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  • I Romani nella Grecia. by [BARZONI, Vittorio]. [BARZONI, Vittorio]. ~ I Romani nella Grecia. ‘London: Printed by F. Rivington and G. Robinson St James-street [Venice: Francesco Andreola], 1798.
    An anti-Napoleonic tract, describing the French victories in Italy under Napoleon in 1796, under the figure of the Roman conquest of Greece. Having published more… (more)

    An anti-Napoleonic tract, describing the French victories in Italy under Napoleon in 1796, under the figure of the Roman conquest of Greece. Having published more than one such critiques, Barzoni had fled Venice in 1797. First published in 1797 under false imprint, there were numerous editions and issues of I Romani nella Grecia with ‘London’ imprints like this, probably all printed in Venice.

    Appended to this copy, probably contemporaneously are four popular patriotic songs or verses of a type which would have circulated semi-clandestinely in manuscripts like these. One is entitledL ‘Alfieri all sua Patria’. This edition not in ESTC, which lists a 1797 edition with the F. Rivington and G. Robinson imprint, and several other editions 1797-9.

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  • MILNE, A. A. ~ Now we are Six... with decorations by Ernest H. Shepard. London: Methuen & Co Ltd, 1927].
    First edition, published October 13th 1927. (more)

    First edition, published October 13th 1927.

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  • La Lettre Rouge... Roman américain. Traduit par Old Nick. by HAWTHORNE (Nathaniel). [Paul Émile Daurand FORGUES, translator]. HAWTHORNE (Nathaniel). [Paul Émile Daurand FORGUES, translator]. ~ La Lettre Rouge... Roman américain. Traduit par Old Nick. Paris: [Lagny for] Gabriel de Gonet, 1853.
    First edition in French of The Scarlet Letter (1850), a signal rarity. Forgues (b. 1813) was a close friend of Stendhal and had been a… (more)

    First edition in French of The Scarlet Letter (1850), a signal rarity. Forgues (b. 1813) was a close friend of Stendhal and had been a critic at the Revue des Deux Mondes, specialising in works in English. Not only did he introduce The Scarlet Letter to French readers, but he also reviewed Moby Dick in 1853 and produced translations of Jane Eyre and Uncle Tom’s Cabin (both under the pseudonym of ‘Old Nick’). Though the text of La Lettre Rouge is considerably abridged from Hawthorne’s original, the Revue britannique in 1853 claimed that ‘Plus d’un passage nous a paru supérieur à l’original... Il y a dans la Lettre Rouge une petite fille appellée Perle, qui est un ravissante créature, un ange comme ceux de Charles Dickens. Malgré son nom diabolique, Old Nick a prêté encore de nouveaux charmes à cette perle céleste’. Brown, A Bibliography of Nathaniel Hawthorne, 1968 [1905], p. 98. C. E. Frazer Clark’s bibliography of Hawthorne does not include translations. WorldCat lists US copies at Harvard, Peabody Essex, Johns Hopkins and Virginia.

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  • Édouard. by [DURAS, Claire de Kersaint, duchesse de]. [DURAS, Claire de Kersaint, duchesse de]. ~ Édouard. Paris: Jules Didot, 1825.
    First edition, rare, printed in small numbers (perhaps 100 copies) for private circulation, with the first trade edition following in the same year (printed by… (more)

    First edition, rare, printed in small numbers (perhaps 100 copies) for private circulation, with the first trade edition following in the same year (printed by Advocat). It followed the succès de scandale of Claire Duras’ previous novel Ourika (1823, now prized as the first European novel with a heroine of African origin). ‘Despite not receiving as much scholarly attention as Ourika or finding fame as part of a literary scandal like Olivier ou le Secret, Édouard has been considered Duras’s finest work (Sainte-Beuve, 71). Written in 1821 and first published in 1825, Édouard uses the lens of class to address similar themes of social exclusion and identity conflict to Duras’s two other finished novellas. Set in the 1770s, the plot focuses on the son of a celebrated lawyer from Lyon, and is generally read as an attack on class boundaries...’ French Writing and Culture: The Nineteenth-Century, 1800-1900 (Literary Encyclopaedia). It was quickly translated into both German and English. WorldCat lists US copies of the first edition at Cornell, Harvard and Yale only.

