three-quarter blue morocco, gilt and inlaid back. London: Sherwood, Neely, and Jones, 1816 FINE COPY OF THE FIRST PUBLISHED EDITION, with the half-title. These are the poems which made such a sensation at the time in the newspapers, and which let the public into the secret of Byron’s separation from his wife. Fare Thee Well! A Sketch, &c. Napoleon’s Farewell. On the Star of the Legion of Honour. And an Ode. 8vo, three-quarter blue morocco, gilt and inlaid back. London: Sherwood, Neely, and Jones, 1816 FINE COPY OF THE FIRST PUBLISHED EDITION WITH THE ADDED POEMS, with the half-title. Farewell to England; with Three Other Poems. §8vo, three-quarter blue morocco, gilt and inlaid back, original wrappers bound in. London, 1816 FIRST EDITION, with the half-title. All the poems included in this volume are spurious. Byron repudiated them in a letter to John Murray, dated July 22, 1816. 21 22 23 24 25 Lord Byron’s Farewell to England, and Other Late Poems; including an entire copy (now first printed) of his Curse of Minerva: together with an Original Biography. 18mo, old olive straight-grain morocco, gilt back, line bor- ders, gilt edges, [by C. Lewis. ] Philadelphia, 1816 SCARCE. CONTAINS THE FIRST AMERICAN APPEARANCE OF ‘“‘THE CURSE OF MINERVA.” According to Coleridge this contains the full text of the poem for the first time in book form. He suspects that this edition was really printed in London. The English edition of 1812, known as the first, was not “published” and did not contain the entire poem. Monody on the Death of the Right Honourable R. B. Sheridan, written at the request of a Friend. To be spoken at Drury Lane Theatre. 8vo, crushed purple levant mo- rocco, gilt and inlaid back, gilt panelled sides, with crowned B’s in the corners, doublures and end leaves of green watered silk. London, 1816 FINE COPY OF THE VERY RARE FIRST EDITION, with the half-title. In- serted is an A.L.s. of Sheridan regarding Byron and Rogers, written less than three months before his death. This Monody was recited by Mrs. Davison at Drury Lane Theatre on Sept. 7, 1816. The words “Written at the request of a friend” roused Byron’s anger against Murray, the publisher, and he sneers at the words in the letter of Sept. 30, 1816—“‘obliged by Hunger and request of friends.” In the second edition the words were omitted. WITH AUTOGRAPH LETTER OF AUGUSTA LEIGH BYRON (LORD). Poems, 8vo, three-quarter blue morocco, gilt and inlaid back. London, 1816 FINE COPY OF THE VERY RARE FIRST ISSUE OF THE FIRST EDITION, without the Poem to Samuel Rogers at the end. With the half-title. Inserted is an AUTOGRAPH LETTER, SIGNED, OF AUGUSTA LEIGH to Murray asking for a copy of ‘Fare Thee Well!” “Will you be so good if you can to send me the two additional stanzas to ‘Fare Thee Well.’ My brother is too lazy and I want them much.” the Ladies. A Grin at the Gentlemen, and Burlesques on Byron, a Sentimental Satire; with Other Poems: In a series of Numbers. No. One. All published. 16mo, three-quarter blue morocco, gilt and inlaid back, uncut, original wrappers preserved. New York, 1823 FIRST EDITION. A SCARCE COLLECTION OF BURLESQUES ON BYRON, by “The Mad Poet.” 22 92 93 94 95 96 a7 98 CLINTON (GEORGE). Memoirs of the Life and Writings of Lord Byron. Portrait, facsimile, and woodcut illustra- tions. Thick 8vo, three-quarter blue morocco, gilt and in- laid back, uncut. . London, 1826 CRUIKSHANK (GEORGE). A Collection of 40 woodcut illustrations to Byron’s Works, bound in one volume, 8vo, three-quarter blue morocco, gilt and inlaid back. Inserted is a 2 pp. A.L.s. of George Cruikshank; AN ORIGINAL PENCIL SKETCH BY HIM; and a facsimile of Lord Byron’s handwriting. DALLAS (R. C.). Correspondence of Lord Byron, with a friend, including his letters to his Mother, written from Portugal, Spain, Greece, and the Shores of the Mediter- | ranean, in 1809, 1810, and 1811, also Recollections of the Poet, the whole forming an Original Memoir of Byron’s Life from 1808 to 1814. 38 vols., 12mo; original wrappers, uncut. In a half blue morocco slip case, gilt and inlaid back. Paris, 1825 The rare Paris edition, containing the material which Dallas desired to publish in England, but was prevented by injunction. DON JUAN ADAPTATIONS, ETC. ‘Don John,’ or Don Juan Unmasked; being a Key to the Mystery attending that remarkable publication, London, 1819; The Libertine: An Opera in Two Acts, founded on the Story of Don Juan, by I. Pocock. London, 1817; Don Giovanni; or, a Spectre on Horseback, London, 1818; Songs, Duets, Chorusses, etc., as sung in . . . Giovanni in London, London, n.d. 4 pieces bound in one volume, 8vo, crushed brown morocco, Jansen style, inside dentelles. London, 1817, ete. DRIVER (HENRY AUSTEN). Byron and “The Abbey.” 12mo, three-quarter blue morocco, gilt and inlaid back. i London, 1838 FIRST EDITION. Elicited by the rejection of Byron’s statue by the Dean of Westminster Abbey. ELZE (KARL). Lord Byron. A Biography, with a Critical Essay on his Place in Literature. Translated with the au- thor’s sanction, and Edited with Notes. Portrait and fac- simile. 8vo, three-quarter blue morocco, gilt and inlaid back, uncut. London, 1872 FUESS (CLAUDE M.). Lord Byron as a Satirist in Verse. 8vo, cloth. New York, 1912 FIRST EDITION. ae 99 GAMBA (COUNT PETER). A Narrative of Lord Byron’s last Journey to Greece. Facsimiles of Byron’s handwriting. 8vo, original boards (worn), uncut, paper label. In a half brown morocco slip case. London, 1825 First EpItion. The author was the brother of the Countess Guiccioli, Byron’s mistress during his sojourn in Italy. 100 GOODE (CLEMENT TYSON). Byron as Critic. 8vo, cloth, uncut. Weimar, 1923 101 GORDON (LORD GEORGE). The Proceedings at Large on the Trial of George Gordon . . . for High Treason. . . February 5th and 6th, 1781. 8vo, three-quarter blue mo- rocco, gilt and inlaid back. London: Printed for the Editor, 1781 102 GRAHAM (WILLIAM). Last Links with Byron, Shelley and Keats. 8vo, three-quarter blue morocco, gilt and inlaid back, uncut. SEA. London, 1898 FIRST EDITION. PRESENTATION COPY OF GRAY’S POEMS BOUGHT AT THE BODONI PRESS BY THOMAS MOORE AND PRESENTED TO HIS WIFE 103 GRAY (THOMAS). Poems by Mr. Gray. Royal 8vo, black morocco, rehinged. Parma: Printed by Bodoni, 1793 AUTOGRAPH PRESENTATION COPY FROM THOMAS MOORE TO HIS WIFE, with the following autograph inscription: “Bought at Parma for my dearest Bessy. Nov. 29, 1819.” Pasted on the inside front cover is the book label of Bessy Moore, who was Elizabeth Dyke, the actress, whom Moore married in 1811, in her eighteenth year. On the same leaf with the inscription by Moore is the following inscription written by Moore’s friend Francis Chantrey: “I certify that the above was written by my friend Thomas Moore in the Stamperia of Bodoni at Parma, Novr. 29, 1819. Francis Chantrey.” With the Bessy Moore and W. F. Gable bookplates. 104 GRIBBLE (FRANCIS). The Love Affairs of Lord Byron. Portraits. 8vo, three-quarter blue morocco, gilt and inlaid back, uncut. London, 1910 First EDITION. Presentation copy from the author, inscribed on the half-title: “With the best wishes of the author. Francis Gribble. Nov. 4, 1921.” The name of the recipient has been erased. 24 105 106 107 108 109 110 WITH AUTOGRAPH NOTE OF THE COUNTESS GUICCIOLI GUICCIOLI (COUNTESS). My Recollections of Lord Byron and those of Eye-Witnesses of his Life. Photographic por- trait. 2 vols., 8vo, three-quarter blue morocco, gilt and in- laid backs, uncut. London, 1869 FIRST EDITION IN ENGLISH. INSERTED IS AN AUTOGRAPH NOTE IN THE THIRD PERSON, of the author. FINE COPY OF THE LARGE TYPE LIBRARY EDITION. HOBHOUSE (JOHN CAM). Imitations and Translations from the Ancient and Modern Classics, together with Orig- inal Poems never before published. 8vo, three-quarter blue morocco, gilt and inlaid back. London, 1809 FINE COPY OF THE FIRST EDITION. The Substance of some Letters written from Paris dur- ing the last Reign of the Emperor Napoleon, and addressed principally to the Right Hon. Lord Byron. 2 vols., 8vo., three-quarter blue morocco, gilt and inlaid backs, uncut. London, 1817 LARGE TYPE LIBRARY EDITION. Inserted is a 8 pp. A.L.s. of the author. | Historical Illustrations of the Fourth Canto of Childe Harold: Containing dissertations on the Ruins of Rome and an Essay on Italian Literature. 8vo, half dark blue mo- rocco. London, 1818 FIRST EDITION. Inserted is an early Autograph inscription cut from the fly-leaf of a book. HUBBARD (ELBERT). Little Journey to the Home of Lord Byron. Frontispiece portrait, elaborate woodcut bor- der to title-page and woodcut initials, illuminated in gold and colors. Small 4to, three-quarter blue morocco, gilt and inlaid back, uncut. East Aurora: Roycroft Press, 1900 Limited Edition, autographed by the author. HUNT (LEIGH). The Story of Rimini. A Poem. 12mo, half brown levant morocco. London, 1816 FINE COPY OF THE FIRST EDITION. This Poem was dedicated to Lord Byron. With autographs of Richard and Ann Mary Howitt Watts on the fly-leaf. 25 111 112 113 114 115 116 sOEFs The Months descriptive of the successive beauties of the Year. 12mo, three-quarter red morocco, gilt back, uncut. London, 1821 FIRST EDITION, with the half-title. Lord Byron and some of his Contemporaries, with Recollections of the Author’s Life, and of his Visit to Italy. Portraits, and facsimiles of the handwriting of Byron, Shelley, and Keats. Ato, three-quarter blue morocco, gilt and inlaid back, uncut. London, 1828 LARGE QUARTO COPY OF THE FIRST EDITION. This is the work which brought down on Hunt’s head severe, but well-deserved censure. Hunt expressed his deep regret for what he had written, in his “Autobiography.” Lord Byron and some of his Contemporaries, with Recollections of the Author’s Life and of his Visit to Italy. Portraits. 2 vols., 8vo, crushed dark purple levant morocco, Jansen style, inside dentelles. London, 1828 FINE COPY. JEAFFRESON (JOHN CORDY). The Real Lord Byron. New Views of the Poet’s Life. 2 vols., crushed blue levant morocco, Jansen style, inside dentelles, uncut. London, 1883 FINE COPY OF THE First LARGE TyPe LIBRARY EDITION. Inserted is a fine A. L. s. of the author regarding Lord and Lady Byron. The Real Shelley. New Views of the Poet’s Life. 2 vols., 8vo, half brown morocco, gilt back, uncut, by Stikeman. London, 1885 FINE COPY OF THE FIRST EDITION. Inserted in a 2 pp. A. L. s. from the author to Dr. Doran. KEATS (JOHN). Poetical Works. Portrait. 12mo, three- quarter blue morocco, gilt and inlaid back, uncut. London: Moxon, 1851 FINE COPY, with the half-title. KENNEDY (JAMES). Conversations on Religion with Lord Byron and others, held in Cephalonia, a short time previous to his Lordship’s death. Facsimile plate. 8vo, three- quarter blue morocco, gilt and inlaid back, uncut. London, 1830 FIRST EDITION. With the Buxton Forman bookplate. 26 118 LAMB (LADY CAROLINE). Glenarvon. 838 vols., 12mo, 119 120 121 three-quarter blue morocco, gilt and inlaid backs. London, 1816 Inserted is a subscription clipped from a letter, in the autograph of, and signed by Lady Caroline Lamb. In this novel will be found printed a letter Byron wrote to Lady Caroline, breaking off their relations. The letter is certainly “a scorcher”, but it may have been ee to Byron by another lady with whom Byron was staying at the time. AUTOGRAPH LETTERS OF BYRONIC INTEREST WRITTEN BY LADY CAROLINE LAMB TO HER FRIEND LADY MORGAN LAMB (LADY CAROLINE). An intensely interesting Col- lection of 41 letters, the greater number written by Lady Caroline Lamb to her friend and confidante Lady Sydney Morgan, the Novelist. The letters consist of about 76 pages, 4to and smaller, and are accompanied by typed transcripts. Handsomely bound in one volume, crushed brown levant morocco, gilt edges, by Riviere. In a lined cloth case. THESE LETTERS THROW CONSIDERABLE LIGHT ON LADY CAROLINE LAMB DURING THE LAST SIX OR SEVEN YEARS OF HER LIFE. Several of them are very strangely written, indicating the infirmity of her last days. Some of the letters CONTAIN MOST INTERESTING REFERENCES TO LORD BYRON, and in one of them she places in numerical order the people she loves. Her husband, William Lamb, coming first; her Mother second; AND LORD BYRON THIRD. Another letter is a lengthy and most pathetic AUTOBIOGRAPHY; in others again she gives Lady Morgan considerable information con- cerning the paintings of Salvator Rosa, and almost all bear evidence of the tragedy of her own life. A resumé of the contents of this volume is: 26 A. L. s. of Lady Caroline Lamb; 9 A. L. s. of her husband, William Lamb, afterwards Viscount Melbourne; 4 A. L. s. of her brother, the Hon. W. S. Pon- sonby; and one each of Miss Bryan, the Governess Lady Caroline mentioned to Lady Morgan, and Mrs. Hunter. Several portraits have been laid in. LANG (ANDREW). Letters to Dead Authors. 12mo, three-quarter blue morocco, gilt and inlaid back. uncut. London, 1886 FIRST EDITION. Inserted is an A. L. s. of the author to William Winter, in which he says: “I know enough to know that the less we stir the old scandal about Byron the better. I was obliged to look into it, as the character of Mary Chaworth was being blackened to save that of the poet.” LOVELACE (MARY, COUNTESS OF). Ralph, Earl of Lovelace. Portraits. 8vo, three-quarter blue morocco, gilt and inlaid back. London, [1920] First EpITION. Author’s presentation copy, inscribed: “Wzth com- pliments from the author.” 27 122 123 124 125 126 127 128 LOVELACE (RALPH MILBANK, EARL OF). Astarte. A fragment of truth concerning George Gordon Byron, Sixth Lord Byron. New Edition, with many additional letters edited by Mary, Countess of Lovelace. Portraits and fac- similes. 8vo, boards, linen back, uncut. In a half purple morocco slip case, gilt and inlaid back. London, 1921 INSCRIBED COPY, with the following note on the half-title: “It is a pleasure to me to learn that this book is interesting to cultt- vated readers in America. It was a distinguished American, Mrs. Beecher Stowe, who by her revelations brought about the situation with which the grandson of Byron and his wife found himself com- pelled to deal.. ‘Astarte’ is the outcome of that situation. For a fuller explanation of these matters see Introduction. M. C. Lovelace, Editor.” McLAWS (LAFAYETTE). Maid of Athens. Illustrations from drawings by Harry C. Edwards. 