CATALOGUE 55

Fifty plus Five

Justin G. Schiller, Ltd.230 Park Avenue, 10th Floor

New York, NY 10169

Telephone: 212 551-1746eMail: early@childlit.com

http://www.childlit.com

Justin G. Schiller, Ltd.230 Park Avenue, 10th FloorNew York, NY 10169 U.S.A.

Telephone: 212 551-1746; eMail: early@childlit.com; http://www.childlit.com

Catalogue 55 Spring 2010

Fifty plus FiveBooks, Manuscripts and Original Drawings

Offered for sale byJustin G Schiller Ltd

Established in 1959 as a proprietorship, our first catalogue issued in 1960 and incorporated ten years later, Justin G Schiller Ltd is the oldest antiquarian book firm in the United States continu-ously specializing in rare and collectible children’s books in all languages and covering all time periods.

Our prime criteria focus on the development of juvenile literature worldwide and related educa-tional movements, but we also extend into older subjects of overlapping interest – often the un-usual rather than what might be expected. We issue catalogues on an infrequent basis, selectively exhibit at both national and international book fairs, and work regularly to assist clients in many countries with collection development, agent representation at auctions, and appraisal services within our fields of expertise.

All material offered for sale is warranted authentic as described by us, under the guidelines of the International League of Antiquarian Booksellers. Books have been carefully collated as to com-pleteness and bibliographical accuracy, and original drawings and manuscripts are guaranteed to be genuine as detailed.

Prices quoted are in U.S. Dollars and title of ownership transfers only upon the receipt and clear-ance of full payment. Libraries and institutions can be invoiced with deferred billing upon request. Residents of New York State, New Jersey and Connecticut are required to add applicable Sales or Use Tax unless otherwise exempt (new regulations require that appropriate exemption forms be on file no later than 90 days from the date of ordering or the purchaser will be liable for this additional payment prior to the transfer of ownership).

The items listed here may be inspected at our shop Monday thru Friday, 9:00 AM to 4:00 PM, although prior appointment is required for security clearance.

We are always interested in considering the purchase of significant children’s book materials, and lists of similar desiderata will be reviewed if we can assist in locating such items for your collec-tion. Thank you for your interest.

Justin G SchillerRaymond M Wapner

Gregory C GillertDennis M V David

© 2010, Justin G Schiller, Ltd

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Reynard in Denmark1. (REYNARD THE FOX) En Ræffue Bog, som kaldes paa Tyske Reinicke Foss, Oc er en deylig oc lystig Bog met mange skønne Historier, lystige Rim, Exempel, och herlige figurer, som aldri føre haffuer værid, paa Danske, nu Nylige fordanskit. [“A Fox book, which is called Reinicke Foss in German, a wonderful and merry book with many wonderful stories, merry rhymes, examples, and lovely figures, which has never, until now, been translated into Danish”]. Lübeck: printed by Jørgen Richolff, 1555. Title-page with an elaborate pictorial border, full-page portrait of King Christian III on verso of the title-page + 43 full- and half-page woodcut illustrations comprising mirrored copies after German designs by Erhard Altdorfer, also many smaller woodcuts in the text. 8vo, [viii] + CCXCI [but actually 290: numeral “CC” skipped in pagination error] + [17] leaves (preliminary leaf [a5] with two small holes affecting a few words but wholly legible, leaf [R8] with minor marginal tear repaired, signatures V + Qq out of sequence but complete [see below], occasional light soiling or marginal staining but overall a very clean copy, endpapers renewed), its fore-edges decoratively stained; recased in a handsome 16th century full vellum binding (original?), the title hand-lettered on its spine. $30,000.First edition of the first Danish-language edition of Reynard the Fox, comprising an original verse translation by Herman Weigere (which has been called “the first major Danish literary work”). Appropriately the translator has set these stories within Danish locations (e.g., for the lion, King Nobel, holds court in Lemvig). Our superb woodcut illustrations are based on designs by Erhard Altdorfer which had appeared in two earlier Low German editions printed in Rostock by Ludwig Dietz (1539 and 1549); our printer did not use these woodblocks, but instead produced fine mirrored copies. Apparently these were then employed in the 1656 second Danish edition (Copenhagen). Our title leaf is followed by a 12 page Foreword dated 20 September 1554 and a 2 page introductory poem, both signed by Weigere (the latter with his initials). The Reynard text covers 580 pages, followed by a 33 page Index, plus a colophon on the final page. Overall, a very attractive copy of an important and uncommon version.Collation: [a8], A-Oo8, Pp4, Qq8 [including final blank]; signatures V and Qq are out of sequence (i.e., V1, V2, [V5], [V6], V3, V4, [V7], [V8]; signature Qq repeats the same pattern: apparently in both cases the two middle bi-foliums are reversed). Nielsen, Dansk Bibliografi 1406.Aside from copies in the Danish Royal Library, we have located 3 in the UK (Cambridge, National Library of Scotland, and British Library) and 3 in America (NYPL, Yale and Harvard).

“he was never without some book or other in his hand”2. [EVELYN (John), translator]: THE GOLDEN BOOK of St John Chrysostom, concerning the Education of Children. Translated out of the Greek by J E Esq. London: printed by D[avid] M[axwell] for G Bedel and T Collins,1659. Title with engraved vignette incorporating the translator’s initials; title-page printed in red and black. 12mo, [42]90pp + [6] Notes, with blank leaf [a12] but lacking two additional preliminary blanks [A1, A2] (first several leaves with light damp-staining); 18th century calf, spine gilt with decorated compartments (rubbed, discoloration on fron cover). $9,500.First edition, the scarcer state with the translator’s initials inside an engraved vignette on title-page (rather than the initials in letterpress, no priority established). It was published as a monument to Evelyn’s son Richard, who died at the age of five in January 1658. The text is preceded by a fascinating 36pp “Epistle Dedicatory” in which Evelyn expresses his grief over the death of his son (“my tears mingle so fast with my inke that I am forced to break off here”), and gives a detailed account of the child’s education:

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“He was taught to pray as soon as he could speak, and he was taught to read as soon as he could pray. At three years old he read any Characters or letters whatsoever used in our printed Books … and had gotten (by heart) before he was five years of age seven or eight hundred Latine and Greek words … To tell you how exactly he read French, and how much of it he understood, were to let you only know, that his Mother did instruct him without any confusion to the rest [and so on]”.

The main text itself is a translation of a homily by St John Chrysostom (the “golden-mouthed”) written circa 386-387 (“The Right Way for Parent’s to bring up their Children”), and first printed in the original Greek, Paris 1656. It preaches the importance of shaping a child’s mind in virtue, and stresses Biblical study. John Evelyn (1620-1706) was a remarkable figure, an original member of the Royal Society, an author with wide-ranging interests (combating London smog, mezzotint printing, the cultivation of trees, numerous translation, &c), as well as a diarist of great historical importance.Keynes 13 (“perhaps the most personal and attractive of all Evelyn’s publications … extremely uncommon”); see M L W Laistner, Christianity and Pagan Culture (1951), which reprint’s St Chrysostom’s text.

the 2nd English Comenius3. COMENIUS (Johann Amos): Orbis Sensualium Pictus … Comenius’s Visible World. Or A Picture and Nomenclature of all the chief Things that are in the World; and of Mens Employments therein ... most suitable to Children’s capacities ... & translated into English by Charles Hoole. London: Printed for J Kirton, 1664. Portrait frontispiece, 2pp with 24 small engravings having English & Latin captions [images on second page weakly printed] + 142 (of 153) copperplate illustrations. 12mo, [8]ff including frontispiece portrait, 309 +[11]pp but lacking 11 leaves (see below); contemporary sheep, ruled in blind (foot of spine chipped, front inner hinge separated). Modern leather-backed slipcase, spine gilt lettered. $12,500.Second English edition of this education landmark, considered the first picture-book for children. The original edition (in German and Latin), illustrated with woodcuts, was published in Nuremberg 1658. Quickly translated into English the following year, the first two Hoole editions were printed by Joshua Kirton employing identical copper-engravings; both printings are excessively rare and nearly unobtainable. These plates are believed to have been destroyed in the Great Fire of London in September 1666 as later editions copied these designs but lack the detail and subtlety found in these original plates’ earlier version. When the fire initially started on 2nd of September, Kirton (and other booksellers) deposited their entire inventory for safekeeping at Stationers’ Hall off Ludgate Hill and in the churches of St Faith and Christchurch in Newgate Street. Tragically, all these buildings were consumed in the fire. Pepys suggests in his diary that Kirton’s death the following year was from “grief for his losses by the fire” (11 November 1667) – Josuah Kirton had been Pepys’ principal source for books during the 1660s. Collation: arabic numerals 220 and 221 are repeated (while 222 and 223 are skipped), roman numeral LXIII is repeated (throwing off all the remaining numbers), roman numerals LII, LXVII, and CXXII are repeated (but with subsequent numbers corrected), roman numerals LXXXII and CXIV are misnumbered (LXXXIV and CXVI, respectively), XCI is unnumbered, and the engraving at p158 (i.e., LXXVII = “Horologia”) is printed upside down. This copy is sadly lacking 11 leaves: C1-C7 (pp17-30), D6 (pp43-44), E6 (pp59-60), F8 (pp79-80), and R7 (pp253-254), but includes the portrait frontispiece and is overall a very appealing copy of a generally unobtainable early edition.Comenius’ innovative Orbis Pictus is the prototype for the modern illustrated school reader: it comprises a series of keyed pictures with descriptive texts (in our edition identified in Latin