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  • Aloïze de Mespres, nouvelle tirée des chroniques du XII.e siècle. by [FOURÈS, Pauline]. [FOURÈS, Pauline]. ~ Aloïze de Mespres, nouvelle tirée des chroniques du XII.e siècle. Paris: Gide fils, Octobre � 1814.
    FIRST EDITION, a rare historical novel by an extraordinary woman, conventionally remembered as a mistress of Napoleon. Born Pauline Bellisle in 1778, the daughter of… (more)

    FIRST EDITION, a rare historical novel by an extraordinary woman, conventionally remembered as a mistress of Napoleon. Born Pauline Bellisle in 1778, the daughter of a clockmaker, and later apprenticed as a milliner, she married French cavalry officer Jean-Noëlle Fourès. When he was posted to Egypt, Pauline travelled with him, evading detection during the voyage dressed in men’s clothing. Napoleon was captivated by her, apparently considering divorcing Joséphine in consequence, and sent her husband away on a spurious mission back to France, then invited Pauline to share his quarters in Egypt. She thereafter took the role of an unofficial consort and divorced her husband, only to be left behind in Egypt when Napoleon returned to France. She narrowly escaped death during the Cairo revolt of 1798 before returning to France herself the following year. Granted a house and pension by Napoleon she remarried, only to divorce once more after a renewed liaison with Napoleon (now emperor). She went into exile in Brazil with a third husband after Napoleon’s fall, returning to France in 1837 and finding success as a painter and musician and gathering an important art collection. She was the author of two novels, Wentworth (1813) and Aloïze (1814), both now very rare.� WorldCat locates copies outside France at BL and Yale only. In France, there are copies at Strasbourg and the Bibliothèque nationale.

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  • Un Amant. Traduction française. [Wuthering Heights, in French]. by BRONTË, Emily. T[éodor] de WYZEWA, translator. BRONTË, Emily. T[éodor] de WYZEWA, translator. ~ Un Amant. Traduction française. [Wuthering Heights, in French]. Paris: [Abbeville: A. Retaux for] Librairie Académique Didier Perrin et c[ompagn]ie, 1892.
    First edition in French of Wuthering Heights (1847) which also includes the first significant critical study of Brontë in French as its preface by the… (more)

    First edition in French of Wuthering Heights (1847) which also includes the first significant critical study of Brontë in French as its preface by the translator. Wyzewa was the first writer to formally introduce Emily Brontë into France — the only prior attempt, thirty-four years earlier, had been a brief allusion to her as the sister of Charlotte Brontë in an article by Emile Montégut for the Revue des deux mondes. Wyzewa gives both an account of the critical reception of Wuthering Heights in England and a biographical sketch. The title Wuthering Heights was not attached to the novel in French before the succeeding edition of 1925, entitled Les Hauts de Hurlevent.

    Téodor de Wyzewa, born Teodor Wyżewski in Poland (1862–1917) emigrated to France in 1869. A critic of both literature and music, he was one of the pioneers of symbolism and made his name with brilliant analyses of poems by Mallarmé. Exceptionally rare. Worldcat lists the British Library copy as the only copy outside France. No US copies located. Bénédicte Coste, ‘Un amant: la première traduction française de Wuthering Heights par Téodor de Wyzewa’, Études anglaises 2002/1 (55), pp. 3 à 13.

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  • Idylls of the King. by FORTESCUE-BRICKDALE, Eleanor, illustrator. Alfred TENNYSON, Lord. FORTESCUE-BRICKDALE, Eleanor, illustrator. Alfred TENNYSON, Lord. ~ Idylls of the King. London: Hodder & Stoughton, [ 1911].
    Number 184 of 350 copies, signed by the artist. ‘Eleanor Fortescue-Brickdale never married, and from 1903 to 1943 she lived with her sister, Kate, who… (more)

    Number 184 of 350 copies, signed by the artist. ‘Eleanor Fortescue-Brickdale never married, and from 1903 to 1943 she lived with her sister, Kate, who was also unmarried, at 23 Elsham Road, Shepherd's Bush. She travelled often to the continent and was clearly influenced by the fifteenth- and early sixteenth-century art which she saw on visits to Italy. There were further exhibitions of her works at Leighton House in 1904, with a catalogue containing appreciative remarks by George Frederic Watts, and at Dowdeswell’s in 1905 and 1909. She continued her illustrative work, which from about 1905 consisted of both line drawings and watercolours made for reproduction as half-tone colour plates. In 1911 two editions of Tennyson’s Idylls of the King (de luxe and popular) were published with illustrations from her watercolours while the originals were on show in another of her one-woman exhibitions, this time at the Leicester Galleries. From that year she taught in the art school in Kensington founded by Byam Shaw’ (Oxford DNB).