12mo, three-quarter blue morocco, gilt and inlaid back. Boston, 1906 FIRST EDITION. Autograph presentation copy from the author, name of recipient erased. MASON (EDWARD T., Editor). Personal Traits of British Authors. Portraits. 12mo, cloth. New York, 1885 Treats of Byron, Shelley, Keats, and others. MEDWIN (THOMAS). Journal of the Conversations of Lord Byron: Noted during a Residence with his Lordship at Pisa, in the Years 1821 and 1822. Frontispiece facsimile of Byron’s handwriting. Ato, three-quarter blue morocco, gilt and inlaid back. London, 1824 FINE LARGE COPY OF THE FIRST EDITION. Inserted is an A. L. s. from Medwin to H. W. Longfellow. MOLLOY (J. FITZGERALD). The Most Gorgeous Lady Blessington. Portrait. 2 vols., 8vo, three-quarter green levant morocco. London, 1896 FINE COPY OF THE FIRST EDITION. Publishers’ embossed stamp on title-page of the first volume. INSERTED IS A 4 pp., A. L. s. of Lady Blessington, written on her monogrammed paper. [MOORE (THOMAS).] The Poetical Works of the late Thomas Little, Esq. 12mo, three-quarter blue morocco, gilt and inlaid back. Dublin, 1804 Letters and Journals of Lord Byron: With Notices of his Life. Portrait of Byron, and 2 extra plates inserted. 2 vols., 4to, three-quarter blue morocco, gilt and inlaid backs, uncut. London, 1830 FINE LARGE COPY OF THE FIRST EDITION. INSERTED IS AN A.L.s. of THOMAS Moore to Mrs. Becher, wife of Byron’s friend who advised suppressing “Fugitive Pieces.” 28 129 130 131 132 133 134 NOEL (HON. RODEN). Life of Lord Byron. 8vo, three- quarter blue morocco, gilt and inlaid back, uncut. London, 1890 LARGE PAPER COPY OF THE FIRST EDITION. Byron’s “The Monk of Athos” first appeared in this volume. LAID IN IS AN A.L.s. of the author. PARRY (WILLIAM). The Last Days of Lord Byron, with his Lordship’s Opinions on various subjects, particularly of the State and Prospects of Greece. Illustrated with 4 colored plates by R. Seymour. 8vo, three-quarter blue mo- rocco, gilt and inlaid back, uncut. London, 1825 FIRST EDITION. Parry was the “‘firemaster” sent out by the London Greek Committee to help Byron in establishing a factory for powder making. He drilled the men Byron took in his pay. [PIGOT (ELIZA B.).] The Private Correspondence of a Woman of Fashion. 2 vols., 12mo, three-quarter blue mo- rocco, gilt and inlaid backs, uncut, original front blue covers preserved. London, 1832 WITH THE AUTOGRAPH OF “MRS.” PIGOT ON THE PRESERVED FRONT WRAPPERS. Miss Pigot was a Platonic flame of Byron’s youth, and greatly interested in his poetic exercises. She gave much information to Moore when he was writing his “Life” of Byron. BOOKS FROM NEWSTEAD ABBEY RICHARDSON (WILLIAM). Poems and Plays. Portrait. 2 vols., 8vo, polished claret calf, blind tooling on backs, gilt borders, and arms deeply impressed on sides in gilt, with the initials ‘“‘T. W.” on either side of the shield, and “‘New- stead Abbey” beneath, gilt edges. Edinburgh, 1805 These books were in all probability a portion of the library of Col. Wildman who purchased Newstead Abbey. ROBERTS (R. ELLIS). Samuel Rogers and his Circle. With 16 illustrations. Thick 8vo, three-quarter blue mo- rocco, uncut, by Macdonald. New York, 1910 EXTRA-ILLUSTRATED by the insertion of 67 fine portraits and views of persons and places mentioned in the work. INSERTED is an A.N.s. of Samuel Rogers. ROXBURGHE CLUB. Lord Byron and his Detractors. to, _ boards, morocco back, uncut. 135 London: Printed for Private Circulation, 1906 This scarce piece was written by John Muncy, the publisher. RYAN (P. AUSTIN). Newstead Abbey. and the Relics of Byron. Photographic frontispiece. 12mo. three-quarter blue morocco, gilt and inlaid back. Mansfield, [1874] oe 136 137 138 WITH AUTOGRAPH LETTER OF THE AUTHOR LAID IN SHELLEY (MARY W.). Frankenstein; or, The Modern Prometheus. 3 vols., 12mo, original boards (worn), uncut, paper labels. In protecting cloth covers and in a cloth slip case. London, 1818 THE VERY RARE FIRST EDITION. INSERTED IS A 3 PP. A.L.s. of Mary W. Shelley, in which she asks if there is any chance of Mr. Colburn purchasing the copyright of “Frankenstein.” AUTOGRAPH LETTERS FROM MARY W. SHELLEY AND SIR PERCY F. SHELLEY TO CLAIRE CLAREMONT SHELLEY (MARY W. AND SIR PERCY F.). A Collection of 10 Autograph Letters from Sir Percy F. Shelley to Claire Claremont. Two of the letters contain Mary W. Shelley’s additions, amounting to three pages. There are 36 pp. in all, 4to and 8vo, written from Cambridge, Dresden, Flor- ence, etc., between 1838 and 1849. There are also 2 Orig- inal Autograph Poems by Sir Percy, ‘‘Viovanni at Putney,” and “Song of Venus to the Ground Shark.” These letters are tipped in one volume, with typed transcriptions, and bound in 4to, half blue morocco, gilt and inlaid back. A MOST INTERESTING COLLECTION OF LETTERS. The earliest was writ- - ten while Shelley’s son was at Trinity College. He writes in these early letters of Mr. and Mrs. Hogg, Gertrude, with whom he is having a sort of clandestine correspondence, and asks Claire’s aid, Charlotte. Later when he and his mother are at Florence, he writes urging her to let her lodgings for the winter and join them. Mrs. Shelley adds a full-page postscript to this letter, in which she endorses Percy’s idea. Reference is made by Mis. Shelley to the Opera House, prob- ably the one which proved so disastrous a speculation for Claire. She cannot get an offer for her box. Percy also writes of this in a letter from Cowes, dated August 13, 1846. THE ORIGINAL POEMS, judging from the handwriting, were written at an early period in Percy’s life, in all probability while he was at Trinity College. This collection should be attractive to the Shelley admirer, whose interest does not cease with Shelley’s death, but con- tinues with those whose lives were as intimately connected with the Poet, as Mary Godwin, Claire Claremont, her affinity-sister, and Sir Percy Shelley. SHELLEY (PERCY BYSSHE). History of a Six Weeks’ Tour through a part of France, Switzerland, Germany, and Holland. With Letters descriptive of a sail round the Lake of Geneva, and of the Glaciers of Chamouni. 12mo, three- quarter blue morocco, gilt and inlaid back, uncut. London, 1817 First EDITION, with the half-title. This little volume has a peculiar interest, not only from its biographical value, but as showing Shelley’s idea of a book of travels in 1817. 30 139 140 141 142 143 SHERIDAN (RICHARD BRINSLEY). The Dramatic Works of Richard Brinsley Sheridan. With an Introduction by Richard Grant White. Frontispiece portraits in two states, one a Proof before letters. 3 vols., 8vo, three-quarter blue morocco, gilt and inlaid backs, uncut. New York, 1883 ONE OF 30 COPIES ON LARGE JAPAN VELLUM. This was Richard Grant White’s own copy. Inserted are two Autograph Letters, signed. One of Richard Brinsley Sheridan, 1 p., 4to; the other of Richard Grant White, 3 pp., 8vo. Sheridaniana; or, Anecdotes of the Life of Richard Brinsley Sheridan; his Table-Talk, and Bon Mots. Portrait. 8vo, half green morocco, gilt back, uncut. London, 1826 FIRST EDITION. SMILES (SAMUEL). Memoir and Correspondence of the late John Murray, with an account of the Origin and Prog- ress of the House, 1768-1848. Portraits. 2 vols., 8vo, three- quarter blue morocco, gilt and inlaid backs, uncut. London, 1883 First EDITION. FINE copy. Contains much information concerning Murray’s dealings with Byron. [SMITH (HORATIO AND JAMES).] Rejected Addresses; or, the New Theatrum Poetarum. Tinted frontispiece por- traits and woodcut illustrations by George Cruikshank. 12mo, half sprinkled calf, gilt back, uncut, by Morrell. London, 1891 The Eighteenth Edition, but the First EDITION WITH THE CRUIK- SHANK ILLUSTRATIONS. Inserted are two Autograph Letters; one from Horace Smith, referring to Lord Byron; the other by James Smith. INSCRIBED COPY BY THE AUTHOR STOWE (HARRIET BEECHER). Lady Byron Vindicated. A History of the Byron Controversy from its beginning in 1816 to the present time. 12mo, three-quarter blue morocco, gilt and inlaid back. Boston, 1870 FINE COPY OF THE FIRST EDITION. On the fly-leaf is the following inscription in the handwriting of the author: “Trust in the Lord and Do good. Harriet Beecher Stowe.” ol 144 145 146 147 148 The Stowe-Byron Controversy: A complete Résumé of all that has been written and said upon the subject. . . together with an impartial review of the merits of the case. By the Editor of ‘Once a Week.” 12mo, three-quarter blue morocco, gilt and inlaid back, original wrappers bound in. London, n.d. TRELAWNY (E. J.) Recollections of the last days of Shelley and Byron. Tinted lithograph portraits and other illustrations. 12mo, three-quarter crushed brown levant morocco, gilt back, gilt edges, by Morrell. London, 1858 A SUPERB COPY OF THE RARE FIRST EDITION. URIEL. A Poetical Address to Lord Byron, written on the Continent. With Notes, containing strictures on the spirit of Infidelity maintained in his Works, ete. 8vo, three- quarter blue morocco, gilt and inlaid back, uncut. London, 1822 First EDITION. THE AUTHOR’S OWN INTERLEAVED COPY, FILLED WITH MANUSCRIPT NOTES. oe. [WATKINS (JOHN).] An Historical and Critical Memoir of the Life and Writings of the Right Honourable Lord Byron, with Anecdotes of some of his Contemporaries. Por- trait (a little spotted). S8vo, three-quarter blue morocco, gilt and inlaid back, uncut (small piece torn from corner of half-title). London: Thoman M’Lean, 1822 First EDITION. PROPERTY OF THE BANKRUPT ESTATE OF JOHN J. PHELAN NUMBERS 148-168 AUTOGRAPHS OF THE PRESIDENTS OF THE UNITED STATES. Portraits and autograph signatures of the 27 Presidents from Washington to Wilson, inclusive, finely mounted and bound in one volume, 4to, crushed blue levant morocco, tooled with gilt fillets, doublures of crushed blue levant morocco, fillet borders, fly-leaves of blue watered silk, gilt edges, by Zaehnsdorf. AN ATTRACTIVE COLLECTION. S2 149 BELLEMERE (EGIDIUS). Decisiones seu Conclusiones, 150 151 152 exacte reuise & diligenter castigate. Fine woodcut title and woodcut initials. Small 4to, new brown morocco, blind tooled, inside borders of red and green strap-work, doub- lures of parchment, brown silk fly-leaves. [Colophon]: Impresse Lugduni per Benedictum Bonnyn, Anno salutis, 1538 VERY RARE. A fine copy. The printer’s mark appears in the centre of the title-page. BOUND FOR LOUIS XII BY CLOVIS EVE BINDING. Duchesne (André). Histoire Générale d’Angle- terre, d’écosse, et d’Irlande. Folio, olive crushed morocco, back panelled and richly gilt tooled with fleurs-de-lys and crowned ‘“L’’s, sides diapered with gilt fleurs-de-lys, with crowned ‘“‘L’’s at corners, and the arms of Louis XIII heav- ily gilt tooled in centres, by Clovis Eve. Paris, 1614 THE DEDICATION COPY, bound by Clovis Eve for Louis XIII. Laid in is an A. L. s. from MARIE DE MEDICIS TO HER SON, Louis XIII, 1 p., Ato, n.p., n.d., with the two seals intact. The letter is addressed in another hand: “Au Roy, Monsieur mon filz.” Marie de Medicis, the second wife of Henry IV, was herself famous as a patron of literature and bibliopegy. HER HOLOGRAPH LETTERS ARE OF EXCES- SIVE RARITY. The present one is a splendid example, boldly written in her clear and legible hand, begging her son to accept her counsel. A SUPERB EXAMPLE OF FRENCH ROYAL BINDING, WITH HIGH ASSOCIA- TION INTEREST. BOOKS ABOUT BOOKS. Book-Plates (Hardy), London, 1893; The Great Book-Collectors (Elton), London, 1893, 2 copies, one on Small Paper; The Binding of Books (Horne), London, 1894. Numerous illustrations in color and monochrome. 4 vols., 8vo, cloth, vellum backs, uncut (one vol. in buckram). London, 1893-4 peck one of 150 copies on Large Paper, with the exception noted above. BRYAN (MICHAEL). Dictionary of Painters and En- gravers. Revised and enlarged under the supervision of George C. Williamson. Numerous illustrations. 5 vols., Ato, half crushed olive levant morocco, gilt tooled, uncut. London, 1909-13 FINE SET. 33 153 154 155 156 157 158 CERVANTES SAAVEDRA (MIGUEL DE). The History of the Valorous and Witty Knight-Errant Don Quixote of the Mancha. Translated by Thomas Shelton. Introduction by Royal Cortissoz. Illustrations by Daniel Vierge. 4 vols., with a portfolio of plates, white boards, half vellum, uncut. New York, 1906-7 One of 140 copies on Imperial Japan Vellum, with two additional illustrations, and an extra set of the plates, Proofs before Letters. CHRONICLES OF AMERICA SERIES. Edited by Allen Johnson. Illustrated. 50 vols., 12mo, cloth, uncut (a few volumes slightly stained). New Haven: Yale University Press, 1919 ABRAHAM LINCOLN EDITION. DIBDIN (THOMAS F.) The Library Companion. 8vo, blue morocco (name on title, acid stains on first few leaves). London, 1824 FIRST EDITION. A Bibliographical, Antiquarian, and Picturesque Tour in France and Germany. Numerous illustrations. 3 vols., 8vo, contemporary straight grained maroon morocco, gilt tooled, gilt edges. London, 1829 Bibliomania; or Book-Madness. Title vignette on China paper, portrait and numerous illustrations. Royal 8vo, green morocco, gilt tooled, uncut. London, 1876 Fine copy. EGAN (PIERCE). Pierce Egan’s Finish to the Adventures of Tom, Jerry, and Logic, in their Pursuits through Life in and out of London. Illustrated by the pencil of Mr. Robert Cruikshank, in 36 Scenes from Real Life, & enriched with several Designs on Wood by the same Artist. 36 colored plates. Royal 8vo, crushed red levant morocco, back pan- elled and finely gilt tooled with foliate and emblematic de- signs, sides with fillet borders, and foliate and emblematic corner-ornaments, inside borders to match, uncut, original paper label mounted and bound in, by Wood. London, 1830 First EDITION, Second Issue, without the woodcuts on pp. 40 and 42. Plates 6, 9, 13, 14, 15, 21, 23, 25, 26, 29, 31, 33, & 34.) haveuseenneee imprint in the margins. 