and English) using a vocabulary of about two thousand words, to assist a student who knows one language in comprehending another, but also to teach general science and social history by depicting familiar machinery, buildings, occupations, &c. Provenance: ink marginal inscription on p68: “Garrey [?] his book 1665” (plus additional early ink doodles on the recto of the frontispiece); small pictorial book label reading “The Stock & Reference Library of H P Kraus”. The first two (pre-London fire) editions are very rare indeed: we handled the first English edition once (Otto Schaeffer’s copy, see Catalogue 50, #8), but have never before known of this 2nd edition to be for sale. Kurt Pilz Ausgaben des Orbis Sensualium Pictus #11 (citing British Library and Dr Williams Library, only).

The Fair Sex Glorified4. [CROUCH (Nathaniel):] FEMALE EXCELLENCY, or The Ladies Glory, Illustrated in the worthy Lives and memorable Action of Nine Famous Women … by R[ichard] B[urton] [pseud]. London: printed for Nath[aniel] Crouch, 1688. Copper-engraved frontispiece (“Fame”) + 9 woodcut text illustrations. 12mo, [iv] 177pp + [9] adverts for other Crouch publications (browning and scattered soiling, a few small edge tears – including one at [B9] barely affecting a word); polished calf (rather worn, spine chipped, top joint split). $6,500.First edition of this early Feminist chronicle on the lives of nine notable Women, created by this prolific propagandist of chapbook tracts whom Samuel Johnson described as providing “very popular [histories] to allure backward Readers”. His short chapters are individually illustrated

with a portrait and comprise biographies of famous (and not so famous) women, Biblical and Historical: Deborah, Judith, Queen Esther and Susanna as well as Lucretia, Queen Voadicia (of Britain), Mariamne (wife of King Herod), Queen Clotiloda (of France) and Princess Andegona (of Spain): see Darton, Children’s Books in England, p351). Wing C7326. ESTC online records one copy in the UK (BL) and six in the USA (Folger, Harvard, NYPL, Newberry, Clark and Yale). None of the standard children’s book references mention this work.

First Juvenile Chronicle For British Children5. THE HISTORY of ENGLAND by THOMAS THUMB, Esq. London: Mary Cooper, 1749. Thirty-one woodcut portraits of English monarchs, each with informative captions. 12mo, iv 301 +[3]pp (title slightly browned); contemporary calf gilt (rubbed, spine chipped). $5,000.First (and only) edition of the first history of England written for children, afterwards the source for John Newbery’s Compendious History of England (1758) which reprints these 31 woodcuts in

a much smaller format (Roscoe J76). As with the same publisher’s first geographical book for children (Travels of Tom Thumb over England and Wales, 1746), Tom is again enlisted to make his subject matter more palatable to youth (the text begins “That I am myself under the ordinary size of men …”). Provenance: Thos. Vicars Hunter (early signature on fly-leaf).

“For Giant Vices may in Pigmies dwell“6. [GARRICK, David:] LILLIPUT. A Dramatic Entertainment. As it is performed at the Theatre-Royal in Drury-Lane. London: printed for Paul Vaillant, 1757. 8vo (in fours), vi[ii] 39[1]pp (title and final leaf neatly reattached, scattered light browning); modern cloth-backed marbled boards, paper label on spine. $500.First edition. Obviously inspired after Swift’s masterpiece, this play is derived from the fifth, sixth and seventh chapters of Gulliver’s Travels. It includes a verse prologue by Garrick and an epilogue in verse by “a Friend” plus a short note to the Reader by the publisher, followed by a letter defending the play signed “W.C.” (actually Garrick himself). Rare in commerce.Provenance: from the collection of the noted Yale English professor and “Age of Johnson” scholar C.B. Tinker, with his book label on front paste-down. CBEL II, 803.

“But now turn up and you shall find Some other things to please your mind”

7. (HARLEQUINADE) “THE WITCHES or Harlequin’s trip to Naples”. London: H Roberts and L Tomlinson, 12 Aug 1772. Four vertical sheets with copper-engraved illustrations and verse captions, each with two additional half-panel engraved flaps as issued. Narrow 8vo, later decorative wrappers (splitting along the spine). $4,500. Handsomely engraved paper toy created to promote (or perhaps take advantage of) the popularity of contemporary theatrical pantomimes, this featuring the adventures of several witches, Harlequin, Columbine and other stock characters. An uncommon imprint for these early mechanical paper novelties as most were produced by Robert Sayer during this same time period. Muir, English Children’s Books, p228; see also NBL Children’s Books of Yesterday 823 (another Roberts & Tomlinson harlequinade).

A Dutch “Golden Age” ABC8. (ABC) VANDERLANSCH A-B BOEK voor de Nederlandsche Jeugd … [by] J H Swildens. Amsterdam: William Holtrop, 1781. Engraved title-page, 27 half-page illustrations forming a pictorial alphabet + 5 full-page designs (alpabets, numerals, planets, &c), all beautifully copper-engraved. Tall 12mo,

[xxxiii] 59pp + [1] colophon; original gilt-decorated green paper boards (rubbed, spine worn, front inner hinge strengthened). Housed in a cloth folding box. $8,500.First edition, presentation copy inscribed by the author “Amplissimo Viro Sik-kema / Senatori Groningano / D.D. / Auctor J H Swildens”. Among the handsomest of early pictorial alphabet books for children, illustrating scenes from Dutch history captioned in verse with prose commentary. Included is an 8-page prospectus listing the different versions available in various papers, sizes, and bindings. An exquisite copy.Provenance: Fraeylemaborg Castle Library (Groningen, Holland), dispersed at auction by J L Beijers in 1971 (catalogue prospectus laid in, with description now attached).

“Master Tommy Telltruth, Come forth and support the charge”

9. JUVENILE TRIALS for Robbing Orchards, Telling Fibs, and other Heinous Offences … by Master Tommy Littleton [Richard Johnson], Secretary of the Court. London: T Carnan, 1786. Frontispiece (depicting a court scene) + 15 text illustrations, all done as woodcuts. 24mo, 124pp (scattered soiling); handsomely bound with boards covered in contemporary Dutch floral paper (with new endpapers). Housed in a later gilt-lettered cloth folding box. $6,000.Fifth edition of this attractive juvenile, originally published by Carnan in 1772. It contains moral lessons for children set in the context of an English court, chiefly done in dialogue form with a Judge, a Secretary, various witnesses, and the jury. In his day-book Richard Johnson recorded that he delivered “Juvenile Trials” to Carnan, 20 August 1770. He was a frequent anonymous contributor to Newbery and Carnan publications (see Roscoe J191 for a full list, describing him unkindly as a “hack-writer”).Roscoe J229(5) citing 5 copies, of which ours may be one (Roscoe’s own copy?); of the previous four editions he records a total of 7 copies. ESTC T83348. Osborne catalogue, p270.

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Dr A S W Rosenbach’s copy10. A CURIOUS HIEROGLYPHICK BIBLE; Or, Select Passages in the Old and New Testaments, represented with Embllematical Figures, for the Amusement of Youth. Worcester: Isaiah Thomas, 1788. Frontispiece + hundreds of small woodcut images, chiefly replacing words in the texts (with a key at the bottom of each page). 12mo, 144pp with frontispiece supplied from another copy of this same edition, top edges gilt (first few leaves browned); full brown morocco by Stikeman, gilt-ruled and –lettered (front hinge slightly rubbed). $5,500.First American edition of this important and popular juvenile, originally published in London 1783. A charming blend of education and amusement.Provenance: A S W Rosenbach, with his Free Library of Philadelphia bookplate (marked in pencil “withdrawn 5/9/94”).Rosenbach 128 (this copy, then lacking its frontispiece); Welch 510 (detailing 7 copies including ours, four of which are incomplete).