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  • Encyclopédie comique ou Recueil anglois de gaietés, de plaisanteries, de traits d’esprit, de bons mots, d’anecdotes, de portraits, d’originalités, d’aventures, de naïvetés, de balourdises, de calembourgs et de pensées graves et sérieuses. Version libre de l’anglois. by BERTIN, Théodore-Pierre. BERTIN, Théodore-Pierre. ~ Encyclopédie comique ou Recueil anglois de gaietés, de plaisanteries, de traits d’esprit, de bons mots, d’anecdotes, de portraits, d’originalités, d’aventures, de naïvetés, de balourdises, de calembourgs et de pensées graves et sérieuses. Version libre de l’anglois. Paris: chez l’Editeur, [n.d., 1800].
    [uniform with:] Les Rieurs anglais, ou Supplément a l’Encyclopédie comique, traduction libre de l’anglais. Paris: Marchand, An X [1801/2]. 2 vols bound together, pp. [4],… (more)

    [uniform with:] Les Rieurs anglais, ou Supplément a l’Encyclopédie comique, traduction libre de l’anglais. Paris: Marchand, An X [1801/2]. 2 vols bound together, pp. [4], viii, [4], 132; [4], 156, [4],20, including half-titles, plus engraved frontispiece to each volume.

    4 vols bound in 2, 12mo (175 × 95 mm), partially uncut. Later red straight grain quarter morocco, spines elaborately gilt (by Champs-Stroobants Sr). Excellent copies.

    First edition. A rare collection of comic extracts translated or abridged from English authors including: Shakespeare, Gay, Johnson, Milton, Sheridan, Fielding, Goldsmith, Richardson, Young, Smollett, Sterne and Swift. Bertin (1751-1819) had worked in England as a tutor and translator and was the author of some 50 works on various subjects, including several translations. While in England he had studied Samuel Taylor’s system of shorthand and published, in 1791 a French edition of An Essay intended to establish a Standard for a universal System of Stenography, successfully introducing modern shorthand to the French public. Encyclopédie comique and Les Rieurs anglais are partly adverts for this system, with their shorthand plates and supplement entitled ‘Dissertation critique et curieuse sur l‘Okigraphie’. The second volume of Encyclopédie comique has a frontispiece depicting an English ‘Wife Sale’ (vente d’une femme Angloise à l’encan) which illustrates a short account of this peculiarly English custom or ritual observed in rural or working-class communities. ‘It can be seen as a bleak transaction, or as street-theatre, or as a shaming ritual’ (E. P. Thompson, ‘Sale of Wives’ in Customs in Common, 1993, p. 447).� Gay II, 98 (first work only); Rochedieu, Bibliography of French Translations of English Works, 1700-1800, Appendix III (Collections of works translated from the English), 30.

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  • Letters on the Improvement of the Mind. Addressed to a young Lady... in two volumes. by CHAPONE, Hester. CHAPONE, Hester. ~ Letters on the Improvement of the Mind. Addressed to a young Lady... in two volumes. Dublin: for J. Exshaw, H. Saunders, W. Sleater, J. Potts, D. Chamberlaine, J. Williams, and R. Moncrieffe, 1773.
    First Dublin edition, printed in the same year as the first (London) edition. The ten letters comprise: On the First Principles of Religion; On the… (more)

    First Dublin edition, printed in the same year as the first (London) edition. The ten letters comprise: On the First Principles of Religion; On the Study of the holy Scriptures (2); On the Regulation of the Heart and Affections (2); On the Government of the Temper; On Oeconomy; On Politeness and Accomplishments; On Geography and Chronology; On the Manner of Reading and Course of reading History. It is dedicated to Elizabeth Montagu. ‘Montagu encouraged Chapone, presumably in the summer of 1770, when the two friends were travelling in Scotland, to publish the letters on education she had been sending her niece since 1765. Chapone was grateful to Montagu for correcting the manuscript, and the text, Letters on the Improvement of the Mind (1773), was Chapone’s most celebrated work’ (Oxford DNB). It ran to many editions over several decades. ESTC: BL, Cambridge, NLI, Bodley and National Trust (Florence Court, Enniskillen, N.I.). No US copies of this edition.