34 159 160 161 162 FIELD (EUGENE). Writings in Prose and Verse. Iilus- trated. 12 vols., 12mo, half green morocco, gilt backs, uncut. New York, 1920 SABINE EDITION. FINE SET, with the plates on Japan Vellum. In immaculate condition. HUNT (GEORGE). Airy Nothings; or, Scraps and Naughts, and Odd-cum-Shorts; in a Circumbendibus Hop, Step, and Jump, by Olio Rigmaroll. Drawn and written by M. E. Esq. Engraved by Geo. Hunt. With 23 plates, colored by hand. 4to, crushed brown morocco, back pan- elled and gilt tooled, sides with wide gilt borders, wide inside borders, gilt edges (a few leaves very lightly water- stained). London, 1825 FIRST EDITION. RARE. LONGFELLOW (HENRY W.). Evangeline, A Tale of Acadie. 12mo, purple levant morocco, blind tooled, doub- lures of green levant morocco, gilt inside borders, purple suede fly-leaves, uncut, original glazed yellow paper covers mounted and bound in, with the original label. Boston, 1847 GENUINE FIRST EDITION, with the letters n & g dropped from first line on p. 61. With the advertisements dated Oct. 1, 1847. Inserted is an A.L.s. from the author to Ticknor, 2 pp., 12mo, Camb., Apr. 22, 1863, thanking him for a gift, and referring to an order to print 500 copies of “Evangeline”. MESSAGES AND PAPER OF THE PRESIDENTS. = Iilus- trated. 20 vols., 8vo, brown morocco, gilt edges: 163 New York, [1897] RALFE (J.). The Naval Chronology of Great Britain; or, An Historical Account of Naval and Maritime Events, from the Commencement of the War in 1803, to the End of the Year 1816, &c. . . . The Whole forming a complete Naval History of the above Period. Illustrated with 60 fine col- ored plates. 3 vols., 8vo, crushed blue morocco, backs pan- elled and gilt tooled to ship design, sides with gilt fillets, inside gilt dentelles, gilt edges, by Riviere. London, 1820 FINE COPY OF THE RARE FIRST EDITION, with fine impressions of the plates. One plate has been slightly repaired, several are trimmed into the letter-press. 35 164 SPORTING. The Book of Sports, British and Foreign; de- 165 166 167 voted to the Pictorial Illustrations of the Pursuits of the Sportsman in every Quarter of the Globe. Vols. I-II. [all issued]. Numerous engravings. 2 vols. in one, 4to, half leather (slightly rubbed). London, 1843 SCARCE. The Gun at Home and Abroad: British Game Birds and Wildfowl, by W. R. Ogilvie-Grant, A. A. Agland-Hood, and others; British Deer & Ground Game, Dogs, Guns & Rifles, by J. G. Millais, W. Baxendale, and others; The Big Game of Africa & Europe, by F. C. Selous, J. G. Millais, and Abel Chapman; The Big Game of Asia and North America, by D. Carruthers, P. B. Van der Byl, and others; Fishing at Home & Abroad, edited by Sir Herbert Maxwell. Profusely illustrated with plates in color and monochrome. 5 vols., 4to, brown morocco, gilt tooled, uncut. London, 1912-5 One of 500 and 750 copies respectively. A FINE SET OF THIS MAG- NIFICENT WORK. Complete sets are RARE. STATHAM (NICHOLAS). Abridgment of the Law. Trans- lated by Margaret C. Klingelsmith. Facsimiles. 2 vols., thick 4to, buckram, uncut. [ Boston, n.d. ] Translated from Pynson’s rare black-letter edition. The work con- sists of cases down to the end of Henry VI, and contains many orig- inal authorities not in the Year Books of those times; it is the first attempt to systematise English Common Law. STRICKLAND (AGNES). Lives of the Queens of England from the Norman Conquest. Compiled from Official Rec- ords and other authentic Documents, Private as well as Public. Preceded by a Biographical Introduction by John Foster Kirk. Numerous plates, in two states, many colored by hand. 16 vols., 8vo, crushed green levant morocco, gilt decorated panelled backs, sides with richly gilt tooled cor- ner ornamentation, doublures of crushed purple levant mo- rocco, with gilt foliate corners, fly-leaves of white watered silk, gilt tops, uncut. Philadelphia: Printed for Subscribers by George Barrie & Son, n.d. A CHOICE SET. One of 1000 copies on Japan vellum. EXTRA-ILLUS- TRATED by the insertion of an A.L.s. of the author, and about 60 portraits and views. 36 168 169 170 WALTON (IZAAK) AND COTTON (CHARLES). The Complete Angler, London: Major, 1823; The Lives of Donne, Wotton, Hooker, Herbert, and Sanderson (Walton), London: Major, 1825; The Life of Isaac Walton (Zouch), London: Prowett, 1823. With numerous woodcuts and copper-plate engravings. 3 vols., 8vo, crushed green levant morocco, backs panelled and emblematically tooled, sides with gilt borders, emblematic corner-ornaments, wide in- side borders to match, doublures and fly-leaves of brown watered silk, gilt edges, by Riviere. London, 1823-5 BEAUTIFUL COPIES OF MAJorR’S EDITIONS OF THE FIRST TWO TITLES, ON LARGE PAPER, WITH THE PLATES ON INDIA PAPER, MOUNTED. Zouch’s Life of Walton is the First EDITION, ON LARGE PAPER, with ‘many of the plates in PROOF STATE, some PROOFS BEFORE LETTERS. A SUPERB SET. A NEW YORK SHAKESPEARE COLLECTION NUMBERS 169-188 [HALL (BISHOP JOSEPH).] Virgidemiarvm, Sixe Bookes. First three Bookes, Of Tooth-lesse Satyrs. 1. Poeticall. 2. Academicall. 3. Morall. Dexter’s device. London: Printed by Thomas Creede, for Robert Dexter, 1597 Virgidemiarvm, The three last Bookes. Of byting Satyres. Dexter’s device. Imprinted at London by Richard Bradocke for Robert Dexter at the signe of the Brasen Serpent in Paules Church yarde, 1598 FIRST EDITION OF BOTH PARTS. Collation: Al (blank and missing), title on A2, A8-8, B to E in eights, F4 (last blank and present) ; Part II: A2, B to H in eights (H6, H7, and H8 blank and present). The first title is in facsimile. HEYWOOD (THOMAS). The Rape of Lucrece. A True Roman Tragedy. With the seuerall Songs in their apt places, by Valerius the merry Lord among the Roman Peeres. The Copy revised, and sundry Songs before omitted, now in- serted in their right places. Acted by Her Majesties Ser- vants at the Red-Bull. Small 4to, crushed crimson levant morocco, gilt fillets, inside gilt borders (title remargined), by the French Binders. London: Printed by Iohn Raworth, for Nathaniel Butter, 1638 In this edition there are five additional songs. The John Philip Kemble copy, with autograph inscription on title: “Collated & per- pect, J.P... 1798. VERY S b > s So Wy Lh REDE z Fe ~~ Say, Fy jw oD Les ipl Yj); Yj Lye: ‘CON PRIVILEGIO.\ 1 fe ; f OS Le Brg Sct Pe eA _#, “*. y we; enstron Ty : ; oy, ‘ 2) thicind) esx me nel Eemabe Mean her / fhe pack ie tsed clase Viclner te: Goneat whee hee Fete eLe4y ipechitnrs, fnce jee ie and IM, ile ae tutat, Lemencnt”. a DICKENS’ ORIGINAL MANUSCRIPT OF ‘““,’ CURIOUS DANCE ROUND A CURIOUS TRER”’ [NUMBER 210] 211 212 213 WITH TWENTY-ONE ORIGINAL WATER-COLOR DRAWINGS BY PAILTHORPE & NINE ORIGINAL WATER COLORS BY KYD Great Expectations. 38 vols., small 8vo, crushed green levant morocco, backs panelled and gilt tooled, sides with gilt fillets, inside gilt dentelles, uncut, original purple cloth covers and back-strips bound in, by Riviére. London: Chapman and Hall, 1861 THE EXTREMELY RARE FIRST EDITION. EXTRA-ILLUSTRATED BY THE INSERTION OF TWENTY-ONE ORIGINAL WATER-COLOR DRAWINGS (EACH SIGNED BY PAILTHORPE, after which the famous series of etchings for “Great Expectations was made, AND FURTHER EMBELLISHED BY TWENTY-NINE ORIGINAL PEN-AND-INK DRAWINGS BY FRAZER, NINE ORIGINAL WATER-COLOR CHARACTER DRAWINGS BY KyD, and eight wood- engravings, INDIA PAPER PROOFS. With the M. C. D. Borden bookplate. Our Mutual Friend. With illustrations by Marcus Stone. 20 parts in 19, 8vo, green printed wrappers, uncut (backs skilfully repaired), enclosed in a cloth protective case. London, 1864-5 FIRST EDITION IN THE ORIGINAL PARTS, with the advertisements, in- cluding the rare one of the “People’s Pickwick” in Part XII. The slip explaining the title is present in Part I. A FINE COPY. WITH ORIGINAL DRAWINGS Our Mutual Friend. With 40 illustrations by Marcus Stone. 2 vols., crushed green levant morocco, backs pan- elled and gilt tooled, sides with gilt fillets, inside dentelles, uncut, by Riviere. London, 1865 First EDITION, bound up from the original parts, with the wrappers and advertisements bound in. EXTRA-ILLUSTRATED BY THE INSERTION OF FORTY ORIGINAL DRAWINGS AND INDIA PAPER PROOFS of Stone’s illus- trations, two fine steel engravings of Dickens, FIVE EXTRA DRAWINGS IN PEN-AND-INK AND PENCIL, inlaid, and an additional series of 15 illustrations, PROOF IMPRESSIONS ON INDIA PAPER. Among the orig- inals of Stone’s illustrations is the ORIGINAL DRAWING FOR THE COVER, WITH INDIA PROOF SHOWING ALTERATIONS. With the M. C. D. Borden bookplate. 54 RARE DICKENS’ BROADSIDE 214 —— “The Great International Walking-Match of February 215 216 217 218 29, 1868.” Printed broadside with gilt border, signed by Charles Dickens, George Dolby, James R. Osgood, James T. Fields and A. V. S. Anthony. 1934 inches by 1714 inches, glazed and framed. [ Boston, 1868] AN EXCESSIVELY RARE MEMENTO OF DICKENS’S LAST VISIT TO AMER- IcA. Articles of agreement between George Dolby, alias ‘‘The Man of Ross,” and James R. Osgood, alias “The Boston Bantam,” with “The Sporting Narrative” of the match; the whole written by Charles Dickens, alias “The Gad’s Hill Gasper.” The two contestants, mem- bers of the Dickens party, devised the walking) match as a ‘means to revive the great novelist’s failing spirits. It was held at Boston, on February 29th, to celebrate the day, in Dickens’s words, “when I can say ‘next month for home.’” The victory of the American was com- memorated by a dinner given by Dickens to the party, and made immortal by the novelist’s description in American sporting narra- tive style. John Jasper’s Secret: Being a Narrative of Certain Events following and explaining “The Mystery of Edwin Drood.” [By Henry Morford and his wife, of New York. |] With 20 illustrations. 8 parts, 8vo, blue printed wrappers (backs slightly chipped), enclosed in a cloth slip case. London: Publishing Offices, 1871-2 FIRST ENGLISH EDITION IN THE ORIGINAL PARTS, with the advertise- ments. This “Sequel” to “Edwin Drood” is OF EXCESSIVE RARITY. IT WAS WANTING IN THE COGGESHALL, JUPP, AND WILKINS COLLECTIONS. THE PRESENT IS A VERY DESIRABLE COPY. Charles Dickens and Maria Beadnell: Private Cor- respondence. Edited by George P. Baker. Illustrations, one in color, and facsimiles, engraved title-page, signed, etc. Square 8vo, half Japan Vellum, uncut. Boston: The Bibliophile Society, 1908 FIRST EDITION. One of 493 copies. Speech of Charles Dickens, delivered at Gore House, Kensington, May 10, 1851. 8vo, wrappers, uncut. Boston: Bibliophile Society, 1909 First EDITION. Privately printed. A Collection of Playbills, Clippings, Ballads, etc. relat- ing to “Nicholas Nickleby,” “Hard Times,” and “Little Dorrit.” About 35 pieces. | Including “Little Dorrit’s Polka,” by Jules Norman, with lithographic scene of Arthur Clenham and Little Dorrit; “Floating Away,” by John Blockley, with lithographic scene of Arthur Clenham at the river-side, FINE IMPRESSIONS; AN ORIGINAL DRAWING of Mr. Wm. Dorrit, by “Kyd”; Early Playbills of “Hard Times’; Early Play- bills of “Nicholas Nickleby,” together with many clippings from con- temporary newspapers, advertisements of boys’ schools, etc., illus- trative of the latter novel. From the Jupp collection. 55 219 220 221 222 223 Scenes from the Pickwick Papers, designed and drawn on stone by Augustus Dulsken. Four plates with litho- graphic design on wrapper. Oblong folio, half crushed brown levant morocco, with cardboard sides gilt tooled, original wrappers bound in (rehinged throughout). London, n.d. PROOF IMPRESSIONS. Inserted is a letter from the publishers stating that it is their belief that only the present four plates were pub- lished. WITH MANUSCRIPT OF THE PROLOGUE BY DICKENS [DICKENS (CHARLES).] Marston (J. Westland). The Patrician’s Daughter. A Tragedy, in Five Acts. 8vo, wrap- pers, uncut (back missing, wrappers soiled) in cloth slip case. London, 1841 FIRST EDITION. INSERTED IS THE ORIGINAL MANUSCRIPT IN DICKENS’S HAND, OF HIS PROLOGUE, 2 pp., 4to. These forty-eight hexameters, re- cited by Macready, served to carry the play to success, and this was their purpose, for Dickens had a warm interest in both the author and the actor. [SEE ILLUSTRATION ] ORIGINAL PORTRAITS OF DICKENS BY CRUIKSHANK AND LEECH Original drawing of Cruikshank’s famous portrait of Dickens, Aet. 26, signed, 614 inches by 5 inches, together with an India proof of Pailthorpe’s etching of the same; original crayon portrait of Dickens by John Leech, signed, 834, inches by 634, inches. Bound in one volume, large 4to, cloth. Mounted and bound in is an A.L.s. by Samuel Wells, President of the Dickens’s Fellowship, relating the history of the Leech portrait and the Fellowship’s regret at having been forced to sell it. Autograph draft of a Handbill for his Manchester Readings, 9 lines on 1 p., 8vo. EARLIEST KNOWN DICKENS MANUSCRIPT, A TRAVESTY UPON “OTHELLO” Original manuscript, 1 p., 4to, inlaid to folio. Being the first page of Act I, Scene II, of “O’Thello,” a travesty upon Shakespeare’s tragedy. Bound in one folio volume, cloth. The upper margin of the manuscript bears a signed authentication and history of the piece by John Dickens, the father of the writer. In 1838, the year in which this manuscript was written, the youthful Dickens sought to adopt the stage as his profession. 