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“A company of masques, being assembled by commandof the Emperor of Lilliput”

11. THE MASQUERADE; Containing a Variety of Merry Characters of All Sorts, properly Dressed for the Occasion, Calculated to Amuse and Instruct all the Good Boys and Girls in the Kingdom. London: Printed and sold [by John Marshall] at No. 17 Queen Street, Cheapside; and No. 4 Aldermary Church Yard, in Bow Lane, circa 1790. Frontispiece + 18 text illustrations, all done as oval woodcuts. 16mo, [3-]76pp + [3]pp adverts at the end; original Dutch floral boards (slightly rubbed). $9,500.Early printing of this marvelous theatrical juvenile, originally issued by Marshall circa 1785 (with his name and “Aldermary Church Yard” address [only] in the imprint but without “London”, and with the last advert page numbered “79”). Although Marshall’s name appears in our copy in a promotional puff at the front (“Advertisement”) and also in the rear adverts, it is oddly absent from the title-page (though his address would have made it quite clear to anyone that he was the publisher). The various characters detailed are all apparently related to contemporary English stage productions and pantomimes, and include three from Shakespeare (i.e., Man with the Ass’s Head, Caliban, and Falstaff). This book may have been inspired by The Masquerade or Jubilee for Youth (W Nicoll, ca 1780) but they are quite different works (see Schiller, Five Centuries of Childhood #44).Provenance: contemporary signature on front paste-down: “Edmund Merry Hawkers Book”.Rare: there are copies of our printing at the British Library (lacking final advert leaf?) and the University of Minnesota; with copies of the earlier edition at PML, Princeton, UCLA, and the Osborne Collection (TPL). See PML Be Merry & Wise 84 and Osborne catalogue, p911. ESTC N34927.

“There was formerly in a distant country a King and Queen …”

12. [PERRAULT (Charles):] The SLEEPING BEAUTY in the WOOD. A Tale. [Np:] Printed in the year, 1796. Woodcut on title depicting a reclining woman + an unrelated woodcut and vignette illustration on last page. 12mo, 23[1] comprising a single folded leaf (untrimmed); self-wrappers. $3,500.First separate edition in English? An appealing, unsophisticated version of this popular fairy tale. Rare.

Blake’s Triumph13. (BLAKE, William): THE TRIUMPH OF TEMPER. A Poem in Six Cantos. By William Hayley. Chichester: printed by J Seagrave, for T Cadell and W Davies, 1803. Six plates engraved by Blake after “new original designs” by Maria Flaxman. 8vo, xii 165pp complete with half-title (ownership signature on title dated 1803); contemporary tree calf (rebacked using original spine, new gilt label). Preserved in modern cloth folding box with gilt spine label. $1,250.“Twelth edition, corrected” but the first printing with Blake engravings (the text originally published 1781). The sculptor John Flaxman (Maria’s brother), had introduced Blake to Hayley, who became for a time his patron. This was Hayley’s most popular work, though perhaps he is now best-known for being ridiculed by Byron in English Bards & Scotch Reviewers. He was offered the laureateship in 1790 (but refused). Keynes 125.

“RAFF … One whose vices are not the vices of a gentleman”14. GRADUS AD CANTABRIGIAM: Or, A Dictionary of Terms, Academical and Colloquial, or Cant, which are used at the University of Cambridge. London: printed by Thomas Maiden, for W J and J Richardson, 1803. Small 8vo, [viii] 139[1]pp complete with errata verso the last leaf (but lacking publisher’s blank fly-leaves at the front); contemporary leather-backed boards (a bit soiled), spine gilt (head of spine chipped, top joint rubbed and just starting). Bookplate. $1,250.First printing of this uncommon study of university slang, afterwards enlarged 1824 to become a different book with illustrations and anecdotes. The author signs the dedication of this anonymous work as “A Pembrochian”; our copy has a pencil note on the title identifying him as the “Rev M White / formerly curate of the Church in Little Trinity Lane Cambridge”. An amusing dictionary of esoteric college expressions, such as “TO CAT, To vomit from drunkeness” or “TO TAKE A LOUNGE, to saunter about the town in listless indolence”. One of the two fly-leaves at the end is watermarked “1806”.Provenance: Roland Knaster (signature on endpaper dated 1915); Peter & Iona Opie, with their “Mother Goose” ink stamp. Lowndes, p331.

Attributed to Charles Lamb15. THE BOOK of RANKS and DIGNITIES of BRITISH SOCIETY. Chiefly intended for the Instruction of Young Persons. Dedicated (by Permission) to Her Royal Highness the Princess Elizabeth. [? by Charles LAMB]. London: Tabart & Co [1805]. Twenty-four hand-colored stipple-engraved plates. 12mo, [iii] 119[1] + 36pp of advertisements; publisher’s leather-backed boards, spine gilt (rubbed, head of spine chipped). $2,500.First edition. An attractive series of images detailing hierarchical British society, from the King down to a Scottish Highlander. The attribution to Charles Lamb is based on a remark he made in an 1810 letter : “I have published a little book for children on titles of honour …” (a second edition of this work, slightly enlarged, was issued in 1809). Gumuchian 3992; Moon, Tabart 15(1); Osborne pp718-719.

William Godwin’s Fables16. [GODWIN (William)]: FABLES ANCIENT AND MODERN. Adapted for the use of children from three years of age. By Edward Baldwin [pseud.]. London: printed for Thomas Hodgkins at the Juvenile Library, 1805. Two volumes, each with a large vignette on the title-page of Aesop telling fables to children + (respectively) 35 and 36 copper-engraved fable illustrations, probably designed by William Mulready, all with extensive contemporary (? publisher’s) hand-coloring. 12mo, viii 206 + [1]ad – iv 219[1]pp (scattered light soiling, one leaf [B8] with a serious tear causing loss of nearly four lines of text on either side, a few other leaves with minor marginal tears); contemporary 3/4 calf over marbled boards, spines gilt (scuffed, spines rather worn with joints starting). $8,500.

“Jack and Jill / Went up a hill”17. JACK AND JILL, and Old Dame Gill. [London:] J Evans & Sons, Long Lane, circa 1805. Sixteen woodcut illustrations. 24mo, 16pp including self-wrappers, an untrimmed copy (edges creased or torn), loose as issued. $4,000.Early printing of the first separate juvenile edition of this popular nursery rhyme, here extended to 15 verses. The rhyme first appeared in a shorter version in Mother Goose’s Melody (circa 1765), and was also sheet music in the 1790s. The first printing in our format was by “J Evans, No 42 Long Lane” circa 1800. Our version employs the same small woodcuts but with type reset (though both employ the long “s”) and numerous small variations between the two (e.g., the third line in the last verse in our copy reads “And put the place to right” rather than “To put the place to right all”). J Evans began publishing at Long Lane in the

1790s, and is known to have had business associations with the Marshalls (John Evans witnessed Richard Marshall’s will in 1799). See PML Be Merry & Wise #52.We have been unable to locate another copy of this ephemeral chapbook. OCLC lists two copies of a variant edition imprinted “T Evans, no 79 Long Lane” (Princeton and TPL); Osborne catalogue, p97, detailing their copy, describes verse on the title-page beneath the imprint (none present in our printing).Opie, Oxford Dictionary of Nursery Rhymes 254 cites the J Evans printing; but no Evans edition is listed in Opie’s Three Centuries of Nursery Rhymes and Poetry for Children (1973) exhibition catalogue.

First edition of the first publication by the “Juvenile Library”, published under the name of the firm’s manager with Godwin using a pseudonym to avoid creditors and to obscure the author’s identity due to his controversial radical views. Godwin was a liberal political theorist of considerable significance, as well as a publisher and author of children’s books. He is perhaps now best-known as the husband of Mary Wollstonecraft and father of Mary Shelley. Our text comprises simple and direct retellings of the classic Aesopic fables, each begins with an attractive headpiece illustration apparently designed by Mulready (of Butterfly’s Ball fame), though they were once attributed to William Blake. Uncommon.Provenance: from the library of the great English children’s literature scholars Peter & Iona Opie, with their Mother Goose ink stamp in both volumes.