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  • Ann’s Book... by PARSONS, Jacynth and Karl. PARSONS, Jacynth and Karl. ~ Ann’s Book... London: [William Brendon & Son, Plymouth for] The Medici Society, 1929.
    First edition of this attractive book illustrated by Jacynth Parsons. Parsons was a child prodigy, contributing superb illustrations to Ann’s Book by her father, the… (more)

    First edition of this attractive book illustrated by Jacynth Parsons. Parsons was a child prodigy, contributing superb illustrations to Ann’s Book by her father, the Arts and Crafts designer Karl Parsons, in 1929. In 1927 the Medici Society put on an exhibition of her ‘Pictures from the age of 3 to 16’ which met with considerable success. She later illustrated an edition of Blake under the patronage of W.B. Yeats, and several other works.

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  • Songs, Madrigals and Sonnets. A Gathering of some of the most pleasant Flowers of old English Poetry. Set in borders of coloured ornaments and vignettes. by CUNDALL, Joseph. CUNDALL, Joseph. ~ Songs, Madrigals and Sonnets. A Gathering of some of the most pleasant Flowers of old English Poetry. Set in borders of coloured ornaments and vignettes. London: [Charles Whittingham, Chiswick for] Longman, Brown, Green, and Co. 1849.
    First edition of these selections from Shakespeare, Milton, Marlowe, Coleridge, Spenser, Herbert, and others. ‘The ornamental borders in this book have been printed by means… (more)

    First edition of these selections from Shakespeare, Milton, Marlowe, Coleridge, Spenser, Herbert, and others. ‘The ornamental borders in this book have been printed by means of wood-blocks’. A collaborative enterprise between Cundall and the Chiswick Press it was printed in 2000 copies. ‘One-quarter share in the profits was to be paid to Joseph Cundall, but it is doubtful if there were any, since, in January 1851, forty bound copies and no less than one thousand six hundred and forty-two copies in sheets were sold to H.G. Bohn. It is a charming little volume and deserved a greater success: it is now a collector’s piece’ (McClean). McLean, Victorian Book Design and Colour Printing (2nd ed.), pp. 70-71.

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  • Prayer written at Vailima. by [SANGORSKI, Alberto, illuminator]. Robert Louis STEVENSON. [SANGORSKI, Alberto, illuminator]. Robert Louis STEVENSON. ~ Prayer written at Vailima. [London: Chatto & Windus, 1910].
    A celebrated Sangorski production, illuminating the family prayers of the Stevenson family used at their Samoan home at Vailima. Alberto Sangorksi brought to perfection the… (more)

    A celebrated Sangorski production, illuminating the family prayers of the Stevenson family used at their Samoan home at Vailima. Alberto Sangorksi brought to perfection the Victorian revival of manuscript illumination. Second impression.

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  • The Seven Deadly Sins... illustrated in Mediaeval Manner by Phillys [sic] Vere Campbell. by BOWEN, Marjorie. BOWEN, Marjorie. ~ The Seven Deadly Sins... illustrated in Mediaeval Manner by Phillys [sic] Vere Campbell. 1950.
    A rather extraordinary faithful manuscript copy of Marjory Bowen’s set of seven strange satirical tales originally published in the Pall Mall Magazine, December 1913-June 1914,… (more)

    A rather extraordinary faithful manuscript copy of Marjory Bowen’s set of seven strange satirical tales originally published in the Pall Mall Magazine, December 1913-June 1914, complete with copies of the original illustrations by Bowen’s sister Phyllis Vere Campbell. The identity of the very accomplished copyist is provided only by the monogram on the title-page ‘FMSB’.

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  • La Princesse lumière Conte de fées. by BARTEL, Jehan [pseudonym of Jehannette or Jeanette BARTEL]. BARTEL, Jehan [pseudonym of Jehannette or Jeanette BARTEL]. ~ La Princesse lumière Conte de fées. [Toulouse: Imprimerie du Centre], June 1905.
    A privately-published fairy tale by a young girl, of which we can find no copy in any public collection, nor any obvious trace of the… (more)

    A privately-published fairy tale by a young girl, of which we can find no copy in any public collection, nor any obvious trace of the work or its author elsewhere. The book is printed on a handsome glazed paper and incorporates three illustrations, presumably the work of the author. It was almost certainly her who also decorated the smooth calf binding with a whimsical design depicting an owl in a tree by moonlight. The printed dedication is to ‘ma chère petite Cousine Renée’, with this copy of what was presumably a very small edition inscribed to the author’s mother.