56 ie do hele af sheamus gee : : ea med anc harnear bupit® re Toets mar ole Sou mene A hus At of anc ry battles fre Roe oe mP atten ys Kk kes Lye; hao, LC ey SIN wht belooh ward, -F Metin. Inte, ,wlek Khe churclg RA tephe Vn ac Conrerne) ow. Ha J eee wel Wicdue calty, oie: Oke cH nol pha ate of What Shots BL, ancl Wit Hem Befrr. Rite Ce Rater, Sale 0 deona, olinp.lar fhe apie fadtiw of Ue hatuig clays keg Ins od uM Iona n2cnor HeAps : ey of beg fe ted dnp &, pacha spruieps g Aunts He Presents | : UES IO ape FIRST PAGE OF DICKENS’ ORIGINAL MANUSCRIPT [NUMBER 220] THE ORIGINAL CONTRACT FOR “OUR MUTUAL FRIEND” 224 —— The original agreement between Charles Dickens and 225 Edward and Francis Chapman for writing and publishing “Our Mutual Friend.” Engrossed on both sides of a folio sheet and signed in full ‘‘Charles Dickens,” and by the Chapmans. Dated Nov. 21, 1865; A.L.s. by Dickens, 1 p., 8vo. Second September, 1865. To Mr. Davy, the printer, sending the conclusion of “Our Mutual Friend,” requesting proof, and giving instructions for the setting of the Preface; The Original Front Wrapper of “Our Mutual Friend,” No. 1; India Proof Portrait of Dickens. Bound in one vol- ume, folio, dark blue straight-grain morocco, gilt tooled, by Sangorski and Sutcliffe. DICKENS’ TITLE-PAGE DRAFT FOR “OLIVER TWIST” The original draft of the Title-Page for the First Octavo Edition of “Oliver Twist,” in Dickens’ autograph, 1 p., 8vo; autograph description of the Woodcuts Dickens desired Cruikshank to etch for the wrappers, 1 p., 8vo; original pencil sketch, signed by Cruikshank, “Oliver asks for More,” 134, inches by 6 inches; original wash sketch, initialed by Cruikshank, “The Recovery of Nancy,” 7 inches by 414, inches; A.L.s. by Dickens, 2 pp., 8vo, dated, Kent, October fifteenth, concerning a proposed statue of Oliver Twist. Mounted and bound in one volume, 4to, crushed red levant morocco, back panelled and gilt tooled, sides with au eee inside dentelles, gilt edges, by Sangorski and utcliffe. [SEE ILLUSTRATION ] 58 oe Vth ted 4 Very. Cuts hah Vets led ancl civeee tech a Le couple te) ud Love hunte/, Drelay wm) hana} [Bois sega - VA Atha i PS a POIS. TITLE-PAGE IN DICKENS’ HANDWRITING [NUMBER 225 | 226 227 ORIGINAL MANUSCRIPT WHICH DICKENS PRESENTED TO HIS COLLABORATOR WILKIE COLLINS DICKENS (CHARLES) AND COLLINS (WILKIE). The original manuscript of “The Perils of Certain English Pris- oners and their Treasures in Women, Children, Silver, and Jewels.” Chapters I and III are in the handwriting of Charles Dickens; Chapter II in that of Wilkie Collins. The Dickens portion, 51 leaves, 8vo, is inlaid to 4to, as is the 39-p. Manuscript of Wilkie Collins; the whole forming 90 pp., with title and table of contents. Bound in one volume, Ato, crushed olive levant morocco, back panelled and gilt tooled, sides with fillet borders, insides gilt dentelles, by Riviere, (for Charles Dickens). BOUND IN IS THE TITLE-PAGE, IN DICKENS’S AUTOGRAPH, with a note at the bottom in the hand of Wilkie Collins; SEVEN PAGES OF AUTO- GRAPH NOTES BY DICKENS for the Christmas Number of “Household Words,” in which this story first appeared; and an A.L.s. by Collins i De: and one by Dickens to Collins. With the Borden book- plate. [SEE ILLUSTRATION ] Original Page Proofs of pp. 161-208 of the Cheap Edi- tion of the “Christmas Books.” Unbound, small 8vo (slightly soiled), enclosed in a crushed green levant mo- rocco solander case, gilt tooled with floral sprays at corners. THERE ARE NUMEROUS TYPOGRAPHICAL CORRECTIONS IN DICKENS’S HAND, AND RUNNING-HEADS FOR THE ODD PAGES, WRITTEN OUT BY DICKENS. The running-head on the even pages is the title of the story; for the odd pages Dickens himself used brief phrases charac- terizing the happenings detailed on the page. These, of course, could not be decided upon until Dickens saw page-proofs, and they thus constitute ORIGINAL MANUSCRIPT MATERIAL. 60 = 3s Me CD peg bomen ita, ef g Aye AO Pinay AES re D®Be on ae ae S ¢ x wales mas wee olny L fom A? — Ve en DOK &ths nt € oe Ore fet. aw ct wins Sem ohn horsey oo ae Oe, pret on of “A Piaf duet, “2 Vem cess A faroer jas CEL Pham oe €, of om fom Chris Amar work, Jf buh as ts fr lope ter fn ike Co BGO RSH, Sires es ie Hn, ee. ey oop, firnte b Dn chia Na AREF ban y aitecnreds te LETTER OF DICKENS’ IN WHICH HE PRESENTS THE MANUSCRIPT OF “‘THE PERILS OF CERTAIN ENGLISH PRISONERS” 51 LEAVES BY HIMSELF AND 39 PAGES BY WILKIE COLLINS, WHICH HE HAS HAD BOUND, TO HIS COLLABORATOR [NUMBER 226] 228 229 Two autographed Articles of Agreement, relative to the famous publication, ‘‘All the Year Round,” of which Charles Dickens was the editor. With two portraits of Dickens, one a signed etched proof by F. Johnson, also portrait of Wills. Manuscripts and portraits bound to- gether in one volume, folio, full red morocco, inside borders, gilt top, uncut, enclosed in silk protective case. London, 1859-1870 CONTENTS: (1) Articles of Agreement, August, 1859, between CHARLES DICKENS and WILLIAM HENRY WILLS for the partnership in “All the Year Round.” Dickens to have three-fourths, and Wills one-fourth share, as joint proprietors, the former acting as Editor and the latter as General Manager of the paper. All the conditions are fully set forth in thirteen clauses. SIGNED AND SEALED BY EACH in the presence of Frederic Ouvry, Dickens’s friend and solicitor. Six pp. folio, with docket on p. 8; an erasure in clause 2, initialed by both signatories. (2) Articles of Agreement, second day of May, 1870, between CHARLES DICKENS THE ELDER, WILLIAM HENRY WILLS, and CHARLES DICKENS the younger. SIGNED AND SEALED BY ALL THREE, in the presence of Frederic Ouvry, Solicitor. Seven pp. folio, with docket on p. 8. These documents are of very singular biographical interest as con- nected with the great novelist; showing his shrewd business habits in the conditions of the two agreements. THE LATER AGREEMENT DERIVES AN ADDITIONAL INTEREST FROM THE PROBABILITY OF ITS BEING THE LAST IMPORTANT ACT IN DICKENS’S LIFE. SIX WEEKS AFTER HIS SIGNATURE WAS APPENDED THERETO, HE WAS DEAD. DICKENS’ MONODY ON MARY HOGARTH A.l.s., 5 pp., 8vo. Doughty Street, Thursday Night [Oct. 26, 1837]. To Mrs. Hogarth, Dickens’s mother-in- law, relating entirely to the death of Mary Hogarth, to whom Dickens had been betrothed before his marriage to her sister Catherine. (Some folds torn, some repaired.) After thanking Mrs. Hogarth for a memento of Mary, he adds: “J have never had her ring off my finger by day or night, except for an instant at a time to wash my hands, since she died. I have never had her sweetness and excellence absent from my mind so long... It will be a great relief to my heart when I find you sufficiently calm upon this sad subject to claim the promise I made you when she lay dead in this house, never to shrink from speaking of her... but rather to take a melancholy pleasure in recalling the time when we were all so happy—so happy that increase of fame and prosperity has only widened the gap in my affections by causing me to think how she would have shared and enhanced all our joys, and how proud I should have been (as God knows I always was) to possess the affection of the gentlest and purest creature that ever shed a light on earth . ; You and I will probably be oftener alone in Kate’s coming confinement, which will be a truly heavy time to me, reminding me how we spent the last. I see Now that you are capable of making great efforts . and I hope that our words may be where our thoughts are, and that we may call up these old memories,—not as shadows of the bitter past, but as lights upon a happier future.” 62 MENTIONING THE DEATH OF MARY HOGARTH 230 —— A.L.s., 8 pp., 4to. London, Thursday, December 21st, 251 232 233 1837 To Wm. Howison of Edinburgh. Preserved in cloth protective case. (The letter has been repaired in folds.) LONG AND FINE LETTER in reply to the announcement of the formation of the “Edinburgh Pickwick Club.” ‘TJ believe with you that this is the first society of the kind, established north of the Tweed . : Mr. Pickwick’s heart is among you always . . . Many of my dearest living friends are natives of your fine city, and my most cherished recollections are of a dearly loved friend and companion who drew her first breath in Edinburgh and diced beside me .. .” REGARDING AN ILLUSTRATION FOR “BARNABY RUDGE” A.lL.s., 2 pp., 8vo. Devonshire Terrace, Tuesday ninth February, [1841]. To George Cattermole. Requesting the artist to etch the locksmith’s house, for No. 49 of “Master Humphrey’s Clock,” and suggesting the desired effect. The illustration appeared, however, in No. 54, illustrating “Barnaby Rudge.” A.L.s., 1 p., 4to. Tremont House, [Boston,] Saturday night, January 22nd, 1842. To J. C. Grattan, declining an invitation to dine. With address-leaf and seal. He must dine tomorrow with Lord Mulgrave, etc. He mentions the “fatigues and perils of a most tempestuous passage.’ Dickens had arrived in Boston, the preceding evening. A.l.s., 6 pp., 8vo. Devonshire Terrace, Nineteenth March, 1844. To Mr. Sergeant Talfourd. A VERY FINE AND LENGHTY LETTER. He encloses a clipping from the the ‘Morning Chronicle,’ written by Mr. Charles McKay, “ ‘poet’ and sub-editorial, paste-and-scissors-orial craftsman”; he tells of his meet- ing with Mr. McKay and criticises the project of erecting statues in Edinburgh to Scott and Burns; the news of various legal matters is detailed; he gives a vivid description of his melodramatic dismissal of Strange’s envoy; Strange and his piracy shall be put down; he tells of his plans for a book [“The Chimes”(?)] he has a novel idea for the last few pages, ete. 63 234 235 236 237 238 THE WRITING OF “DAVID COPPERFIELD” A.L.s. (initials), 4 pp., 8vo. Devonshire Terrace, Twenty-first July, 1849. To the Hon. Richard Watson. With addressed envelope, franking signature, etc. 6é . -There is nothing I shculd like better than to go with you to Switzerland . . . but after considering the feasibility of this delight- ful journey .. . I became afraid, in this stage of my story [“David Copperfield” ], of so entirely departing from my inventive habits .. . If it is only half an hour’s sitting alone in a morning, in my leisure part of the month, and half an hour’s look at pen, ink, and paper, it seems to keep me in the train. And with so much before me, and the necessity always present to me of doing my best and sustaining my reputation at its highest point, I feel it better and wiser to keep near my oar .. .” A LENGHTY AND VERY FINE LETTER. A.L.s. (initials), 1 p., 8vo. Broadstairs, Nineteenth September, 1850. To Maclise, inviting him to accompany Dickens on a visit to the Insane Asylum at Highgate. A.l.s., 3 pp., 8vo. Devonshire Terrace, Tuesday, March eleventh, 1851. To Dr. Wilson. “ . . . Tam so anxious thut Mrs. Dickens should begin with a favor- able impression of Malvern, ond I am so certain of the impossibility of engendering that impression if she be on any visit or in any house but our own (from what I have lately observed when we have been staying in the country houses even of intimate friends) that I am obliged, however reluctantly, to decline your hospitable proposal. . .” — A.L.s., 2 pp., 8vo. Tavistock House, Twentieth July, 1854. To J. B. Buckstone. “I have been working hard i a French country house . . . Crossing over... I brought your Spanish Dancers with me—whose com- plexions then looked like old cheeses, from sea-sickness . . .” REFERRING TO “LITTLE DORRIT” AND THE PLAYS A.L.s. (initials), 4 pp., 8vo. Tavistock House, Tuesday, Seventh October, 1856. To the Hon. Mrs. Watson. AN UNUSUALLY FINE AND LENGHTY DICKENS LETTER, FOUR CLOSELY WRITTEN PAGES OF PERSONAL AND INTIMATE GOSSIP. He refers to “Little Dorrit,” protesting that passages in it were written for her, as she had surmised, he took aim with most deliberate intention; he congratulates her upon domestic happiness; he has been working hard —too hard; he begs her to came to see Wilkie Collins’s new plays, “The Frozen Deep” and ‘The Lighthouse,” they are to be produced at Tavistock around Christmas; the house is in a high state of excitement, the school-room being turned into a theatre; he reports on the health of his children; Mrs. Watson will no doubt think him dreadful with a beard; but if she will come and see the play she will find it necessary and perhaps be more tolerant of the fearful object afterwards; “this is every atom of no-news that will come out of my head, and I firmly believe it is all I have in it—except . . .” and here follows the pathetic story of the cobbler and his dog, at Boulogne. A SPLENDID LETTER. [Letters of Charles Dickens, London, 1880, Vol. I, pp. 453-6.] 64 239 240) 241 242 243 244 245 A.L. in third person, 2 pp., 8vo. Devonshire Terrace, Thirteenth March, 1857. To Mr. Booth, containing an offer to purchase Balmoral House, making appointment to go over house with an architect, etc. With the addressed envelope. A.lus., “C. D.,’? 1 p., 8vo. Leamington, Thursday Morning, Second January, 1862. To Georgina Hogarth. With addressed envelope. Alterations have been made at Gad’s Hill, and Dickens writes of ways and means to prevent the children’s keeping off the paint and out of the way. REFERRING TO THE RAILWAY ACCIDENT —— A.L.s., 2 pp., 8vo. Gad’s Hill Place, Twelfth June, 1865. To the Head Station Master, Charing Cross. Requesting the Station Master to recover, if possible, valuables lost by a lady in the terrible railway accident on June 9th. In order to make their location clear he describes the accident in some detail, and concludes: “I would have spoken to you instead of writing, but that I am shaken;—not by the beating of the carriage, but by the) work afterwards of getting out of the dying and the dead.” A.lL.s., 2 pp., 8vo. Devonshire Terrace, Fourth Sep- tember, 1865. To Wm. Hazlitt, regarding a young man whom it was their mutual desire to assist. A.D. signed with Dickens’s name in another hand, 1 p., Ato. 26 Wellington Street, London, twentieth of October. 1865. Resolution passed at a meeting of the Guild of Literature and Art, thanking the architect of the Guild houses. Dickens was chairman of the Council. A.L.s., 2 pp., small 4to. Office of All the Year Round, Saturday, First May, 1869. [To Georgina Hogarth. ] A, FINE PERSONAL LETTER, enclosing a key to the drawer of his large writing table. He requests her to bring him a banker’s pass-book to be found therein; also a blue surtout with black facings; he inquires after Mamie’s health, etc. A.lL.s., 2 pp., 8vo. Gad’s Hill Place, Sunday, Fifth Sep- tember, 1869. To Mrs. Church. Letter of thanks upon the receipt of her book, dedicated to Dickens, condolence for errors passed in proof, concluding with a post-script: “Do not allow yourself to be drawn into discussions with writers of notices.” IN FINE CONDITION. 