(see cover illustration)

“Come little children, wake from sleep,

and into the country take a peep”18. [TAYLOR (Ann) and (Jane)]: RURAL SCENES; or A Peep into the Country, for Good Children. London: Darton, Harvey & Daraon [sic: Darton], 1810. Engraved frontispiece (dated Midsummer Day 1805) and with 105 engraved illustrations on 35 plates. 12mo, 144pp (slightly sprung); publisher’s leather-backed boards, spine gilt (rubbed). $850. Rare early edition of this interesting work; the lovely engravings offering children a detailed view of English country life as it was at the start of the 19th century. Originally published 1805 and enlarged the following year, a companion volume, City Scenes, appeared in 1809 and our reprint was probably issued to accompany it. Darton, The Dartons G921(4); Stewart, Taylors of Ongar A2e (one copy only).

a legendary rarity19. [LAMB (Charles)]: PRINCE DORUS: or, Flattery Put Out of Contenance. A Poetical Version of an Ancient Tale. London: printed by B M.Milan for M J Godwin, 1811. Nine engraved plates (thought to be designed by Maria Flaxman, the sculptor’s sister). 16mo, 31pp (light to moderate soiling and off-setting); original blue-grey pictorial wrappers, the cover engraved with Prince Dorus & the Old Fairy (rubbed, lightly soiled, spine worn). Preserved in a richly gilt full morocco solander case. $12,500.First edition, 1st state of this rare children’s chapbook, complete and in its earliest binding (there is a slightly later re-issue of these sheets with the

wrappers copying the title-page). The attribution of Lamb’s authorship is established by an entry in the diary of his friend Crabb Robinson (15 May 1811): “A very pleasant call on Charles & Mary Lamb. Read his version of Prince Dorus, the Long-Nosed King”. In this fairy tale the prince can marry his true love only when he accepts that his nose is absurdly long (a fact disguised by flattering courtiers).

Lamb bibliographer L S Livingston describes this chapbook as “excessively rare in any shape” (see pp106-111). Not in the Ashby Library catalogue which includes nearly all the other Lamb juvenile titles. RLIN records two copies of the genuine first issue (Opie [now Bodleian] & Osborne Collections [TPL]).

trompe l’oeil manuscript artwork20. BISSET (James): “ROBINSON CRUSOE”. Original watercolor design comprising a trompe l’oeil image of an open book showing a full-page color illustration facing a page of text, signed by the artist (“Inv. & Pinx.”) on one of the “pages” under the picture. Of British origin, early 19th century. Measures 9 1/2 x 12 inches (including borders), on stiff board. $3,500.A charming bibliophilic image celebrating Daniel Defoe’s great novel, here illustrating a scene from chapter IV of Robinson Crusoe. Bisset (1762?-1832) was a prolific painter and poet, as well as a publisher, art dealer, and noted Birmingham eccentric.

Each Plate A Riddle, A Lesson And A Transformation21. (Moveable Book) INDISPENSIBLE REQUISITES for DANDIES of BOTH SEXES. By a Lady. Dublin: J Jones, circa 1822. Nine exquisite hand-colored engraved plates, each with a pictorial flap; one page of letterpress verse for each plate. 12mo, [12]ff printed on one side only + plates + 1 letterpress slip advertising “The Emblematical Garden” (off-setting from flap stubs onto text pages); original printed boards (slightly soiled, spine chipped). $3,500.

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First edition. An ingenious combination of emblem, riddle, and mechanical book in which each plate’s caption has a double meaning; the second one (often ironic) revealed when the flap is lifted (e.g. “Fountain to render Beauty invulnerable to Old Age” = “Knowledge and True Wisdom”). This is apparently the earliest work inspired by Grimaldi’s The Toilet (1821); this publication, however, is considerably rarer. Elizabeth B Bently, Elegant Necessities (Friends of the Osborne Collection, Occasional Papers #3, 2001), pp36-37; also see Haining, Movable Books, p16.

rare Canadiana22. [MATHEVET (Jean-Claude)]: NIHINA Ayamie-Mazinahigan. Kanachchatageng. Moniang [Montreal]: Fabre-Endatch [printed by Ludger Duvernay], 1830. Woodcut vignette (crucifixation) on title-page, repeated once in the text. 12mo, 100pp; original plain brown cloth (lightly rubbed). $1,500.First edition. A selection of short religious texts (including a series of questions and answers) in the Nipissing tongue prepared by Father Mathevet (1717-1781). This language is apparently a dialect of Algonquin. Mathevet was a French priest and Catholic missionary, active with the Indian tribes around Montreal from 1740 to 1778, translating a number of French texts into native languages. See Pilling (which does not list our title).Provenance: early owner’s ink notation facing title: “Livres de Prières Algonquines” (two additional indecipherable notes on the small leaf); German bookplate depicting a charging knight (dated 1914); small book label from the great Education collection of John Lawson.Toronto Public Library, A Bibliography of Canadiana #1600.Extremely rare: we have located only 2 copies (University of Alberta and the Thomas Fisher Rare Book Library, University of Toronto).

Indian miniature23. (MINIATURE BOOK) MORAL PRECEPTS translated from English into Hindoo-tany Verse. Cawnpore [i.e., Kanpur, India]: published under the patronage of His Majesty of Oude, 1834. 36mo [measuring 49 x 33 mm], [72]ff including blank following second title, all edges gilt; original green morocco, gilt-ruled, matching slipcase (a bit rubbed). $2,500.First edition. The text of this miniature book is entirely lithographed, and includes an English-language title-page and 2pp of prefatory remarks, followed by “Hindoostany Verse” (? Hindustani, ? Sanskrit). Bondy, Miniature Books, p135: “Of exceptional rarity … beside being one of the first books printed in Kanpur, the elegant little volume is a fascinating example of English proselytizing influence in 19th century India”; Welsh 5130 (“In Sanskrit”); The News-Letter of the LXIVMOS, VI: 1 (“Persian”).

Punch en Français24. (CRUIKSHANK, George) POLICHINELLE Drame en Trois Actes. Paris: Bureaux de l’Histoire Pittoresque d’Angleterre, par Olivier et Tanneguy de Penhöet, 1836. Frontispiece portrait of “Polichinelle”, title-page and tail-piece vignettes + 17 text illustrations, all by George Cruikshank. 12mo, 157[4]pp with frontispiece included in the pagination (scattered foxing); contemporary leather-backed marbled boards, spine gilt (spine scuffed and chipped). $1,250.First edition thus, comprising a French translation of the Punch & Judy play presented by John Payne Collier in 1828 with 24 etched plates (plus five woodcut vignettes) by Cruikshank Our volume reprints 18 of those plates as wood-engraved illustrations incorporated into the text of the play (except the frontispiece); also, two of the vignettes are used here. Collier’s substantial historical apparatus is left out, as well as any mention of his name, however, Cruikshank is named on the title-page and in the Préface where Polichinelle himself notes “... allez trouver Cruishanck [sic]; mon image est gravé dans son coeur ...”. Provenance: from the library of the children’s book scholars Peter & Iona Opie, with their Mother Goose ex libris stamp (and protected within a plain envelope hand-labeled by Peter). Not in Cohn or the great Gumuchian catalogue.

“Somebody has at my porridge been!”25. [NICHOL, George:] THE STORY OF THE THREE BEARS. London: Porter and Wright, 1837. Title vignette and 11 full-page wood-engraved illustrations by Robert Hart after designs by “C.J.”. Oblong 16mo, [ii], vi 29[1]pp complete with half-title and original pictorial wood-engraved front and rear wrappers (soiled), bound in 19th century 1/2 morocco over pebbled cloth, front cover gilt-titled (top joint slightly rubbed). $3,500.First separate edition, as well as the first printing with illustrations. Nichol’s verse rendition was based on a prose version which had appeared without illustrations in Robert Southey’s The Doctor earlier this same year, and to which he refers in his Dedication (“Unknown author of ‘The Doctor’ / Great, original Concoctor / Of the rare story of the Bears … “). There is a July 1837 letter from Southey noting that Nichol had sent him “his version of the ‘Bears’, fulfilling thereby

an expectation … that a child’s book would be made of that great history”. Nichol’s book, like the version in The Doctor, has the voices of the three bears reproduced in type of differing sizes to reflect their size; also in these early retellings the character we now know as “Goldilocks” is an old woman. The Osborne Collection owns a manuscript version of the story authored by Eleanor Mure and dated 1831, suggesting perhaps the tale was part of folk literature.Rare: Be Merry & Wise 306; but no copies in OCLC and not in the Gumuchian, Osborne, or the earlier Morgan Library catalogues.

the Gumuchian copy26. MARTINEAU (Harriet): THE PEASANT AND THE PRINCE. London: G Routledge & Co., 1856. Wood-engraved frontispiece. Small 8vo, 191[1]pp; original gilt-lettered decoratively blind-stamped red cloth. Housed in a gilt-lettered leather-backed book box. $350.First edition thus, comprising two stories which had first appeared in 1841 in “The Playfellow”, both of which are set in the period of the French Revolution. After her father’s death and collapse of her family’s finances in the late 1820s, Martineau (1802-1876) was obliged to earn her living as a writer (deafness prevented her from becoming a teacher). She soon had great success with a series of stories illustrating classical economics (Illustrations of Political Economy), and she became active in abolitionist and feminist causes. As a writer for children, she is perhaps best-known for “Feats on the Fjord” (which was eventually illustrated by Arthur Rackham). A lovely, fresh copy.Gumuchian 3989 (this copy, with the bookseller’s penciled notes on rear endpapers).