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  • [A bound collection of 54 plates] by MOTZ, Johann Michael, heirs of; and Albrecht SCHMIDT. MOTZ, Johann Michael, heirs of; and Albrecht SCHMIDT. ~ [A bound collection of 54 plates] Augsburg [n.d. but soon after 1750].
    An interesting collection of fifty-four rare hand coloured plates by Augsburg publishers Johann Michael Motz and Albrecht Schmidt, very much in the style of the… (more)

    An interesting collection of fifty-four rare hand coloured plates by Augsburg publishers Johann Michael Motz and Albrecht Schmidt, very much in the style of the recreational and educational prints of the slightly earlier Augsburg engraver-publisher Martin Engelbrecht. Like Engelbrecht’s, these prints were intended for popular consumption and were often cut up for albums or other decorative decoupage projects. All are very rare, notably the fine 4-plate suite of the continents here (Europe, Asia, Africa and America) and a very substantial part of the biblical sequence by Schmidt. There are also plates for the four seasons, the elements and times of day, two hunting plates and another after Boucher. The album was evidently put together c. 1800 from two or more constituent parts, perhaps already quite well used to judge by the variation in condition across the collection and by the various patterns of previous stab holes. An early owner/user has added some amusing pencil drawings to the rear endpapers.

    Motz specialised in devotional cards, memento moris and these larger format prints which could be cut out and pasted to screens, furniture, walls and other decorative projects. As a result they are exceptionally rare in standard print collections.

    Comprising:

    1. Les Amans Surpris (after Boucher, c. 1755), Motz.
    2. Les Plaisirs au jardin & La musique, 2 plates, Motz.
    3. [The Continents] Europa, Asia, Africa, America, 4 plates, lower lines of verses and imprint cropped, but Motz after I. Waxmuth.
    4. [The Seasons] Der Frühling, Der Sommer, Der Herbst, Der Winter, 4 plates, Motz.
    5. [The Elements] Das Feuer, Das Wasser, Die Lufft, Die Erde, 4 plates, Motz.
    6. [Parts of the Day] Der Morgen, Der Mittag, Der Abend, Die Nacht, 4 plates, Motz after Stockhman[n].
    7. [Hunting], 2 untitled prints, Motz after Stockhman[n].
    8. [Old Testament. Genesis] 14 plates, numbered 5-12, 37, 40, 45-48 each with gold borders, Albrecht Schmidt. [of 56?]
    9. [Old Testament, Genesis, the story of Joseph]. 13 plates, numbered 1-5, 7-14. Motz.
    10. [The Prodigal Son]. 6 plates, numbered 1-2, 5-8, Motz after C. Vogt (stubs of plates 3 & 4, evidently cut out).

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  • anciens et modernes, composant la deuxième partie de la bibliothèque M.V***, de Chartres, les Vendredi 15, Samedi 16, Lundi 18, Mardi 19 Juin 1855 et le le lendemain s’il y a lieu, à 7 heures du soir. 21, rue des Grands-Augustins. 21, Par le ministère de Me Charles Charpentier commissaire-priseur à Paris, rue de Helder, 14; assisté de M. A. Aubry, Libraire-Expert, à Paris, rue Dauphine, no 16. by VENTE DES LIVRES VENTE DES LIVRES ~ anciens et modernes, composant la deuxième partie de la bibliothèque M.V***, de Chartres, les Vendredi 15, Samedi 16, Lundi 18, Mardi 19 Juin 1855 et le le lendemain s’il y a lieu, à 7 heures du soir. 21, rue des Grands-Augustins. 21, Par le ministère de Me Charles Charpentier commissaire-priseur à Paris, rue de Helder, 14; assisté de M. A. Aubry, Libraire-Expert, à Paris, rue Dauphine, no 16. Paris: M[ada]me de Lacombe, 1855.
    A book auction bill, advertising the second part of the auction sale of what was evidently an immense private library belonging to the unidentified (by… (more)

    A book auction bill, advertising the second part of the auction sale of what was evidently an immense private library belonging to the unidentified (by us) M. V***, de Chartres. Buyers premium is advertised at 5% and the catalogue was issued by auctioneer Charpentier and book expert Auguste Aubry. No copy of the catalogue (of either part) is recorded in the Bibliothèque nationale catalogue.