65 246 247 248 249 250 ON THE FAILURE OF “THE LAMPLIGHTER” A.l.s., 3 pp., 8vo. Doughty Street, Saturday Morning, no year. To J. P. Harley. “T am afraid from not having seen you since the Lamplighter was suffocated, that you may suppose I have some feeling of annoyance on the subject. If you have any notion of the kind, rest assured that 1 am quite satisfied with the opinions of those who must know so much better than myself what would take upon the stage—and that if a good subject occurred to me, I would write another farce to- morrow...” A.L.s., 2 pp., 8vo. 48 Doughty Street, Monday Morn- ing, no year. To E. I. Stanley, in gratification for his re- membrance of Dickens’s brother. A FINE PERSONAL LETTER. A.L.s., 1 p., 8vo. Furnival’s Inn, Thursday Evening, no year. With seal. To one in want of employment, referring him to John Dickens, and to Charles Ross at the Times Office. DICKENS ILLUSTRATIONS. A Series of 20 Pickwickian illustrations by Heath. 8vo, stiff wrappers with paper label on front, cloth back, enclosed green morocco solander case, gilt tooled. [London, 1837] A Series of 24 etched plates by George Cruikshank, to illustrate “Oliver Twist.” London: Richard Bentley, 1837-8 Containing the plate: ‘Rose Maylie and Oliver.” 66 251 UNPUBLISHED DRAWINGS BY “PHIZ” FOR DICKENS’S WORKS A Collection of Twenty-one Unpublished Original Drawings of Characters in the Works of Charles Dickens. With an A.L.s. by the artist, 2 pp., 8vo, Notting Hill, dated April 20, [1867], to F. W. Cozens (the former owner of the drawings), acknowledging cheque and giving receipt for a sum in exchange for sixty-one drawings (one of which is in the present collection). The drawings are finely mounted, and enclosed in a quarto size crimson levant morocco box, gilt tooled and lined with silk. A SUPERB COLLECTION, DESCRIBED IN DETAIL BELOW. ALL THE DRAW- INGS ARE HIGHLY FINISHED AND REPLETE WITH THE QUALITIES WHICH HAVE LINKED INSEPARABLY THE NAMES OF THE NOVELIST AND HIS GREAT ILLUSTRATOR. HuGH in “Barnaby Rudge.” Pencil drawing in black and red. 4% inches by 38 inches. MIss QUILP and BARBARY in “The Old Curiosity Shop.” Pencil draw- ing. 38% inches by 2% inches. SAM WELLER in “Pickwick.” Pencil drawing. 2 inches by 1% inches. SAM WELLER in “Pickwick.” Pencil drawing on tinted ground. 1% inches by 1 inch. THE TURNKEY in “Pickwick.” Pencil drawing. 1%4 inches by 1 inch. MIVENS in “Pickwick.” Pencil drawing on tinted ground. 2% inches by 1% inches. THE TURNKEY in “Pickwick.” Pencil drawing on tinted ground. 2% - inches by 2 inches. OUT AND OUT YOUNG GENTLEMEN in “Sketches of Young Gentlemen.” Pencil drawing. 7 inches by 6% inches. BARNABY RUDGE in “Master Humphrey’s Clock.” Pencil drawing. 1% inches by 1% inches. THE DEAF GENTLEMAN in “Master Humphrey’s Clock. Pencil drawing. 1% inches by 1% inches. THE SCHOOL-MASTER in “Master Humphrey’s Clock.” Pencil drawing. 2 inches by 1% inches. LITTLE NELL in “Master Humphrey’s Clock.” Two pencil drawings, on one sheet. 5% inches by 2% inches. Miss HAREDALE in “Master Humphrey’s Clock.” Wash drawing. 2 inches by 1% inches. Miss HAREDALE AND LITTLE NELL in “Master Humphrey’s Clock.” Pencil drawing. 38 inches by 3% inches. Miss KENwIG in “Nicholas Nickleby.” Pencil drawing. 2 inches by 1% inches. ee ieee in “Nicholas Nickleby.” Pencil drawing. 2 inches by 1% inches. THE KENWIGS in “Nicholas Nickleby.” Pencil drawing. 2% inches by 4% inches. LITTLE NELL in “Master Humphrey’s Clock.” Pencil drawing. Cir- cular, 2 inches in diameter. Miss HAREDALE in ‘Master Humphrey’s Clock.” Pencil drawing. 4%4 inches by 3% inches. Str MULBERRY HAWK in “Nicholas Nickleby.” Pencil drawing. 2% inches by 1% inches. Mr. SQUEERS in “Nicholas Nickleby.” Pencil drawing. 2 inches by 2 inches. 67 252 Six hundred and forty-eight original illustrations in colors, of Characters in the Works of Charles Dickens, by “Kyd” [J. Clayton Clark.] Laid in 25 cloth slip cases, 4to, with leather back-strips, appropriately lettered. A SUPERB COLLECTION. Includes illustrations to “Hard Times,” “The Old Curiosity Shop,” “Barnaby Rudge,” “American Notes,” ‘Martin Chuzzlewit,” “Christmas Books,” ‘‘Dombey and Son,” “David Copper- field,” “Little Dorrit,” “No Thoroughfare,” ‘Edwin Drood,” ‘Miscel- laneous Pieces,” ‘Sketches by Boz,” ‘“‘Tale of Two Cities,” “Our Mutual Friend,” “Great Expectations,” “Bleak House,” “Nicholas Nickleby,” “Pickwick Papers,” and “The Uncommercial Traveller.” 25D Complete set of India proofs of Cruikshank’s Illustra- tions to “Sketches by Boz.” 28 plates. Bound in one volume, 8vo, crushed green levant morocco, tooled with gilt fillets, doublures and fly-leaves of red silk, by Zaehnsdorf, enclosed in cloth protective case. N.p., n.d. A CHOICE SET. 254 [THACKERAY (WM. M.).] Mr. Thackeray, Mr. Yates, and the Garrick Club. The Correspondence and Facts. Stated by Edmund Yates. 8vo, sewn, enclosed in half brown morocco slip case. Printed for Private Circulation, 1859 THE EXCESSIVELY RARE FIRST ISSUE OF THE FIRst EDITION, with Dickens’s name mispelled on p. 14, the 15th line from the bottom. In the Second Issue this error was corrected. Mr. Van Duzer states that there was a third issue, in which the error was restored and which can be detected by the watermarks in the paper. THE PAPER OF THE PRESENT COPY IS WITHOUT WATERMARKS. ORIGINAL DRAWINGS FOR THE WORKS OF CHARLES DICKENS, RARE ISSUES OF TENNYSON, ETC., ETC. THE PROPERTY OF AN ENGLISH BARONET NUMBERS 255-295 255 CRABBE (GEORGE). Original autograph verses, 4 pp., 8vo, dated Dec. 31, 1813 to Aug. 10, 1817. Comprising, in all, about 190 lines. 256 DE QUINCEY (THOMAS). Original proof of 3 pp. of ‘““Mod- ern Superstition,” with numerous corrections and additions in De Quincey’s autograph. With portrait. 68 257 DE QUINCEY (THOMAS). Original proof of 3 pp. of the 208 259 260 261 essay “On War,” one page of which bears extensive altera- tions and additions in De Quincey’s autograph. 12mo. ORIGINAL DRAWINGS BY CRUIKSHANK, “PHIZ,” SEYMOUR, LEECH, AND CATTERMOLE FOR “SKETCHES BY BOZ,” “THE PICKWICK PAPERS,” “A CHRISTMAS CAROL,” “OLIVER TWIST” “MARTIN CHUZZLEWIT,” AND “THE OLD CURIOSITY SHOP” NUMBERS 258-282 DICKENS (CHARLES). Original pencil drawing by George Cruikshank, for ‘Sketches by Boz,” ‘Horatio Sparkins.’ 7 inches by 414 inches. Mutual astonishment of the Maldertons and Mr. Smith, in the draper’s shop in Tottenham Court Road. IN THE UPPER MARGIN THE ARTIST HAS WRITTEN “Sketches by Boz,’ AND IN THE LOWER MARGIN HE HAS SIGNED HIS NAME. Original pencil drawing by George Cruikshank, for “Sketches by Boz,” ‘The Oyster Shop.’ 7 inches by 414 inches. A characteristic sketch showing the infatuated widower taking an oyster from the hands of the fascinating creature in blue. Original pencil drawing by George Cruikshank for “Sketches by Boz,’ ‘May Day in the evening.’ 7 inches by 414 inches. “Jack in the Green. My Lord drunk quarreling with his ‘muddy’ lady. The clown melancholy.” Original wash drawing by Robert Seymour, for “Pick- wick Papers,” ‘Mr. Pickwick in chase of his hat.’ 5 inches by 4 inches. Differing from the published plate only in the lesser detail with which the occupants of the barouche and the other spectators are treated. 69 262 264 265 266 Original wash drawing by Robert Seymour for ‘“Pick- wick Papers,” ‘Mr. Winkle soothes the refractory stud.’ 5 inches by 4 inches. Identical with the published plate, save that in the latter, trees have been introduced on the left side. Kitton states that the position of the horse’s forelegs is reversed in the plate; this is not true of the present drawing, which represents the horse in the same posture as in the published version, THUS THE DRAWING SEEN BY KITTON MUST HAVE BEEN A PRELIMINARY SKETCH, AND THE PRESENT ONE THAT FROM WHICH THE PLATE WAS ETCHED. Original wash drawing by Robert Seymour, for “Pick- wick Papers,” ‘The Dying Clown.’ 414 inches by 4 inches. THIS IS THE DRAWING WHICH, WHEN SUBMITTED TO DICKENS, SUG- GESTED THE CRITICISMS CONVEYED IN DICKENS’S ONLY KNOW LETTER TO HIS ILL-FATED ILLUSTRATOR. AFTER REDESIGNING THE PLATE, IN COMPLIANCE WITH DICKENS’S SUGGESTIONS, SEYMOUR COMMITTED SUICIDE. The present drawing is identical with the published plate, save in the details Dickens desired modified. It was upon this, the illustration for “The Stroller’s Tale,” that Seymour was engaged, in Dickens’s words, “up to a late hour of the night preceding his death.” [SEE ILLUSTRATION | Original wash drawing by Hablot K. Browne for “Pick- wick Papers,” ‘First appearance of Sam Weller.’ 6 inches by 414 inches. THE ORIGINAL EMBODIMENT OF SAM WELLER. Identical with the pub- lished plate save that no watch-chain dangles from the lawyer’s waistcoat; the unpleasant mongrel barking at Mr. Pickwick’s heels is, in the original drawings, a playful black-and-tan. — Original tinted drawing by Hablot K. Browne, for “Pickwick Papers,” ‘Mr. Bardell faints in Pickwick’s arms.’ 5 inches by 414 inches. Master Bardell’s head is down, as in the First State of the plate, although he kicks Mr. Pickwick rather more effectively. The orna- ments on the shelf differ slightly from either of the etched versions. Original wash drawing by Hablot K. Brown, for ‘“Pick- wick Papers,” ‘Mrs. Leo Hunter’s fancy-dress déjeuner.’ 714 inches by 6 inches. IN THE MARGIN IS THE FOLLOWING NOTE IN THE AUTOGRAPH OF CHARLES DICKENS: “J think it would be better, if Pickwick had hold of the Bandit’s arm. If, Minerva tried to look a little younger (more like Mrs. Pott, who is perfect) I think it would be an additional improvement.” This drawing differs materially from the published version: in the latter, although Mrs. Leo Hunter can hardly with truth be said to have “tried,” even, to look a little younger, she has, nevertheless, lost many pounds of flesh, and gained considerably in stature. [ SEE FRONTISPIECE ] 70 “THE DYING CLOWN” ORIGINAL WASH DRAWING BY ROBERT SEYMOUR FOR “THE PICKWICK PAPERS” THE LAST DRAWING HE MADE BEFORE COMMITTING SUICIDE [NUMBER 263] 267 268 269 270 271 Original wash drawing by Hablot K. Browne for ‘“Pick- wick papers,’ “The Unexpected breaking up of the Semi- nary for Young Ladies.’ 6 inches by 434 inches. In the published plate there is some slight difference in the trees, etc. framing the terrified Pickwick and the ladies. It is of high interest to note that this, the original drawing, shows the door WITHOUT THE BELL; the presence of the bell is said by Eckel to indicate the First Issue. Original wash drawing by Hablot K. Browne, for “Pick- wick Papers,” “The skating party.’ 7 inches by 5!/ inches. Arabella’s feet are placed as in the First State of the published plate; the dog is lightly drawn in pencil. Original wash drawing by Hablot K. Browne, for ‘‘Pick- wick Papers,’ ‘The first interview with Mr. Sergeant Snubbin.’ 614 inches by 5 inches. IN THE MARGIN IS THE FOLLOWING NOTE IN THE AUTOGRAPH OF CHARLES DICKENS: “J think the Sergeant should look younger, and a great deal more sly, and knowing—he should be looking at Pickwick too, smiling compassionately at his innocence. The other fellows are noble—C. D.” “Phiz’ has redrawn the Sergeant’s head in com- pliance with Dickens’s request. Original wash drawings by Hablot K. Browne, for “Pickwick Papers,” ‘The trial of Bardell vs. Pickwick.’ 7 inches by 514 inches. . Mrs. Bardell and her supporters are, as in the published version, as are the barristers, with the exception of Sergeant Buzfuz. Pickwick and Mr. Perker are separated by a greater distance than in the published plate, and Mr. Pickwick’s hat rests beside him on the bench as in the First State of the plate. ORIGINAL WASH DRAWING BY PHIZ WITH CRITICISM IN DICKENS’ WRITING Original wash drawing by Hablot K. Browne, for “Pick- wick Papers,” ‘Mr. Winkle’s situation when the door blew to.’ 814 inches by 6 inches. ; IN THE MARGIN IS THE FOLLOWING NOTE IN THE AUTOGRAPH OF CHARLES DICKENS: “Winkle should be holding the candlestick above his head I think. It looks more comical, the light having gone out. A fat chairman so short as our friend here never drew breath in bath. Would leave him where he is, decidedly. Is the lady full|y] dressed? She ought to be. C. D.” Upon comparing this drawing with the published plate, it is evident that the first suggestion has been acted upon; the lady, too, is, in the latter, a little more com- pletely dressed; but ‘“‘Phiz” lessened not a whit the Chairman’s short- ness or obesity: this exception, perhaps, proves the rule that Dickens’s wish, in matters of illustration, always prevailed. The two poles are not in line, as they are in the accepted First State of the plate, buy the shadow and the hat are distinct, with white space between them. 72 272 273 274 275 276 Original wash drawing by Hablot K. Browne, for ‘“‘Pick- wick Papers,’ ‘The Warden’s Room.’ 6 inches by 414 inches. The figure of “the Zephyr” has been touched in with white. There is no loop at the end of the clothes-line. Original wash drawing by Hablot K. Browne, for “Pick- wick Papers,” ‘Mr. Winkle returns under extraordinary circumstances.’ 7 inches by 51,4, inches. IN THE MARGIN IS A NOTE IN THE AUTOGRAPH OF CHARLES DICKENS. Unfortunately, the margin has been trimmed down removing the end-words of Dickens’s lines, and rendering them in their entirety unintelligible. The dishes on the closet shelves differ in arrangement from either of the published plates. Original wash drawing by Hablot K. Browne, for ‘‘Pick- wick Papers,” ‘The ghostly passengers in the ghost of a mail.’ 7 inches by 5 inches. te DICKENS’S HUMOROUS SIGNATURE IN THE MARGIN: “Charles Us , xX : Dickens.” The drawing is identical with the published plate. Mar The hamper is uncorded as in the First State of the plate. Original wash drawing by Hablot K. Browne, for “Pick- wick Papers,” Frontispiece. 