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“… So he made them a Bookand with laughter they shook …”

27. [LEAR (Edward)]: A BOOK OF NONSENSE by Derry Down Derry. London: T McLean, 185[5]. Complete with 73 lithographed plates drawn by Lear each captioned with 5-line nonsense limericks. Oblong small folio, [73]ff printed on one side only (final leaf cropped affecting two words but not legibility, light staining); early pebbled cloth with original front wrapper (worn) mounted on upper cover (rebacked). Housed in modern leather-backed folding box, spine gilt. $7,500.Second printing of Lear’s comic masterpiece: originally issued in 1846 as two volumes with essentially these same designs but with the limericks arranged only in three lines of text (rather than in five lines, as they have been known forever since). The first two printings are the only ones created as lithographs, and they include three verses suppressed in the 1861 wood-engraved third edition published by Routledge. In our copy the two “Old Man in the West” rhymes are correctly matched to their illustrations; also there is some broken type (as usual) and missing letters (occasionally finished by hand). Ownership inscription on front free endpaper dated 1859 (wrinkled).While the first edition is a legendary rarity, our second printing is also quite uncommon and seldom found complete (Osgood Field’s copies, now at Harvard, have only 69 and 61 plates respectively). Noakes 73; PML Ray 92a.

American transformation blocks28. “CRANDALL’s MASQUERADE BLOCKS” [New York: Nathan Crandall, ca 1860]. Complete set of 8 wood blocks each with colored engraved figures on all six sides (which together form amusing combinations). As issued in their original wooden

box, with sliding lid bearing its paper label (slightly chipped). Each block measures 2 1/2 x 5 x 5 cm (exceptional condition overall). $1,500. Rare American transformation game, featuring elaborately costumed male and female figures. The blocks are not perfect squares, and thus the wide sides combine with each other (comprising males on one side, females on the other), while the short sides do the same (each side with two figures). The only other set we have been able to trace is at AAS (which also records sets of building blocks from the same manufacturer).Provenance: from the collection of Peter & Iona Opie (with their “Mother Goose” ink stamp verso the lid).

“Can U come to T with me …”29. SINCLAIR (Catherine): “Another [Letter] …” Edinburgh: James Wood; London: Houlston & Wright, and Greenwood; Glasgow: D Bryce, 1862. Picture letter for children addressed to “My darling [Goose]” with numerous

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small images inserted into the text “printed in colours [by lithography] by W H McFarlane, Edinburgh”. 8vo, 3pp + blank recto (lightly soiled, minor edge tears). $1,500.First edition of Sinclair’s second “picture letter” (or hieroglyphic story in letter-form), comprising a single sheet folded once with printed text and images on the first three pages. This Scottish author is best-known for her ground-breaking juvenile novel Holiday House (1839). Though apparently printed in large numbers, these picture letters are quite ephemeral and rarely survive.Osborne, p941; see John Morris, “The Children’s Books of Catherine Sinclair”, Scottish Book Collector, Vol II:3 (February/March 1990), p.10 citing only Toronto Public Library (as above).

Doré’s Fables in color30. LA FONTAINE (Jean de). FABELEN van ... Op Nieuw Naverteld. Uitgave voor de Jeugd. Rotterdam: H Nijgh, ca 1870s. Complete in two volumes, with 32 chromolithographed plates printed by Emrik & Binger chiefly after designs by Gustave Doré. Small 8vo, 46 - 41pp (scattered light browning); original color pictorial wrapper showing animal characters from the fables (chipped and a bit spotted, first volume with some small repairs). $750. First edition thus, comprising Dutch translations of 40 fables by Jean de La Fontaine, illustrated with smaller color-printed versions of the wood-engraved designs by Gustave Doré done from his magnificent 1867 edition of the fables. Not in Rochambeau.

letter about a Looking-Glass play31. DODGSON (Charles L): Fine Autograph Letter signed “C. L. Dodgson”, on 16mo paper (with folded integral blank) bearing a three-line rubber-stamped name/address given as “Rev. C. L. Dodgson, Christ Church, Oxford.” Dated “Nov. 18/82” and addressed “Dear Madame” [Kate Freiligrath-Krieker], thanking her for sending a copy of her newly published Alice thro’ the Looking-Glass and other Fairy Plays for Children [1882]. Dodgson goes on to comment “I am keeping the perusal of it for a more leisure time” and “Hoping you may find the publication a commercial success”. $12,500.The author had allowed Freiligrath-Krieker to produce an earlier theatrical collection called “Alice And Other Fairy Tales For Children” (1879), and whereas his letter acknowledging that book is published in Morton Cohen’s volume of Dodgson’s letters (I, 353/4), our companion letter appears to be unpublished. Seldom does one find such an interesting Dodgson letter dealing with his invention of Wonderland.

Accompanied by a near-fine first edition of the published book: Alice thro’ the Looking-Glass and other Fairy Plays for Children by Kate Freiligrath-Kroeker. London: W Swan Sonnenschein [1882]. Four wood-engraved plates including one illustrating the Alice play (signed “ELTO”). 8vo, 202pp with all edges gilt; original pictorial blue cloth stamped in black and gold (exterior edges rubbed). It should be noted that this copy of the book did not originally accompany the Dodgson letter and has its own 1882 ownership inscription recto the frontispiece.

“There were two friends, a very charming pair”32. GREENAWAY (Kate): “The Wooden Doll and the Wax Doll”, a lovely original ink and watercolor drawing illustrating a poem by Adelaide O’Keefe published at page 46 of Little Ann and other Poems by Jane & Ann Taylor (1883), signed with the artist’s initials. The image measures 4 1/2 x 6 3/4 inches on larger paper, matted and bound inside a first edition of the book (see below). $25,000.A quintessential Greenaway image, depicting three children (and two dolls) with their mothers, all delicately rendered in “old-fashioned” attire, a walled garden and house behind them. The poem tells of a fancy wax doll that replaces an old wooden one in the affections of a child – until it melts in the sun (meant to mirror the child’s replacing an old friend with an elegantly dressed new one). O’Keefe (1776-1855) was the daughter of a poor Irish playwright who the Taylors befriended.This drawing is bound into the front pages of Little Ann and Other Poems by Jane and Ann Taylor. London: George Routledge & Sons [1883]. Newly illustrated by Kate Greenaway, her pictures were delicately rendered into colored woodblocks printed by Edmund Evans. Tall 8vo, 64pp (occasional light foxing); original cloth-backed and –tipped colored pictorial boards (lightly rubbed), later protective cloth jacket.First edition. These texts first appeared in Original Poems, for Infant Minds (Darton & Harvey, 1804-1805), “by several young persons” (chiefly the Taylor sisters). John Ruskin considered these Greenaway drawings amongst the artist’s best work, and a selection of them were displayed at the 1889 Paris Exhibition which created a French Greenaway boom (see Engen’s biography, especially p.161). Schuster & Engen 109 (1a); DPL 168.

“a newspaper for themselves”33. THE BOYS’ NEWS-PAPER, Vol I, No 1 – No 97. [London: Cassell, Peters, Calpin & Co.; imprinted from Number 34 by Alfred Gibbons] Wednesday, September 15, 1880 – Wednesday, July 19, 1882. Together 100 separate consecutive numbers, all but a few with wood-engraved illustrations (starting with number 35 each has a large engraved picture on the first page); and all with pictorial adverts on the last page. Folio, each number 16pp including self-wrappers, number 61 misnumbered 60 (overall excellent condition, with very occasional creasing or spine wear or light soiling, first number spotted). $1,200.A fascinating gallimauphery of news snippets, stories, humor, sports, magic tricks, puzzles, chess problems, queries, advertisements, &c, for young boys, virtually recreating their Victorian world. In addition to the regular numbers, there are two special Christmas issues (1880 and 1881: the second 24pp plus pink wrappers) and one 24pp “Home for the Holidays” Summer number (August 1881) with pictorial self-wrappers. Also present, a 2pp printed leaflet announcing the first issue (“No 1 Ready Sept 15, 1880”), plus 4pp printed advertisement for various Cassell magazines, &c (including this newspaper). Nearly a complete run of this ephemeral newspaper: one final issue was published (26 July 1882) before it was incorporated into The Youth, And Illustrated Journal (as of 2 August 1882). It was presumeably “inspired” by the success of The Boy’s Own Paper (begun in 1879), which it resembles. A remarkable survivor, in original unbound condition.