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  • Jurons !!! pas de diminutions...... by LES VAMPIRES. LES VAMPIRES. ~ Jurons !!! pas de diminutions...... Paris: H. Platel. Cheyère, [n.d. 1826].
    A very rare satirical print depicting two blood-sucking landlords expelling a bewildered tenant. In the hand of one of the ‘vampires’ a note reads ‘eviction’… (more)

    A very rare satirical print depicting two blood-sucking landlords expelling a bewildered tenant. In the hand of one of the ‘vampires’ a note reads ‘eviction’ [congé], ‘end of lease’ [fin de bail] and ‘increase’ [augmentation] and all the notes scattered on the ground make reference to the real estate business. The caption reads ‘We promise, no reduction’. Paris (like London) was in the throes of a vampire craze in the 1820s, following the publication of Polidori’s The Vampyre in 1819. Charles Nodier’s melodrama Le Vampire was performed in Paris in June 1820, and spawned a host of spinoffs in popular culture and the press.�

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  • Grand Equestrian Feat, called the Peasant Frolic. As performed at Astley’s Amphitheatre. Price 4d 1/2 Plain. by (CIRCUS). (TOY THEATRE). (CIRCUS). (TOY THEATRE). ~ Grand Equestrian Feat, called the Peasant Frolic. As performed at Astley’s Amphitheatre. Price 4d 1/2 Plain. [London]: W[illiam]. West at his Theatrical Warehouse, Exeter Street, Strand, Apr[i]l 14, 1821.
    A rare large-format toy theatre print with figures for cutting out and mounting from a performance at Astley’s Amphitheatre, which was then managed by Andrew… (more)

    A rare large-format toy theatre print with figures for cutting out and mounting from a performance at Astley’s Amphitheatre, which was then managed by Andrew Ducrow, the father of circus equestrianism. The plate is unsigned other than by the publisher William West and is unattributed in the British Museum print catalogue, but it is of high quality. The BM copy was acquired with the nineteenth-century collection of toy theatre prints assembled by Ralph Thomas, who had made a tentative attribution to William Blake in Notes and Queries in 1898 (June 4th, p. 455). The British Museum did not adopt the attribution, though there is certainly something of Blake’s style in the print. William West was the pioneer of the Regency toy theatre print, commissioning work from both Cruickshank brothers, Flaxman, Dighton and Brooke.

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  • Florilège [spine title]. by [JEAN, prêtre]. [JEAN, prêtre]. ~ Florilège [spine title]. [France, c. 1890s].
    A curious florilegium, with extensive lithographed devotional text, presumably after the handwriting of author (’Jean, prêtre’) and a series of handcoloured lithographs. The latter include… (more)

    A curious florilegium, with extensive lithographed devotional text, presumably after the handwriting of author (’Jean, prêtre’) and a series of handcoloured lithographs. The latter include 31 of flowers (marigold, violet, primula, iris, cornflower, honeysuckle etc) which are paired with a description and devotional meditation on the opposite page. The others depict a hermit, a memento mori, a decorative contents list and (at the end) women in a religious procession with a banner. At least one them is signed ‘Jean’. The prefatory text is from Chateaubriand’s Le Martyrs: ‘En achevant ces mots, Zacharie s’arrêta, me montra le ciel où nous devions nous retrouver un jour, et, sans me laisser le temps de me jeter à ses pieds, il me quitta après m’avoir donné sa dernière leçon. C’est ainsi que Jésus-Christ dont il imite l’exemple, se plaisoit à instruire ses disciples, en se promenant au bord du lac de Génésareth, et faisoit parler l'herbe des champs et le lis de la vallée’.

    Although marked ‘Deposé’ on the first leaf, we have been unable to find any other copies or record of its publication. It was presumably printed in very small numbers.

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  • When we were very young. by MILNE, A. A. MILNE, A. A. ~ When we were very young. London: [Jarrold for] Methuen & Co. Ltd, 1927.
    Sixteenth edition (the first was November 1924). A very presentable copy. (more)

    Sixteenth edition (the first was November 1924). A very presentable copy.

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