8 inches by 5 inches. “PHIZ’S” ORIGINAL DRAWING FOR THE FRONTISPIECE TO “PICKWICK.” The footstool has three stripes; in the First State of the etching it has four and these increase in the Second State to six. Original pencil and sepia drawing by George Cruik- shank, for “Oliver Twist,” ‘The evidence destroyed.’ 9 inches by 6 inches. Monks is addressing: Bumble and his wife after throwing the papers down the well, to which he points. In the margins are two small sketches, also tinted with sepia. A SPLENDID EXAMPLE OF THE PRE- LIMINARY DRAWINGS ALMOST INVARIABLY EXECUTED BY CRUIKSHANK. The present drawing was in the artist’s collection. 73 277 —— Original pencil and water-color drawing by John Leech 278 279 280 281 282 283 for “A Christmas Carol,” ‘Scrooge’s Third Visitor.’ 534 inches by 314, inches. ONE OF THE FINEST OF LEECH’S FOUR EXQUISITE COLORED DESIGNS FOR THE FAMOUS LITTLE PIONEER AMONG CHRISTMAS BOOKS. ‘“‘A Christmas Carol” was the first of Dickens’s works illustrated by Leech, and the only one illustrated exclusively by him. [SEE ILLUSTRATION | Original pencil drawing by John Leech, for ‘“‘A Christ- mas Carol,’ ‘Mr. Fezziwig’s Ball.’ 514 inches by 4% inches. (A tear in the drawing has been repaired.) This charming little drawing shows no difference from the published plate. Original wash drawing by Hablot K. Browne, for “Martin Chuzzlewit,”’ ‘Mr. Pecksniff announces himself as the shield of Virtue.’ 7 inches by 414 inches. Matted with the etching. Original wash drawing: by Hablot K. Browne, for “Martin Chuzzlewit,” ‘Mrs. Gamp makes tea.’ 7 inches by 41% inches. Matted with the etching. Original pencil drawing by Hablot K. Browne, for “Martin Chuzzlewit,” ‘Mrs. Gamp proposes a toast.’ 7 inches by 414 inches. Matted with the etching. Original water-color painting by George Cattermole for ‘The Old Curiosity Shop,” ‘Little Nell reading the Bible in the old baronial chapel.’ 914 inches by 13 inches. Signed. The great novelist was deeply pleased with Cattermole’s designs; the artist’s representation of the old church in the village where Little Nell died was considered especially effective. This quaint building actually exists at Tong, in Shropshire, and was a favorite with both Cattermole and Dickens. Lithographed portrait of Dickens by Sol. Ee Tt inches by 9 inches. Above the facsimile signature, DICKENS HAS WRITTEN IN BLUE INK: “And so, as Tiny Tim observed, God bless us every one!’—the con- clusion of “A Christmas Carol.” This portrait was executed by the artist during Dickens’s last visit to Ameriea, the lithographic repro- duction, issued by Ticknor and Fields in 1868. -It is now seldom to be met with, according to Frederic G. Kitton. THE PRESENT COPY, INSCRIBED BY DICKENS, WAS REPRODUCED FOR THE FRONTISPIECE TO KITTON’s “Dickens and His Illustrators,” London, 1899, 4to. 74 ““SCROOGE’S THIRD VISITOR” ORIGINAL PENCIL & WATER-COLOR BY JOHN LEECH FOR “A CHRISTMAS CAROL” [NUMBER 277] 284 285 286 287 UNIQUE COPY OF “THE TRAVELLER” GOLDSMITH (OLIVER). The Traveller, or, A Prospect of Society. A Poem. Inscribed to the Rev. Henry Goldsmith. 4to, crushed red levant morocco, gilt fillets, inside dentelles, gilt edges, by Riviere (contemporary writing on title, and pp. 10 and 21, inner margins of title and first few leaves skilfully repaired). London: Printed for J. Newbery, 1764 A UNIQUE EXAMPLE OF THE GENUINE FIRST EDITION, OF WHICH BUT TWO COPIES ARE KNOWN, the Locker-Lampson Copy, in which the dedication is seven lines in length, AND THE PRESENT COPY, in which the dedication occupies four pages. IT IS GENERALLY THOUGHT THAT NO COPIES OF THIS 1764 ISSUE WERE ACTUALLY PUBLISHED. THE PRESENT EXAMPLE IS THE FIRST TO OCCUR FOR SALE IN AMERICA. [SEE ILLUSTRATION ] HOGG (JAMES). Original manuscript verses: “The Queen of France and James IVth,” 3 stanzas of 8 lines each; A.L.s., 1 p., 4to. ‘Aug. 8, 1824; fo his *daushterwe 3 pieces. FINE SPECIMENS of the autograph of the Ettrick Shepherd. [SHELLEY (MARY W.).] Frankenstein; or, A Modern Prometheus. 3 vols. in one, contemporary half calf (rub- bed, name on title of Vol. I). London, 1818 FIRST EDITION, with the half-titles to Vols. II & III. SOUTHEY (ROBERT). Joan of Arc, an Epic Poem. 4to, contemporary half calf (rubbed). Bristol, 1796 First EDITION. Inserted is an A.L.s. by Robert Southey, 2 pp., 4to, Keswick, Dec. 2, 1837, an interesting and personal letter, and two A.L.s. by Charles C. Southey, the poet’s son, 2 pp., and 1 p., respec- uy ely 8vo, March 26 and April 9, 1850, referring to his father’s etters. 76 THE mem AVE LLER, bh Lfh, OR TS bly PROSPECT of SOCIETY. A P O i M. INSCRIBED TO THE REV. HENRY GOLDSMITH. . BY OLIVER GOLDSMITH, M.B. LON DON: Printed for J. NEWBERY, in St. Paul’s Church-yard. -MDCCLXIV. [NUMBER 284] 288 TENNYSON (ALFRED, LORD). Timbuctoo. A Poem 289 290 which obtained the Chancellor’s Medal at the Cambridge Commencement, M.DCCC.XXIX, [Cambridge, 1829]; The Lover’s Tale, and Other Poems now first collected with a Monograph, London: Fifty Copies printed for Private Cir- culation, 1875. 2 pieces in one vol., 12 mo, half calf. [Cambridge and] London, [1829]-75 “Timbuctoo” has been extracted from a copy of the “Prolusiones Aca- demicae” of 1829, and the margins trimmed away (to the extent even of injuring the page-numbers) in order to bind it with the second work named above, Shepherd’s Third Pirated Edition of ‘‘The Lover’s Tale.” The latter is a Presentation Copy from Shepherd, inscribed in his autograph: “Wm. H. Doeg, Esq. With the Author’s kind re- gards. S. Hereford Square: Brompton, May 17/75.” Ode on the Death of the Duke of Wellington. 8vo, half red morocco, gilt tooled, uncut, original wrappers bound injwby Louk London, 1852 FIRST EDITION. INTERLEAVED WITH MS. NOTES BY RICHARD HERNE SHEPHERD, noting the extensive alterations and additions made by the author in subsequent editions. PRESENTATION COPY OF “THE WINDOW” TENNYSON (ALFRED, LORD). The Window. Or, The Loves of the Wrens. Woodcut of Canford Manor on title. Small folio, limp red morocco, gilt edges. Canford Manor, 1867 THE EXCESSIVELY RARE FIRST EDITION, printed at the private press of Sir Ivor Bertie Guest, by Lord Wimborne, Lady Layard, Lady Char- lotte Schreiber, and Mrs. E. Ponsonby. According to Slater, SIx, and according to Arnold, TWENTY-FIVE COPIES WERE PRINTED. THE PRESENT COPY CONTAINS AN UNDESCRIBED LEAF, PRECEDING THE TITLE, on which is printed: “For the Author, from the Printers. Christmas, 1867. Canford Manor.” THIS LEAF HAS BEEN INSCRIBED BY TENNY- SON: “John Simeon, from A. Tennyson.” IT IS THUS A PRESENTATION COPY TO TENNYSON FROM THE AMATEUR PRINTERS, LATER INSCRIBED AND PRESENTED BY TENNYSON TO ONE OF HIS MOST INTIMATE FRIENDS. [SEE ILLUSTRATION | 78 oe Jmem, ee Saran fie AUTHOR, FROM fee PRINTERS. CHRISTMAS, 186/7. CANFORD MANOR. FIRST EDITION OF TENNYSON’S “THE WINDOW” WITH INSCRIPTION IN HIS WRITING [NUMBER 290] ARTHUR HALLAM’S COPY OF THE “POEMS” OF 1830 291 Poems, chiefly Lyrical. 12mo, contemporary calf (rubbed), enclosed in a crushed red levant morocco slip case, by Riviére. London: Effingham Wilson, 1830 FIRST EDITION, with the misprint “19” on p. 91; “carcanet” on p. 72 is correctly printed. The work, as originally projected, was to have been the joint creation of Tennyson and Arthur Hallam. At the sug- gestion of Hallam’s father, the historian, Arthur Hallam withdrew his poems, as is well-known, and the volume appeared in 1830 con- taining only the 154 pages of Tennyson’s work. It is thought that Hallam had a few copies of his poems printed, and distributed them to his family and a very few friends. THE PRESENT COPY IS THE ONLY ONE KNOWN WHICH CONTAINS THE 174 PAGES OF HALLAM’S POEMS BOUND UP WITH TENNYSON’S; THE VOLUME IS THUS IN THE FORM ORIGINALLY PLANNED. A contemporary hand, probably that of Henry Hallam, has added the words “& Arthur Hallam” beneath Tennyson’s name on the title-page, and on the first page of the second part: “Poems, by Arthur Hallam, Esq.” Many pencilled notes throughout the volume (these also appear to be in the autograph of Henry Hal- lam, but of this it is impossible to be positive) indicate the persons to whom certain verses were addressed, e.g. F. H. Doyle, J. Milnes Gaskell, Richard Milnes, etc. In a footnote to Hallam’s “Timbuctoo,” originally composed for the Chancellor’s prize at Cambridge, the author refers to Tennyson’s poem of the same name and to the deci- sion, “which most justly, in my opinion, adjudged the prize to the poem of my friend, whose name is prefixed with mine to this volume.” It is thus evident that the printing of the volume had proceeded to an advanced stage, before the withdrawal of Hallam’s contributions. THAT THIS WAS HALLAM’S OWN COPY IS ATTESTED BY THE FACT THAT IT IS THE ONLY COPY IN EXISTENCE, BY THE INTIMATE KNOWLEDGE OF THE AUTHOR’S FRIENDSHIPS BETRAYED IN THE MS. NOTES, AND BY THE INSCRIPTION ON THE TITLE-PAGE, IN THE AUTOGRAPH OF HALLAM’S SISTER: “EH. H. F. from Aunt Julia, March 1859.” [Henry Hallam, the great historian and the father of the poet, died in January, 1859. He doubtless held this unique copy of his dead son’s only book, safe in his own keeping until his death, when, as may be seen by the presentation inscription quoted above, his daughter passed it on to a descendant.] IT IS DIFFICULT TO IMAGINE A FINER MEMENTO OF THE FRIENDSHIP WHICH INSPIRED “ IN MEMORIAM.” [SEE ILLUSTRATION ] 80 Parekh 1OF 9. POEMS, CHIEFLY LYRICAL, BY ALFRED TENNYSON. ad ARTHUR HATLAM. LONDON : EFFINGHAM WILSON, ROYAL EXCHANGE, CORNHILL. 1830. [NUMBER 291] 292 293 294 TENNYSON’S PROOF-COPY OF THE PRIVATELY PRINTED “THE VICTIM” WITH CORRECTION IN HIS HAND The Victim. Woodcut of Canford Mano. on title. Small folio, crushed dark red levant morocco, with rich rose borders, gilt tooled, sides all-over pattern of roses and bees, gilt tooled, centre medallions of same design with gilt let- tering: “The Flower for Me, the Honey for Thee,” inside gilt borders, doublures and fly-leaves of green silk, uncut, by Riviere (for S. M. Samuel, 1889). Canford Manor, 1867 PROOF-COPY OF THE EXCESSIVELY RARE FIRST EDITION, of which 25 copies were printed at the private press of Sir Ivor Bertie Guest, by Lord Wimborne, Lady Layard, Lady Charlotte Schreiber, and Mrs. EK. Ponsonby. IN THE SECOND STANZA THERE IS A CORRECTION IN THE AUTOGRAPH OF THE POET. — Lucretius. Small 4to, cloth, uncut. Cambridge, 1868 FIRST EDITION, of which it is said but 20 copies were issued. When the poem was reprinted in the “Holy Grail” volume, 1870, many altera- tions were made. AN IMPORTANT COLLECTION INCLUDING POEMS NEVER REPRINTED & PROOFS CORRECTED BY TENNYSON A. Volume of 75 Excerpts from “The Gem,” “Friend- ship’s Offering,” “The Keepsake,” etc., etc., neatly mounted with bibliographical notes added in manuscript by Richard Herne Shepherd. 4to, half red crushed levant morocco, gilt tooled, by Tout. A VOLUME OF HIGHEST BIBLIOGRAPHICAL INTEREST AND IMPORTANCE, for Shepherd, who compiled this great collection, has added in notes, the biographical and bibliographical circumstances of the appearance of each piece, variorum readings, etc. VIRTUALLY ALL OF THE PIECES ARE FIRST APPEARANCES, AND A LARGE NUMBER ARE FUGITIVE PIECES, NEVER REPRINTED. Among the more valuable we may single out for mention: RARE SEPARATE PULL of the verses which appeared in the “Examiner,” March 24, 1849 ORIGINAL PROGRAM of “The Promise of May,” Globe Theatre, 1882 THE ORIGINAL PROOF OF THE VERSES “HANDS AROUND” which appeared in the “Examiner” for Feb. 7, 1852. THE PROOF HAS MANY CORREC- TIONS AND ALTERATIONS IN T'ENNYSON’S AUTOGRAPH, AS WELL AS TWO LINES TO THE PRINTER, and the second stanza re-written in the auto- graph of Tennyson’s wife, and attached to the proof. THE POEM, IN ITS ORIGINAL FORM, WAS NEVER REPRINTED. SO COMPLETE A COLLECTION OF TENNYSONIANA PROBABLY HAS NEVER BEEN FORMED BEFORE; ITS EXHAUSTIVENESS BESPEAKS MANY YEARS’ PATIENT RESEARCH. Its possession would be an invaluable aid to one interested in unravelling the complexities of the innumerable altera- tions to which Tennyson subjected his work. 82 “THE NEWCOMES” WITH CORRECTED PROOFS OF CHAPTERS F-IIl 295 [THACKERAY (WILLIAM MAKEPEACE).] The New- 296 comes: The Memoirs of a Most Respectable Family. Edited by Arthur Pendennis, Esq. With illustrations on steel and wood by Richard Doyle. Bound up from the original parts, 2 vols., 8vo, crushed green levant morocco, gilt tooled with design of flowers and bees, with centre panel gilt lettered: “The Honey for Thee, The Flower for Me,” inside borders, uncut, with all the original wrappers and advertisements preserved, by Riviére. London: Bradbury and Evans, 1853-5 FIRST EDITION, BOUND UP FROM THE ORIGINAL PARTS. A SUPERB COPY, differing only in the following particulars from the Van Duzer colla- tion: Part I: lacks slip “The Governing Classes;” Part IV: advertise- ment of “The Edinburgh Guardian” is on green paper; Part VI: lacks sip “Familiar in their mouths,” the T. Madgwick slip is on pink paper; Part IX: advertisement of Waterton’s Press, 2 pp. only, “Opening of Crystal Palace” slip wanting; Part X: lacks Great Northern R.R. slip (as do many of the earliest copies); Part XIV: lacks Punch’s Pocket Book slip; Part XVI: lacks “Phiz” slip; Part XVIII: British College of Health slip with recto blank; Part XXIII- IV: wants “Newcomes Advertiser.” CHAPTERS I-III ARE INTERLEAVED WITH THE ORIGINAL GALEY-PROOFS, WITH NUMEROUS CORRECTIONS, ALTERATIONS, AND ADDITIONS IN THACKERAY’S AUTOGRAPH. ORIGINAL DRAWINGS BY AUBREY BEARDSLEY FROM THREE COLLECTIONS INCLUDING THAT OF MR. R. A. WALKER, EDITOR OF “SOME UNKNOWN DRAWINGS OF AUBREY BEARDSLEY” NUMBERS 296-308 BEARDSLEY (ANBREY). Original drawing for the Gro- tesque at p. 30 of Walter Jerrold’s “Bon-Mots of Sydney Smith and R. Brinsley Sheridan.” Size: 314 inches by 214 inches. AN EXQUISITE EXAMPLE OF BEARDSLEY’S DELICATE WORKMANSHIP AND BIZARRE IMAGINATION. This and the two following lots were formerly in the possession of Walter Jerrold, and were purchased by him at an exhibition held by Mr. Dent, the publisher of the book, in the early nineties. A note by his son I. B. Jerrold to this effect accompanies the present drawing. 