“Quads within Quads” 34. QUADS for Authors, Editors, & Devils. Edited by Andrew W Tuer. London: Field and Tuer, Simpkin, Hamilton, [Ye Leadenhalle Presse] 1884. $1,500.Two volumes, each with a version of the same text: An “Enlarged Edition” = Square 12mo (measuring 5 3/4 x 4 1/2 inches), 94pp + [2]ads including frontispiece (a robot setting type) and decorative title page, untrimmed sheets; original gilt-lettered vellum. With a 2pp printed prospectus mounted to front endpaper. Inserted into a special compartment (or well) at the back of this “enlarged” volume is: A “Midget Folio” version of the same text: 32mo (measuring 1 1/2 x 1 inches), 146pp + [17] Glossary, &c, including a smaller version of the above frontispiece; original gilt-lettered vellum wiith silk ties.First edition. An amusing collection of “Quads” [i.e., little metal blanks used by printers to fill gaps, and commonly used to mean printer’s jokes], here in the clever form of a book within a book. Andrew Tuer (1833-1900) was a pioneer collector and historian of antiquarian children’s books, active during the late 19th century as a scholar and publisher, perhaps most famous for his History of the Hornbook (1896).

inscribed Canadiana35. SAUNDERS, Marshall [Margaret]: BEAUTIFUL JOE. An Autobiography … With Introductory Note by the Countess Aberdeen and an Introduction by Hezekiah Butterworth. Toronto: Baptist Book Room, 1894. Photographic portrait frontispiece (“My name is Beautiful Joe”) + 5 other plates (three photographs and two drawings). 8vo, [ii] 304pp (occasional light soiling); gilt pictorial green cloth (a bit cocked, spine ends and tips frayed). $1,500.First Canadian printing by a Canadian author of an important and popular animal tale, this inscribed by the author on the patterned front free endpaper: “To The Revd. O. C. S. Wallace M. A. / A slight acknowledgement of gratitude for his kindly Protean services rendered to ‘Beautiful Joe’ / Marshall Saunders / Halifax. May 14, ‘94”. This copy has an 1894 Canadian copyright notice (verso title-page), followed by the dedication [in 9 lines], the author’s preface, the 4 page “note” by the Countess Aberdeen in facsimile, and a 3 page Introduction by Butterworth. Despite the author’s Canadian citizenship, the first printing of this title is generally considered to be Philadelphia: American Baptist Publication Society, 1894 (received by the Library of Congress, 8 January 1894). See Jacob Blanck, Peter Parley to Penrod, pp100-101.

first edition for children36. BOUTET DE MONVEL (Maurice): JEANNE D’ARC. Paris: E Plon, Nourrit & Cie [1896]. Forty-eight color illustrations after lithographs by the author (usually incorporating letter-press text). Oblong folio, [i] 47[i]ff; original purple cloth, decoratively stamped and lettered in green and gold (slightly rubbed and bubbled but an attractive copy nevertheless). $500.First edition, regular trade issue intended for children (there are also deluxe versions for collectors on Japan and China paper printed directly from lithographic stones). The first juvenile edition is expecially rare, and almost all copies catalogued as such are not (i.e., the publisher should be “E Plon, Nourrit” and the number “2026” appears on the final page). This is the artist’s acknowledged masterpiece, and may even have played a small role in Jeanne being declared a saint on 16 May 1920. PML Gottlieb 184 and PML Ray 365 [not a 1st edition]; Heller “Maurice Boutet de Monvel als Illustrator von Kinderbüchern” (Schiefertafel, April 1984) 22a.

“Where are those gentlemen?”37. PREISSIG (Vojtech): BYL JEDEN DOMECEK. Obrázková kniha pro male deti. Prague: Dedictvi Komenskeho [1904]. Twelve color-printed zincograph designs (including the pictorial title) by Preissig. Oblong 4to, [6]ff; original printed wrappers. $2,500.First edition. A haunting Czech picture book for children, comprising a variation on the “Had Gadya” playful rhyme originating in the Haggadah, written in question and answer format, beginning “There once was a little House” and ending with a cemetery. The artist Vojtech Preissig (1873-1944) studied in Prague at the School of Applied Industrial Art from 1892 to 1896. In 1897 he moved to Paris and worked for two years under Alphonse Mucha. At this time he became involved in the book arts and the “Book Beautiful” movement. Following his return to Prague he founded Ceska grafika while widely displaying his own prints, paintings and illustrations which contained strong elements of both Symbolism and Secessionism. In 1910 he moved to New York where he gained a reputation as an innovator of typography and design. He

taught at both the Art Students’ League and at Columbia University and between 1916-1926 he directed the School of Printing and Graphic Arts, Wentworth Institute, Boston. Cotsen 8950.

… and The Swann Princess38. (BILIBIN, Ivan) [THE TALE OF TZAR SALTAN by Alexander Pushkin, in Russian]. St Petersburg, 1905 [but 1906]. Decorative title page and 11 illustrations (including 5 full-page designs) by Bilibin, all richly color-lithographed; also decorative borders and one large vignette printed in blue. Oblong 4to, 20pp; original colored lithographic pictorial wrappers (spine a bit worn). $2,500.First edition. Often considered Bilibin’s finest “skazka” (fairy tale), this picture-book dramatically illustrates Pushkin’s verse-retelling originally published in 1831. Strongly influenced by Slavic folklore and traditional Japanese prints, Bilibin is one of Russia’s most influential book artists and stage designers. He was commissioned in 1909 to create the premiere backgrounds and costumes for Rimsky-Korsakov’s Golden Cockerel. Although frequently reprinted, his original edition children’s books are highly treasured. Cotsen 9055.

“Nain / Dwarf / Zwerg”39. [BLANDIN (André)]: ABCD. Bruxelles, Imprimerie Scientifique Charles Bulens Editeur, circa 1914. Pictorial “title” and 26 alphabet plates in color, each captioned with a letter and appropriate word (in French, English and German). 4to, [27]ff printed on one side only; original pictorial boards (rubbed), rebacked in plain linen. $1,500.Apparently first issued by C Dagotte (Bruxelles) in 1913, this delightful ABC comprises images of articulated wooden puppets acting out letters of the alphabet. The tri-lingual captions (which only fully make sense in French) would not have been popular just a few years later, with the bitter chauvinism of the First World War. On the back cover there is apparently a humorous self-portrait of the artist, with his full name below (the only time it appears in the book). André Blandin (Paris, 1878-?) was

“Alfabeto a Sorpresa”40. CANGIULLO (Francesco): CAFFECON-CERTO. Alfabeto a Sorpresa. Milan: Edizioni Futuriste di Poesia [1919]. Numerous typographical images, &c. Tall 8vo, [24]ff mixing different color papers; original printed blue wrappers. $3,500.First edition. This futurist “alphabet surprise” includes a series of images of theatrical performers (ballerinas, singers, jugglers, &c) created out of typography – reminding one of the great Dada picture books by Kurt Schwitters. The artist (1884-1977) considered himself a visual comedian, where his theatrical attitude towards life turned whatever he did into a performance. Our alphabet converts its text into pictorial value by animating letters into characters of a show. Cangiullo is a Futurist, also revered as a Dadaist and a Surrealist. “Cangiullo reinvented the typography of the printed page in the form of narrative fireworks, borrowing from advertising in a manner typical of the ‘collage’ mentality” (Enrico Crispolti).

active in Belgium as a painter of landscapes and still-life as well as founder and director of the weekly ‘Le Passant. Gazette hebdomadaire illustrée et fantaisiste.’ (1911-1912). Cotsen 1276 (Dagotte imprint).

a great Lissitsky cover design41. [LISSITSKY (El)] ANDERSEN (Hans Christian): Mayselekh [FAIRY TALES]. Kiev: Kiever Farlag, 1919. Scattered text illustrations from various anonymous sources. 8vo, 190[1]pp printed on poor quality paper (one leaf with serious tears rather crudely repaired affecting the legibility of several words – the previous leaf with a much smaller repair affecting a few words, manuscript numerals on title-leaf); original cloth-backed pictorial boards (rubbed) reproducing a lovely avant-garde design by El Lissitsky. $12,500.

First edition. A selection of Andersen fairy tales translated into Yiddish by Der Nister (and as such, quite early). The marvelous Lissitsky cover design elegantly combines cubist and folkloric elements, and was done the same year as his famous Chad Gadya as well as a number of other lovely Yiddish children’s books. Only 3,000 copies were printed of this work, now exceptionally rare and apparently not in any of the expected institutional collections (MOMA, Getty, BL or NYPL). A second edition was published in Warsaw in 1921.Bush-Reisinger Museum Catalogue, El Lissitsky 1919/2 (“copy not inspected”); Israel Museum Catalogue, Tradition & Revolution 85.

“le fabricant de jouets / C’est le mage des enfants”42. BOSSCHÈRE (Jean de): LE BOURG. Soixante-six de ses hommes. Paris: Émile-Paul Frères, 1922. Sixty-six black-and-white designs by the author, each with his descriptive text (in verse or prose). 8vo, [193]pp; original printed wrappers (spine defective, contents a bit loose). $350.First edition, presentation copy warmly inscribed “à Richard Aldington ami ancien et toujours chez Jean de Bosschère” (there were also 25 copies printed on special paper, including 6 hand-colored). A wonderfully unusual book of trades by this curious author/illustrator, a kind of proto-surrealist (or late symbolist). The illustrations appear to be printed from wood or linoleum blocks. The English poet Aldington (1892-1962) is now perhaps best-known for his controversial biography of T E Lawrence (1955), in which he asserts that Lawrence was homosexual.

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with an original drawing43. RABAN (Z’ev): ALEPH-BET. Verse by L Kipness. Berlin: S D Saltzman, 1923. With title and 27 chromo-lithographic alphabet designs by Raban. Small 4to, original linen-backed decorative boards. $7,500.First edition of this lovely and important Hebrew alphabet book. Accompanied by a series of ink studies for pictorial alphabet letters on one sheet (three are finished in watercolor, one simply in pencil) comprising 35 images; verso with faint pencil study for another work (showing a man wrestling with a lion). Many of the images are the same as in the printed book, some are variations of these images, and others are completely different. Sheet measures roughly 9 1/2 inches x 13 inches (with a few small edge tears), verso ink-stamped “Z. Raban / Industrial Art Studio”.

“As Pinocchio spoke … I translated his words into pictures”

44. [LORENZINI, Carlo] THE ADVENTURES OF PINOCCHIO by Carlo COLLODI [pseud]. Translated from the Italian by Carol Della Chiesa. New York: Macmillan, 1926. Frontispiece portrait of the author, pictorial title and 50 plates (all but one colored), plus numerous text illustrations (most colored), by Attilio Mussino. 4to, [xi] 403[1]pp (one leaf with small marginal tear); original colored pictorial cloth, colored pictorial dust jacket (lightly rubbed, extremities chipped, 3 inch tear in rear wrapper). $1,800.First English edition with these marvelous illustrations (originally published with Italian text in 1911). This story was first serialized in Il Giornale per i Bambini (1881-1883) with black-and-white designs by Enrico Mazzanti (and afterwards reprinted in book form 1883). Our designs are perhaps the best-known images of Pinocchio (after Disney’s). A splendid copy with its rare dust jacket.

Paul Bunyan Comes East45. PAUL BUNYAN COMES WEST by Ida Virginia Turney. New York: Houghton Mifflin, 1928. Decorative borders and 9 full-page illustrations by Helen N Rhodes designed as linoleum cuts. 8vo, ix 45pp; original cloth-backed lettered boards, pictorial dust jacket (several small edge tears). Bookplate. $950.First trade edition: comprising an enlarged version of the original 1916 edition produced by the School of Journalism at the University of Oregon; our copy is inscribed by the author on front free endpaper. In the earlier version the pictures are considerably more primitive and are attributed to specific students under Rhodes direction, while here they are quite accomplished and apparently done by her alone. The borders are copied after those in the original, designed by students Glen McGonegal and Helen Ball.In her preface the author attributes to “Mr W C Dalzell, of the School of Law” the discovery of “Yank”, described as “the only living witness of the doings of Paul Bunyan”. The tall tales about this giant lumberjack and his blue ox Babe are among the most popular in American folklore. As best one can determine, they first began to appear in print in the Detroit News Tribune (24 July 1910) in a version written by James MacGillvrey. The original student version (issued in delicate wrappers) is a great rarity (and virtually unknown); our regularly published edition is uncommon, especially in dust jacket and signed by the author.

art for a modern classic46. PARAIN (Nathalie): “BABA YAGA” = eight original designs in gouache and colored pencil (with some elements in collage) prepared as a maquette for a French-language edition of this important children’s book (Paris, 1932), with sections of printed text mounted to several leaves, and with numerous manuscript annotations in Russian or French in the artist’s hand (including four numbered images correctly corresponding to the pages in the book); also one page with text only. 12 1/2 x 10 3/4 inches (and smaller), distributed on five leaves (front and back), rather crudely window-mounted (one separately, and the others in pairs). $25,000.A marvelous archive of this important modern picture book, with five designs as they appear in the published edition (on pages 3, 5, 10, 11, and 18) plus three variant images for other illustrations (including one which is only partial). In all, there are versions of nearly half the published designs, which would have then been printed as lithographs based on these original Parain pictures. Together with a copy of the first edition, comprising the original Russian-language issue edited by the emigrée journalist Teffi, published in Paris by the YMCA Press in 1932 with lithographic designs by Parain. Small folio, pictorial wrappers. A French-language version was also simultaneously issued.

This collection also includes a copy of a later French-language edition “raconté par Rose Celli” issued by Flammarion as an “Album du Père Castor” in 1952 (using these same designs, except the cover). 4to, pictorial wrappers. Accompanied by TWO ORIGINAL DESIGNS by Parain for the new cover (which differs from the original version): gouache on light art paper + colored pencil on tracing paper (both measuring roughly 11 x 9 1/2 inches, the first with slight marginal damp-staining).Nathalie Parain (née Tchelpanova, 1897-1958) studied art in her native Russia before marrying a Frenchman, Brice Parain, and settling in Paris in 1926. She began her distinguished career as a children’s book illustrator with Mon Chat in 1930, published by Gallimard (for whom her husband worked), but it can be argued that this retelling of the popular Russian folk tale Baba Yaga is her greatest achievement, brilliantly combining Soviet Avant-garde and French Art Deco styles. See the article written by her daughter Tatiana Maillard-Parain in Lévèque & Plantureux’s Dictionaire des Illustrateurs de Livres D’Enfants Russes (1997), ppXVI-XVII, as well as p208 (Baba Yaga). Provenance: the artist’s family.

“Depuis ce jour, au pays des éléphants tout le monde est content.”47. DE BRUNHOFF (Jean): LE ROI BABAR. Paris: Jardin des Modes [1933]. Color illustrations throughout by the author. Folio, 47[1]pp; original cloth-backed pictorial boards (light edge wear). $1,250.First edition. A lovely copy of the third title in this great series. Uncommon in this condition.

Czech “Wind in the Willows”48. GRAHAME (Kenneth). Zabákova dobrodruzst-ví. [Prague:] Druzstevní práce, 1945. Eight full-page black-and-white illustrations + 8 colorplates by Josefa Capka [i.e., Josef Capek]. 8vo, 193[4]pp; original cloth-backed color pictorial boards, printed dust jacket (a bit faded, extremities lightly worn). Bookplate. $500.Second edition of this Czech translation of The Wind in the Willows by Míla Grimmichová originally published in 1933. Interestingly, the verses scattered through Grahame’s text were translated by Jaroslav Seifert, the 1984 Nobel Prize winner. Josef Capek’s delightful pictures had appeared in the first edition; our version was published the same year he died in Bergen-Belsen concentration camp (he had spent the war in various Nazi prisons). The artist’s brother Karel Capek is famous for inventing the word “robot” (used in his 1921 play “R.U.R.”), but he in fact credited Josef with its creation. Quite uncommon, especially in dust jacket.

49. WILLIAMS (Garth): STUART LITTLE by E B White [1945]. Two original published illustrations in ink with pencil preliminaries underneath and addition of opaque Chinese white by the artist, showing Stuart Little on the river bank, his right leg raised on a log, his boat docked behind him; the other a view of the winding river seen from the perspective of a perched bird. Well-rendered designs bordered by paneled margins, all executed in ink. Each drawing measures 5-1/2 x 4-1/2 inches on larger paper, the printed version in the first edition is used as endpaper designs and rendered in green as a reverse negative of these originals to create a lighter image. $25,000.Stuart Little was the first children’s book written by E B White, who was a contributor to the New Yorker and Harper’s Magazine. He also wrote Charlotte’s Web, which together with Stuart Little won him the Laura Ingalls Wilder medal in 1970. Stuart Little is the story of a valiant mouse and his human family brilliantly pictured by Garth Williams (1912-1996), an accomplished illustrator who worked on some very popular books for children, among them The Cricket in Times Square, the new Little House on the Prairies series, Little Fur Family and several Little Golden Books. He is also best known for his controversial picture-book The Rabbit’s Wedding.