83 297 298 Original drawing for the Grotesque at p. 144 of Walter Jerrold’s ‘‘Bon-Mots of Sydney Smith and R. Brinsley Sheridan.” Size: 4 inches by 314 inches. Signed with his mark, A FINE EXAMPLE OF BEARDSLEY’S WORK. Accompanied by a copy of the First EDITION of Jerrold’s book. Original drawing for the Grotesque at p. 162 of Walter Jerrold’s ““Bon-Mots of Sydney Smith and R. Brinsley Sheri- dan.” Size: 414 inches by 314 inches. Signed with his mark. A VERY CHOICE SPECIMEN OF BEARDSLEY’S WORK AT ITS FINEST. 299 300 oOL o02 o04 305 ( Original Pencil Drawing of a Young Child with a Cape, seated. Size: 614 inches by 334, inches. —— Original Pencil Drawing of a Woman, looking over her Shoulder. Size: 614 inches by 334, inches. With autograph note, signed. Original Pencil Drawing of Woman, in Costume. Size: 614 inches by 334 inches. Original Pen-and-Ink Drawing of Woman, in Costume, Profile. Size: 614 inches by 334 inches. Original Pencil Drawing of a Flower-Girl. Size: 614 inches by 334, inches. Original Pencil Drawing of a Woman in a Hood, Walk- ing, in Profile. Size: 614 inches by 33,4, inches. Original Vest-Pocket Note-Book belonging to Aubrey Beardsley, and filled with pen-and-ink and pencil sketches. 41 pp., 48mo, unbound. A FASCINATING LITTLE BOOKLET, filled with sketches of varied subjects, some with captions in Beardsley’s hand. One sketch, showing Beards- ley’s familiar conventionalized portrait of Oscar Wilde, with another, younger, face, is headed: “You and Oscar Wilde—You willain.” / C46 85 506 307 308 509 Original drawing for the cover-design of “The Cam- bridge A B CG, 1894. Size 11!% inches by 734, inches. Signed in lower left corner: ‘““Aubrey Beardsley.” Framed. (R. A. Walker Collection) Exhibited at The National Gallery of British Art, Millbank, London (Tate Gallery, October, 1923), and at Whitworth Institute, Man- chester, July, 1924. —— Original drawing of the Frontispiece to Vincent O’Sulli- van’s “Book of Bargains,’ London, 1896. Size: 514 inches by 314 inches. Framed. (R. A. Walker Collection) Exhibited at The National Society of Sculptors, Painters, and Gravers, London, October, 1913 (No. 155); The Inaugural Exhibition of the Print Room, Glasgow Art Gallery, June, 1921; The National Gallery of British Art, Millbank, London (Tate Gallery, October, 1923, No. 21); and at Whitworth Institute, Manchester, July, 1924. AN Ex- CEEDINGLY FINE DRAWING DONE IN WHAT HAS BEEN CALLED “BEARDS- LEY’S ANNUS MIRABILIS.” BEARDSLEY (AUBREY). Original drawing. Caricature of Whistler. Size: 8 inches by 4!4 inches. Mounted with mat. (Rk. A. Walker Collection) Exhibited at the National Gallery of British Art, Millbank, London (Tate Gallery, October 1923, No. 21), and at Whitworth Institute, Manchester, July, 1924. It was first published in Walker’s “Some Unknown Drawings of Aubrey Beardsley,” 1923. Mr. Joseph Pennell was present when this drawing was made. It was given by Beardsley to Mr. James Creelman and, at his death, was acquired by the late Sir James Shannon, and was later acquired by Mr. Walker. (See Pennell’s “Adventures of an Illustrator.’’) [SEE ILLUSTRATION ] ORIGINAL DRAWINGS. The Seven Ages of Woman: Seven pen-and-ink drawings by an anonymous artist, some- what in the manner of the illustrations in Godey’s “‘Lady’s Book.” Size: 6 inches by 9 inches. Matted and enclosed in a pigskin case. A very interesting and characteristic Victorian series of drawings, showing the influence of Leech, Du Maurier, and other illustrators of the period. 86 BEARDSLEY’S CARICATURE OF WHISTLER [NUMBER 308] LETTERS & BOOKS OF GEORGE MOORE JAMES HUNEKER & OTHERS THE PROPERTY OF MADAME CLARA LANZA NUMBERS 310-315 310 BROWNE (SIR THOMAS). Religio Medici, Hydriotaphia, and The Letter to a Friend. 12mo, red calf, gilt tooled, by Root. London, 1890 With the Marquise Lanza bookplate. 311 HUNEKER (JAMES GIBBONS). The Pathos of Distance. 12mo, cloth, uncut. New York, 1913 FIRST EDITION. Inserted is an A.L.s. by the author, 1 p., 8vo. Brook- lyn, Feb. 15, 718. To Marquise Clara Lanza, relating to George Moore: “ . the old Don Juan looks his age . . . but, after all, what’s the horror . . . he is worth the whole ship and crew of con- temporary English writers—Shaw, Bennett, & the rest. He will live . . only Joseph Conrad may be mentioned in the same breathe. 7.2 With the Marquise Lanza bookplate. JAMES HUNEKER WRITES ABOUT GEORGE MOORE’S BIRTH 312 HUNEKER (JAMES GIBBONS). Unicorns. 12mo, cloth, 313 uncut. New York, 1917 FIRST EDITION. Inserted is an A.L.s. by the author, 1 p., 8vo. Brook- lyn, Feb. 10, 718. To Marquise Clara Lanza, relating to the falsifica- tion of age by “artistic men—who are more feminine than women.” George Moore, according to Huneker, “was really born in 1857. The family records prove it. I was in Dublin in 1914 and Yeats told me; besides that Major-General Moore, an elder brother, was born in 1852. That clinches the matter . . .” Chopin, Heine, and Sarah Bernhardt are accused of having falsified their ages likewise. As a matter of fact, George Moore was born in 1858. (See Quinn catalogue.) With the Marquise Lanza bookplate. . MOORE (GEORGE). Memoirs of My Dead Life. 12mo, cloth (shaken). New York, 1907 FIRST AMERICAN EDITION, WITH THE PREFACE NOT IN THE ENGLISH EDITION. Inserted is an A.L.s. by the author, 2 pp., 8vo. Dublin, November 14, 1906. To Marquise Clara Lanza. “. . . I hawe told Mr. Sears to send you Memoirs of my dead life (you might have come into them) . . .” With the Marquise Lanza bookplate. 88 THE MOST INTERESTING LETTERS OF A MODERN AUTHOR EVER OFFERED 314 MOORE (GEORGE). Seven intimate autograph letters, signed, and two autograph letters. To the Marquise Ciara Lanza. From Freshcombe Lodge, Beeding, Sussex; 8 King’s Walk, Temple, London; and 4 Upper Ely Place, Dublin. July 17, 1888 to December 9, 1906. Altogether about 48 octavo pages. With envelopes. Of the two unsigned let- ters, one—the first of the series—has had the signature cut out, leaving the last page mutilated, but with nothing but the signature missing. The other letter is quite complete, and the signature was evidently omitted intentionally. George Moore has done nothing better in any of his books, in the way of character reading and character revelation, than will be found in some of the pages of these intimate personal letters, which are as frank as his “Confessions”, and more interesting, because more un- studied, than his “Impressions”. The first letter is a cordial acknowledgment of the unexpected note which initiated the correspondence. “To veceive such a letter from a distant country, and especially when it comes from a woman of culture is a rare and exquisite pleasure.” But with his cultivated business instincts he passes promptly to the question of an American edition of the “‘Confessions”, and he would like to place his new novel, “Spring Days’, though the book contains “a few passages which the chaste city of New York might take exception to’. The friendship and the note of intimacy develop rapidly in the ensuing letters. “J lve my quiet life in The Temple looking upon the scenes described in Mike Fletcher. Alas I am thirty seven or very nearly, (this in November, 1889, which should settle any doubt as to his age) the heart wears out and life is not so new or so joyous as tt used to be. I am happy only with my French friends and often think of going to Paris and settling there for good. I have a friend there whom I might marry but I cannot resign myself to the idea of mar- riage—I wonder how you did.” In the next letter he touches upon the sex questions that dominate his books. “You told me that. no one saw my letters and that I might write what I pleased. I will avail myself of the permission and tell you a thought which has been haunting me for the last few days and which seems to me to be new . . . I have been thinking of the sexual side of our friendship. The word startles you but there is no other word that expresses my meaning. For it is quite true that the friend- ship which sprang from intellectual sympathy, pure and simple, has become coloured and modified by the knowledge that you are a woman, by the sympathies of sex . . . You know as well as I know that. sex is full of mysteries and subtleties . . . For the really healthy sex never ceases and is full of a majesty unite unknown to the vulgar. You are to me always a woman . . . I see your hands and feet and the movement of your skirt, in fine you are a woman always to me and not a sexless idea. And you are too much a woman I feel swre to wish it otherwise. Search your own heart and ask yourself if you would take the trouble that you do take if I were a man.” (Sic: the omission of the negative is amusing.) A few months later he writes: “Your last letter . . . was so de- lightfully personal—you seem to have spilt your soul out on the pages. The human soul is what is most interesting in literature, I might even add in love—we cannot go to bed with souls it is true but—well a soul and a good figure go far to make the hours less harsh . as He gives his views on the women of the New and the Old World. “I do not think there is anything so attractive as an American lady. 89 315 English women and French women I understand as I understand myself but the American always remains to me the exotic; from long habit IT know what she will say on a given occasion, but of the condi- tion of her mind I know nothing . ...” And he adds: “J think that women do not reveal much of their inner natures to one another. I don’t believe that a really nice woman ever was very platonic do you?” In the concluding’ letter he discusses dogmatically a momentous ques- tion. “The intellect of the world, you see, has drifted away from Catholicism, intellectually it is a desert. Since the reformation Catho- lics have not produced a book—that is hardly an exaggeration . . . The only Catholics who produce books at all are converts for they retain something of the original liberty.” However debatable his opinions may be, they are certainly interesting and interestingly expressed. THE PRESENT SERIES OF LETTERS, PRO- VOCATIVE, SUGGESTIVE, ILLUMINATIVE, SHOULD BE INVALUABLE TO A MOORE COLLECTOR, ENTHUSIAST OR CRITIC. WILDE (OSCAR). Photo by Sarony, N. Y., 1882. Size: 12 inches by 7 inches. Sepia. Pasted at the foot is Wilde’s signature, cut from a birthday book. ASSOCIATION COPIES NUMBERS 316-322 316 BLINDED SOLDIERS AND SAILORS GIFT BOOK (THE). Edited by George Goodchild. Frontispiece in colors by Hugh Thomson, and other illustrations, some in colors. Ato, cloth (binding soiled). London, n.d. FIRST EDITIONS. Contains contributions by Wells, Galsworthy, Ches- terton, and others. 317 INSCRIBED COPIES. List of the Writings of William 518 Hazlitt and Leigh Hunt (Ireland), London, 1868; lo in Egypt and Other Poems (Garnett), 1859; Yesterdays with Authors (Fields), Boston, 1872; Garcia the Centenarian (Mackinlay), Edinburgh, 1908; Subjective Concepts of Hu- es (Donnelly), New York, 1922. 5 vols., 8vo and 12mo, clot FIRST EDITIONS, EACH INSCRIBED BY THE AUTHOR. INSCRIBED COPIES. The Pocket R.L.S. (Hughes), Lon- don, 1907; Harp and Sickle (Watson), Bristol, [1922]; The Art of Biography (Thayer), N. Y., 1920; Sonnets of Shakespeare’s Ghost (Thornton), Sydney, 1920; The Forces (Morrison), N.p., [1919]; Letters to Somebody (Wilson), 1922. 6 vols., various sizes and bindings. FIRST EDITIONS. FE:ACH INSCRIBED BY THE AUTHOR, 2 have A.L.s. by the authors inserted. Two are inscribed to Sir George Trevelyan, and two to Gilbert Chesterton. 90 319 320 O21 D22 323 324 KROPOTKIN (PETER). Memoiren eines Revolutionars. Portraits. 2 vols., 12mo, cloth. Stuttgart, 1900 PRESENTATION copy. Inscribed by the author on half-title: ‘To Reginald Smith, Hsq. with kindest regards. P. Kropotkin.” MACFALL (HALDANE). Sir Henry Irving. Portraits by Histing, Bath, and Gordon Craig. 12mo, wrappers. Edinburgh, 1906 FIRST EDiTION. PRESENTATION COPY FROM THE AUTHOR, with a long inscription relating to the present book. R.TUSKIN] (J.[CHN]). Poems. J. R. 12mo, cloth (back faded, corners worn). N.p.: Collected, 1850 THE EXCESSIVELY RARE PRIVATELY PRINTED FIRST EDITION. PRESENTA- TION COPY, inscribed on fly-leaf (which has been cut out and re- inserted): “M. C. from the author, by W. H. H.[arrison] 16 Oct. 1854.” With the Edith M. Cave-Browne bookplate, and her inscrip- tion beneath Harrison’s. RUSKIN’ (JOHN). Sesame and Lilies. 12mo, cloth, gilt edges (shaken). London, 1865 FIRST EDITION. Inscribed on half-title: “Marianna Constable, with W. H. Harrison’s Love, 1865.” With the Edith M. Cave-Browne book- plate. BOOKS FROM THE LIBRARY OF A NEW YORK COLLECTOR NUMBERS 323-340 ALCIATI (ANDREAE). Emblemata cvm Commentariis Clavdii Minois I. C. Francisci Sanctii Brocensis & Notis Lavrentii Pignorii Patavini. Engraved frontispiece and 213 emblematic cuts. Thick 4to, crushed crimson levant morocco, gilt back, line borders on sides, gilt edges, by Chambolle-Duru. Patani seb lozziumer 621 A MOST DESIRABLE COPY OF THIS EDITION, WITH THE VIGNETTES IN BRILLIANT STATE. With the Robert Hoe bookplate. ALDINE PRESS. M. Tvllii Ciceronis Orationvm. Cum cor- rectionibus Pauli Manutii. Aldus’s device on titles and last leaves. 3 vols., small 8vo, maroon morocco, arms of Lord Leigh on all backs, Aldus’s device on covers, gilt tooled, gilt edges, backs faded). Venetiis: [Paulus Manutius,] 1504 FINE COPY OF AN ATTRACTIVE SPECIMEN FROM THE ALDUS PRESS. With the Lord Leigh bookplate. 91 320 O26 397° [BARHAM (R. H.).] The Ingoldsby Legends; or, Mirth and Marvels. By Thomas Ingoldsby Esquire. Engraved title-pages (that for Vol. 1 being in facsimile), engraved plates by John Leech, George Cruikshank, and others. 3 vols., 8vo, crushed crimson levant morocco, gilt fillets on backs and sides, uncut, original covers preserved, by Mor- rell. London, 1840-2-7 A FINE CLEAN COPY OF THE VERY RARE FIRST EDITION, with the verso of p. 286, and the slip intact. A MASTERPIECE BY THE CLUB BINDERY BINDING. Daniel (Samuel). The First Part of the Historie of England. Architectural title. 