Sendak’s 1st book in translation, signed50. SENDAK (Maurice): Eidinoff (Maxwell Leigh, Dr) and Ruchlis (Hyman), Atomfysik for Hvermand. Med et Forord af Harold C Urey [translated by V Thorsen]. Copenhagen: H Hagerup, 1948. Text illustrations throughout by Maurice Sendak. 8vo, [3-] 324pp + [6] indexes, untrimmed; original wrappers (spine faded, lightly soiled). $950.First edition in Danish of the first book illustrated by Maurice Sendak (originally published the previous year as Atomics for the Millions); signed by Sendak on the title-page. This is the earliest appearance of a work illustrated by Sendak to appear in translation (published the same year as a French version of this same work, no priority known). As with the American edition, he is listed here as illustrator on the title-page. Hanrahan A1(4).

rare signature, fine provenance51. THOMAS BEWICK A Bibliography Raisonné of Editions of the General History of Quadrupeds, the History of British Birds and the Fables of Aesop issued in his Lifetime [by] S Roscoe. London: Geoffrey Cumberlege, Oxford University Press, 1953. Numerous illustrations. Tall 8vo, xxx 198 pp; original linen with gilt spine label, original printed dust jacket (several tears along edges). $500.First edition, inscribed by the author: “This is the genuine signature of me the author Sydney Roscoe 19.x.64”. This is one of the finest works of bibliography in the children’s book field, followed in 1973 by the author’s equally superb study of John Newbery. Roscoe’s signature is exceedingly rare.

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Provenance: from the library of children’s book scholars Peter & Iona Opie, with their Mother Goose ink stamp on the front endpaper (together with Peter Opie’s tiny pencil notation giving the date of acquisition).

miniature boxed library52. AN INFANT’S LIBRARY [complied by David Chambers for] The PLA Society of Printers. [Pinner, Middlesex:] Cuckoo Hill Press, [1975-]1980. Complete set of 31 works in 31 volumes, variously illustrated with original woodcuts, etchings, artwork or reproductions from earlier sources. 16mo, variously bound in decorative wrappers (not uniform), as issued within a single wooden bookcase (as issued), the sliding front with a pictorial title label (“An Infant’s Library…”) by Pam G Rueter. $3,500.Limited to only 70 sets (of which very few were ever offered for sale). A delightful homage to early 19th century children’s boxed libraries, it was produced over a six year period by 30 members of the Society of Private Printers (from Australia, England, Holland, Italy, and the USA). The 31st volume is short bibliographical history of these boxed libraries by Brian Alderson.The set comprises: 1) Animal Proverbs … , Biscuit City Press, 1978: woodcuts by Fritz Eichenberg, signed by both illustrator and publisher; 2) Het Hondengevecht, Bonnefant, 1978; 3) Das Kleine Kinder ABC Buch, Brandywine Press [their first publication], 1979, with an original ink drawing as frontispiece; 4) The Maiden from the 9th Heaven, Cherub Press, 1978; 5) Words on Paper, Crabgrass Press, 1978; 6) Jim’s Kite, Cracked Bell Press, 1976; 7) Castellorum Arenosorum, Cuckoo Hill Press, 1980: etched frontispiece; 8) My Mysterious Father, Gogmagog Press, 1978; 9.) Life on the Farm, Press of the Golden Key, 1978; 10) Tiddler to Teens, Happy Dragons Press, 1978; 11) The Making of Matilda by Laurence Housman, Invicta Press, 1979; 12) Memories of a Welsh Childhood by Lady Osborn, Keepsake Press, 1978; 13) Eatum Peatum Penny Pie, Iain Bain at the Laverock Press, [n.d.]; 14) I Spy With My Little Eye, Narbulla Agency, 1975; 15) Two Moral Tales in Verse [after Heinrich Hoffmann], Pardoe, 1979; 16) Three Little Ghostesses, Perdix Press, 1978; 17) A Printer’s Insects, The Perhaps Press, 1978, with signed wood-engravings by Jeremy Lee-Potter; 18) A Apple Pie, The Plough Press, [n.d.]; 19) The Riddle, P’Nye Press, 1978; 20) Post Cards, Priapus Press, 1979; 21) The Midnight Tryst, Proverbial Press, 1978; 22) In Loco Pueri, The Pump Press, 1979; 23) Sarah

the Snow Queen, Quarto Press, 1979; 24) A Bestiary for a Precocious Child, Scarlet Ibis Press, 1978; 25) Layla and Majnun, Septentrio, 1978, 3 colored linocuts; 26) Skool Rools, Susan Chambers at the Slow Camel Press, 1979; 27) A Wendy-House Rehearsal, Stilt Press, 1979; 28.) London Cries, Peter Stockham, 1979; 29) Marigold’s Dream, Insegna della Tarasca, 1978; 30) A Cradle Song by Thomas Dekker, Typographeum, 1978, music by Keith Kibler. Cf. David Chamber’s article on his experience creating this series in The Private Library, Third Series, Vol VI: 1 (Spring, 1983).See A Modest Collection A9.

the complete manuscript53. SHIMIN (Symeon): “I WISH THERE WERE TWO OF ME”, the complete maquette for this picture book published by Frederick Warne in 1976 comprising 16 original drawings in pencil and colored chalk + manuscript verse in ink & pencil, with an autograph presentation inscription from the artist “For Judy with love Symeon / Nov. 1977”. 4to, roughly 9 x 8 5/8 inches, [32]ff on heavy art paper (taped back to back), with designs on one side of each leaf; original hand-drawn pictorial wrappers. $2,000.A remarkable children’s book manuscript, as published with half-tile, title, copyright page [largely left blank], dedication page, plus each picture facing a page of verse, all done by hand. Shimin’s original drawings are close to the published illustrations (though even freer and livelier), while there are occasional differences in the printed text. The cover design is unique to the maquette (the book simply reproduces one of its illustrations on the cover). This charming picture book tells the story of a lonely young girl who imagines what it would be like to have a friend.Together with a first edition of the printed book: I Wish There Were Two of Me. Story and pictures by Symeon Shimin. New York & London: Frederick Warne [1976]. Color illustrations. 4to, [32]pp; original cloth, pictorial dust jacket. A nearly fine copy (except for a few small tears to

the jacket), signed by Shimon on the half-title, and dated “Dec. 1978”.Symeon Shimin (1902-1984) was born in Russia and emigrated to America with his family in 1912. As a young artist he studied in New York and briefly in Paris, but found limited success as a painter (though he was commissioned in 1938 to do a mural at the Department of Justice in Washington, DC). A second career began in 1950 when he illustrated a new edition of How Big Is Big? written by his friends Herman & Nina Scheider. He went on to illustrate over 50 children’s books including works by Madeleine L’Engle, Isaac Bashivis Singer, Margaret Wise Brown and Isaac Asimov.

Original Wood Block Prints54. SIR JOHN TENNIELS ILLUSTRATIONS TO LEWIS CARROLL’S Alice Adventures In Wonderland & Through The Looking-Glass. London: Macmillan, 1988. Together, 91 prints from the original wood blocks + one from an electrotype [Alice & the Dodo], all from designs by John Tenniel done for the two Alice books, each print individually matted inside its own specially captioned folder. 4to, the two sets of prints separately housed in leather-backed folding linen boxes with gilt spine labels, matching slipcase. $3,500.

First and only edition, limited to 250 sets (#151) of original wood-block prints, specially hand-proofed by Jonathan Stephenson at The Rocket Press and printed on acid-free mould-made paper. This is an historically significant production, due to the fact that from the beginning the illustrations for the Alice books were printed from electrotypes rather than these original wood blocks (see Dodgson’s preface to the 86th Thousand of Alice, 1897). As issued with: A Study of Sir John Tenniel’s Wood-Engraved Illustrations … [by] Leo John De Feitas. Three mounted illustrations. Small 4to, 59pp + colophon; linen with gilt-lettered leather cover label, slipcased with the prints.

55. SENDAK (Maurice): Wild Things Are Happening: Crocodile Bridge. Original pencil drawing on acetate paper, depicting Moishe Wild Thing hoisting a young boy on his shoulder and explaining that the crocodile bridge connecting small islands together is the best way to access each area while still linking it all as one unit. The picture image measures 4-3/16 x 6-7/8 inches, signed in full in pencil by Mr Sendak at lower right margin below the drawing, the whole paper measuring 10-3/16 x 9-1/2 inches, noting at the top margin he spent 4 hrs creating this design. $9,500.

This was intended as part of an advertisement to promote Bell Atlantic’s 1997 campaign “Wild Things Are Happening” which introduced benefits of their Digital Subscriber Lines (DSL) and supply-chain management to the public. It was the first time Mr Sendak allowed his Wild Thing characters to be used as part of a commercial enterprise. The wit and creative originality that marked this campaign won it the highly coveted Effie Award given for excellence and marketing effectiveness in advertising as well as a Clio Award for Mr. Sendak’s print advertisements.