4to, crimson levant mo- rocco, back panelled with interlaced strap-work in dark green morocco and inlays of buff morocco, richly gilt tooled, sides with elaborate borders and arabesques of interlaced strap work in dark green morocco, and geometrical inlays of buff morocco, the whole covered with gilt tooling of ex- quisite delicacy, doublures of crushed crimson levant mo- rocco, with the monogram “RH” gilt tooled, delicate inside gilt borders, marbled fiy-leaves, by the Club Bindery, dated 1907, and signed by Leon Maillard, Finisher (slight repairs to first three and last two leaves). Enclosed in a half mo- rocco slip-case. London: Nicholas Okes, 1612 THE VERY RARE FIRST EDITION, with the genuine blank leaves. The Errata quaintly states: “And (if I liue) after this priuate impres- sion, which is but of a few coppies for my friends, I will amend what is amisse . . .” THE BOOK IS IN A SUPERB BINDING, ONE OF THE FINEST OF MODERN TIMES. Inserted are two portions of A.L.s. by H. Hardy and Leon Maillard, of the Club Bindery, stating that this is. one of the most magnificent and difficult bindings they have executed. With the Robert Hoe bookplate. [SEE ILLUSTRATION | BINDING Morris (William). The Story of Sigurd the Vol- sung and the Fall of the Niblungs. 8vo, russia, back pan- elled and tooled in gilt and blind with leaves of green mo- rocco inlaid at corners, sides with fine lettered border, gilt tooled, leaves of green morocco inlaid at corners, sides blind and gilt tooled, with semis of small olive dots within gilt circles, and front centre-ornament of leaves and Canterbury Bells inlaid in green and white morocco, gilt tooled, inside gilt fillets, gilt edges on the rough, by D.[ouglas] C.[ock- erell], 1901. Enclosed in a blue levant morocco solander case, gilt tooled. London, 1877 FIRST EDITION. One of 25 copies on Large Paper. A SPLENDID EX- AMPLE OF COCKERELL’S WORK. 92 FINEST BINDINGS 1D) EXECUTED BY THE CLUB BINDERY ONE OF TH EVER ERT HOE [NUMBER 326 | FOR ROB 328 O29 300 Bo2 BLOUNT (SIR THOMAS POPE). De Re Poetica: or, Re- marks upon Poetry. With Characters and Censures of the Most Considerable Poets, whether Ancient or Modern Ex- tracted out of the Best and Choicest Criticks. Small 4to, beautifully bound in full maroon levant morocco, gilt fillet panels on back, interlaced 4-fillet border on sides, marbled fly-leaves, gilt edges, by Gruel. In a black morocco slip case. London, 1694 A SUPERB COPY OF THE First EDITION. With the Robert Hoe and H. V. Jones bookplates. BROOKE (FULKE-GREVILLE, LORD). Certaine Learned and Elegant Workes of the Right Honorable Fvlke Lord Brooke, Written in his Youth, and familiar Exercise with Sir Philip Sidney. Folio, crushed citron levant morocco, in- lays of black and white and broad borders of green in mo- saic, richly gilt, gilt edges, by the Club Bindery. In a crushed black levant morocco solander case. London, 1633 A SUPERB LARGE PAPER COPY OF THE FIRST EDITION, measuring 10% 6%4 inches. As usual pp. 1-23 are missing, for it is believed they con- tained a poem “Of Religion,” which was suppressed by order of Archbishop Laud, and which oe not appear again until 1670. With the Robert Hoe bookplate. | COLERIDGE (SAMUEL T.). The Watchman. Nos. I-X. 8vo, crushed brown levant morocco, Jansen style, inside gilt borders, gilt edges, by Riviere. Bristol, 1796 FirST EDITION. A FINE AND COMPLETE SET. This periodical, launched “that all might know the truth, and the truth might make us free” contains about thirty-five poems and articles by Coleridge. HERBERT (GEORGE). Herbert’s Remains. Sundry Pieces of that Sweet Singer of the Temple, Mr. George Herbert. Now exposed to publick light. 12mo, brown morocco, gilt tooled, sides with panels and fleurs-de-lys at corners, gilt edges. (old name on title). London: Printed for Timothy Garthwait, 1652 First EDITION. VERY RARE. A FINE COPY, with the second title, “A Priest to the Temple,” which is often wanting. “Jacula Prudentium,” London, 1651, with separate title and pagination, is bound in at end. With the Herbert C. Marsh and the Beverly Chew bookplates. HUNT (LEIGH). Poetical Works. 8vo, crushed green levant morocco, gilt back, line borders, inside dentelles, un- cut, by Riviere. London, 1832 CHOICE COPY OF THE FIRST EDITION. 94 Doo B00 306 oot KEATS (JOHN). Lamia, Isabella, The Eve of St. Agnes, and Other Poems. 12ro, crushed blue levant morocco, gilt back, line borders, inside dentelles, gilt edges, by Riviere. A SUPERB COPY OF THE RARE FIRST EDITION, WITH THE HALF-TITLE. LOCKER -LAMPSON (FREDERICK). London Lyrics. Frontispiece by George Cruikshank. Photograph of the author inserted. Small 4to, crushed crimson levant mo- rocco, gilt back, gilt panelled sides, with intertwined leaf sprays, butterflies and shells; doublures and end leaves of brocade silk, gilt on the rough, by Lortic. In a morocco bound slip case. London, 1857 VERY FINE COPY OF THE FIRST EDITION IN A HANDSOME BINDING. In- serted is a 2 pp. A.L.s. of the author in reference to some autograph letters of John Locke. SHELLEY (PERCY BYSSHE). Rosalind and Helen, a Modern Eclogue, with Other Poems. 8vo, crushed light blue levant morocco, gilt back, elaborate gilt panelled sides, with delightful ornamentation, inside dentelles, uncut, by the French Binders. In a half brown levant morocco slip case, chamois lined protecting covers. London, 1819 A SUPERB COPY OF THE RARE FIRST EDITION, WITH THE HALF-TITLE AND THE LEAVES OF ADVERTISEMENTS AT THE END. SWINBURNE (ALGERNON C.). Atalanta in Calydon. A Tragedy. 4to, crushed crimson levant morocco, gilt back, gilt panelled sides, with spirals of leaf sprays, interlaced fillet borders, and corner ornaments; doublure of crushed green levant morocco, gilt ornamentation surrounded with an interlaced inlaid border, end leaves of green China silk, uncut, by Birdsall. In a half brown levant morocco slip case, and chamois lined protecting cover. London, 1865 THE RARE FIRST EDITION IN A MOST SUMPTUOUS AND PLEASING BINDING. TENNYSON (ALFRED LORD). Poems Chiefly Lyrical. 8vo, crushed crimson levant morocco, gilt back, line borders, inside dentelles, uncut, by Riviére. London, 1830 A SUPERB COPY OF THE RARE FIRST ISSUE OF THE FIRST EDITION, with p. 91 numbered 19, and “carcanet” on page 72. 95 D8 Dod O40 Idylls of the King. 12mo, crushed light blue morocco, back panelled and gilt tooled, sides diapered with hare-bell design, inside gilt borders, uncut, with the original green cloth covers bound in, by Riviere. Enclosed in a crushed dark blue morocco solander case, gilt tooled. London, 1859 AN EXQUISITELY BOUND COPY OF THE VERY RARE EARLIEST ISSUE OF THE FIRST EDITION, with the advertisements dated January, 1859, and WITHOUT THE PRINTER’S IMPRINT ON VERSO OF TITLE. WHITE (GILBERT). The Natural History and Antiquities of Selborne, in the County of Southampton. Hngraved plates. 4to, crushed olive levant morocco, gilt back, gilt fillet sides, inside dentelles, gilt edges; doublures and end leaves of green China silk. London, 1789 VERY FINE COPY OF THE RARE FIRST EDITION, WITH THE RARE LEAF OF ERRATA. The Bird plate, usually missing, is present, and on account of a former break in the fold, has been skilfully backed with gauze. THE MOST REMARKABLE SPECIMEN OF MODERN BOOKMAKING CERVANTES SAAVEDRA (MIGUEL DE). El Ingenioso Hidalgo don Quixote de la Mancha. Title printed in black and red within woodcut border, fine woodcut initials in red, some brilliantly wluminated in colors and silver. 2 vols., Ato, bound in cork. In a cloth case. San Felio de Guixols: Eudaldo Lanibelli, 1905-6 ONE OF 52 COPIES PRINTED WHOLLY ON CORK, AT THE TRI-CENTENARY OF THE FIRST EDITION. THE WORK IS A MARVEL OF TYPOGRAPHICAL SKILL AND BEAUTY, having been printed on both sides of 875 leaves of genuine cork. The soft texture of the cork sheets greatly enhances the beauty of the splendid letter-press and illumination, the latter especially possessing very unusual brilliance. Printed in black letter, in the style of the First Edition, with the date, 1605, and the Cas- tilian arms on the cover. THE ENTIRE WORK WEIGHS BUT TWO POUNDS AND NINE OUNCES. Not any of the public libraries of America pos- sess a copy. ORIGINAL CARICATURE DRAWINGS BY CARUSO CARUSO (ENRICO). Sketches of those connected with the Metropolitan Opera House: the ticket-seller, the pages, the orchestra, the prompter, the hair-dresser, the Director’s stenographer, supers, the stage carpenter, etc. 20 pieces. Caricatures of Franko, Max Hirsch, Pfeiffer, and other Metropolitan notables and habitués. 12 pieces. Caricatures of Heinrichs, Archibald Henderson, Melt- zer, and other Metropolitan notables and habitués. 12 pieces. Caricatures of Conried, Weil, and other Metropolitan notables and habitués. 12 pieces. 96 O45 346 47 548 349 350 B51 Caricatures of Schindler, Voghern, and other Metro- politan notables and habitués. 11 pieces. Caricatures of Dufriche, Vigna, Weil, and others. One in colors, all are signed. 6 pieces. more aires Ole Scotti: in ~“losca.” ““Haust,”. and ‘in street-clothes. One in colors. 3 pieces. Caricatures of various singers in character. All are colored. 5 pieces. Pa wearicauure of Himself in “La Boheme,” Caricature of Himself in “Rigoletto.” (edges slightly torn). Caricature of Himself in “The Barber of Seville.” In colors, signed. 97 352 ——— Caricature of Himself in Formal dress: 358 —— Caricature of Himself in “Tosca.” In colorsiesionea: 354 ——— Caricature of Himself in ‘‘Elisir.” (edges frayed). 355 ——— Caricature of Himself in costume. Colored and signed. 356 Caricatures of Plancon in “La Favorita,” “La Sonam- bula,” “Faust” (two caricatures, one on colors but torn), and in “‘La Gioconda.”’ One signed. 5 pieces. 307 Caricatures of Mme. Alten as Gretel (two caricatures, one in colors), also in “La Boheme,” and in street-costume. 4 pieces. 358 Caricatures of Knote in “Siegfried.” 2 caricatures, one colored and signed. 359 Caricatures of Begué in costume and in street-clothes. 3 pieces. 360 Caricatures of Olive Fremstadt in “Parsival,” in re- hearsal, and in street-costume. 3 pieces. 361 Caricature of Scotti in “La Favorita.” In colors, signed. 362 Caricatures of Be Sembrich, Rossi, and others. 10 | pieces. 363 Caricatures of Knote, Journet and his wife, and others. 10 pieces. 364 Caricatures of Emma Eames and her husband, Louise and Sidney Homer, Mme. Rappold, and others. 10 pieces. 365 Caricatures of Melba in ‘‘La Bohéme” and in street- costume. Both are in colors and signed. 366 Caricatures of Gadski and others in Wagnerian roles. Two are in colors and signed. 8 pieces. 367 ——— Caricatures of Rossi and others in “Tosca.” 6 pieces. 98 ee De ee lem! ee et ne —- TO THE ANDERSON GALLERIES [TELEPHONE REGENT 0250] PARK AVENUE AND FIFTY‘NINTH STREET, NEW YORK PLEASE BUY FOR ME AT YOUR SALE NO.__._ SESS ON SSSSSCFST OFF? THE FOLLOWING LOTS AT NOT. EXCEEDING THE PRICES NAMED, WHICH ARE SO MUCH PER LOT. THESE BIDS ARE MADE SUBJECT TO THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE OF THIS SALE. NAME____ ADDRESS SHIPPING DIRECTIONS 0 i , il LOT FIRST WORD BID LOT FIRST WORD BI t il MAKE YOUR BIDS ON THIS SHEET FOR ONE SALE ONLY. TERMS CASH. REFERENCES OR CASH DEPOSIT REQUIRED WITH ORDERS FROM STRANGERS. | ee aan tr 1OR8e.) aapega postin pouM o¢ SKA HOIUWw Ug AK 287LRY HHT OM eee A OA ARM i 6 |i CETUIAS Uiaz 10 BiOATTAKOD HT, i Tosiaue: wane he t= sper he my ve ot ey ttene ap sind tidy 4 { ae Meo aks a Cah ae 4 ha -a el Mite J hie? * we we ot ee aw rm r+ i Ca Oe Wg none m = 4 wr i: ‘ 4 ‘ 4 i < 4 Be a - f ry _ ¥ Qugurncy een bey - = * rs ae stiedinai Tcemiaiiaiiea iene cake ae t fia bile) LOVE MSR os abstr WV $1, ae ap te a creme nnn > ane . : (Lan Sorta 8 nee oe, est dems onan r! . ‘ a ay } yd +s : bay | } ae | s { i ’ ‘ ‘ na ; t . - oa | ‘ ' ; Hehcttne ee 4 ~ ma # ae secant glee & i] * { . ‘ ‘ $a. ee 1 acta ell etal Bk 1) he, , + = 4 se few ey eee! « Ca ve ie ees a ny} . r ‘2 “ + ory 7 ik i ; " ; ‘ 1 — ~ a PES See . 2 : o j Wee bay tak GA eae td mene nen * . wii che wr & waa dhe p he : orrth ; 4 i ! ‘ : } t i ae ee are | ~ ie ae “ se ramus Mimosa SoU ee md te pe nd ante aceinn t ‘ $4 : é \ i ’ } | } ; ' i in ee : 7 4 n 3 a. i t it 14 ‘ i forte velit he se . . we - 7 a een Sey eee Se hee tore Wy it j : > t i 4 , Bd i ‘| f f \ a a . : ~~ * Ht j nn Bs Stes — 4 K pspa er a vt Ca apne tame oe = sate emitters nang ate sel ; ' p fi } : ' J ath hn te hey SiN i Sa ‘ ks é 4 ee an i Ta bee apc i ee 2 i , f b . ; " : } : ee a rate a “sai : Me f oo SMA BLAS 80. R08 raxue ent wo actiet MTIWE GEMUNS A Towa H2AD AG. hi * satin re ARTE Mort wu \ Tages Petey freses ir) ~OUFULUYV y ok GGkes ey here codes ever an ah A FROM THE WILL OF EDMOND DE GONCOURT [TRANSLATED |] @ My wish is that my Drawings, my Prints, my Curiosities, my Books—in a word, these things of art which have been the joy of my life—shall not be consigned to the cold tomb of a museum, and subjected to the stupid glance of the care- less passer-by; but I require that they shall all be dispersed under the hammer of the Auctioneer, so that the pleasure which the acquiring of each one of them has given me shall be ~~ given again, in each case, to some inheritor of my own tastes. 9 cde adams or THE ANDERSON GALLERIES - [MITCHELL KENNERLEY, Presipent] PARK AVENUE AND FIFTY-NINTH STREET NEW YORK ee tae SC 490190150 Yer Gi. ea 4 pa i , He¢~oe OEHM_POAIHO POF ,OOMDWGHABAe,HAIOL CEO ig) NA ,SHOTOC POAT APMsOHOP,sHO EH SC BOS piel PITY Pye 4 . - . oh CS A a - ‘4 ‘ fa. ” . “~” aa “« ey , Aa as ‘ '- as eh « fi REG p ¥, " ” v7 7 r. ae va . v7 v vt, ¥. z 4 y r. ef AR Y.# N.7 Wt Ne, Viv . ~ voles VUve VFeOovidvivrutlyula OS SIVYOEVLEVYS GY we bd & ere inte Pie) fore voloul Oe x Raita : @ aie Bie) iF OI Ole 5° OXF Gis Ole 's PN > 4 Be S Ps. pm x ‘zy iz OI OT, WITU Hog 50 ates, | A “ ew hat as ‘oy HA,gqa C4950 Of Pye tN BS p is ; x LA « ao De age ‘S s f es an 9e75¢c aon 50490 HA;nf peiaerromentiren 904908 Ae i, . ae , Pi ‘Zz e a fs pa - iS) at a “ SC