Monumental 1802
Boydell Illustrated Shakespeare
13. SHAKESPEARE, William – The Dramatic Works. London, 1802.
Nine volumes. Large thick folio (13½ by 17 inches), contemporary full plum
straight-grain morocco gilt. $17,500
Galeria de Las Vegas no Grand
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Appointment Only, fez sair o seu catálogo de Março sob o tema Banned, Burned
& Censored Books, é deste mesmo catálogo que vos quero dar algumas
notícias.
“From landmarks of counterculture
to revolutionary religious texts, these books were banned for challenging
governments and transforming societies with bold new ideas.”
E com maior rigor na Introdução do Catálogo afirma-se:
“T
hese are the books that have changed societies and toppled governments. We’re
proud to offer you the opportunity to add the landmarks of counterculture to
your collection—The Catcher in the Rye, One Flew Over the Cuckoo’s Nest,
Orwell’s Nineteen Eighty-Four; or to preserve a Sendak book many people would
prefer pulled from the shelves; or to own a copy of the first book to allow
Soviets a glimpse inside the gulags. Of course we also offer a fine
representative selection of great and controversial works. Through centuries of
social and artistic protest, from the 1582 first Roman Catholic New Testament,
in English, through the works of Jonathan Swift, Karl Marx, Thomas Paine, and
Mark Twain. Collecting banned books is about protecting
important ideas; we believe every great collection contains some—often
many—banned books. H.L. Menken said, “The most dangerous man to any government
is the man who is about to think things out.” Being a little dangerous can be a
good thing.”
Catalogo
Vamos então folhear o catálogo e
ver algumas das suas obras:
“STORIES OF FOLK GONE BEFORE AND ADMONITORY
INSTANCES OF THE MEN OF YORE”: ILLUSTRATED EDITION OF BURTON’S ARABIAN
NIGHTS WITH 71 RICH PLATES, VERY HANDSOMELY BOUND, HOUSED IN THE
ORIGINAL WOOD-GILT HINGED BOX
6. BURTON, Richard F. – The Book of the Thousand Nights and a Night. London:
H.S. Nichols, 1897. Twelve volumes. Royal octavo, publisher's three-quarter
burgundy morocco gilt, elaborately gilt-decorated spines, raised
bands, marbled endpapers, top edges gilt, uncut and partly unopened.
Housed in the original wooden box with brass hinges and spring lock and Arabic
title in gilt on lid.
$9,000
Illustrated “Library Edition” of Sir Richard Francis Burton’s
lively (and often daring) translation of The Arabian Nights—the enduring,
irresistible folk tales of Aladdin, Ali Baba and many more heroes and heroines
of adventure, romance, mystery and magic—with 71 lush and lovely plates after
the iconic paintings of Albert Letchford, handsomely bound in morocco-gilt
using Arabic designs. This among the earliest complete editions of Burton’s
famed translation. Housed in the original wooden box with hinged lid, upon
which the title in Arabic is gilt-stamped: Alf Laylah wa Laylah, “Thousand
Nights and a Night.”
The Alf Layla wa-Layla ("One
Thousand Nights and a Night") have enchanted readers for centuries with
shimmering visions of "a land of fable environment whose deserts and
oases, bazaars and slums, jeweled caverns and minaret-topped edifices are
immediately recognizable" (Clute & Grant, 51).
Esteemed explorer and
scholar Burton translated and annotated the Arabian Nights,
intending to create "a legacy to his countrymen, of whose imperial mission
he was ever mindful, and to perpetuate the fruit of his own oriental
experiences" (DNB). The Nichols editions—one in 1894, not illustrated, and
this 1897 edition with Letchford's plates—were the first complete editions of
Burton's translation after the rare, 16-volume first edition of 1885.
These
complete editions were preceded only by an expurgated edition issued by
Burton's wife shortly after his death. Each volume with half title. With
facsimiles of the 1885 edition's title pages bound in. See Penzer, 113, 117-123.
A beautiful set in fine condition, most
desirable in its original wooden box.
1582 FIRST EDITION OF
THE FIRST ROMAN CATHOLIC NEW TESTAMENT IN ENGLISH, NOTED THEOLOGIAN JOHN
EADIE'S PERSONAL COPY
23. BIBLE. The New Testament of Jesus Christ,
Translated Faithfully Into English, out of the authentical Latin… With
Arguments of bookes and chapters, Annotations, and other necessarie helpes… for
cleering the Controversies in religion, of these daies… Rhemes: John
Fogny, 1582. Small quarto, late 19th-century full brown morocco,
elaborately blind-tooled spine, raised bands, marbled endpapers, all
edges gilt; pp. [30] 745 [27].
$29,000
Very scarce first edition of the important Rheims New Testament,
the first Roman Catholic version in English, translated from the Vulgate. The
copy of noted biblical scholar and pastor John Eadie.
Like the Geneva Bible, the Rheims
New Testament was "produced by religious refugees who carried their faith
and work abroad. Since the English Protestants used their vernacular
translations, not only as the foundation of their own faith but as siege artillery
in the assault on Rome, a Catholic translation became more and more necessary
in order that the faithful could answer, text for text, against the
'intolerable ignorance and importunity of the heretics of this time.' The chief
translator was Gregory Martin… Technical words were transliterated rather than
translated. Thus many new words came to birth… Not only was [Martin] steeped in the Vulgate,
he was, every day, involved in the immortal liturgical Latin of his church. The
resulting Latinisms added a majesty to his English prose, and many a dignified
or felicitous phrase was silently lifted by the editors of the King James's
Version, and thus passed into the language" (Great Books and Book
Collectors 108). While Martin was responsible for the translation, the
controversial textual annotations in defense of Catholic doctrine are
attributed to Richard Bristow, one of the supervisors of the project; most
copies of this edition were purportedly suppressed and destroyed because of
these notes (some of which were removed from later editions).
The New Testament
was issued separately and first, in the hope that its successful sale would
finance prompt production of the Old Testament; the two-volume Old Testament
did not, however, appear until 1609-10. With ornamental woodcut title
border, historiated initials, and head- and tailpieces. Without leaf Qqqqi only
(pages 673-4, the final leaf of 2 Peter). The Bible 100 Landmarks 65. The Bible
in the Lilly Library 39. Dore, 291-98. Herbert 177. Darlow & Moule 134.
Pierpont Morgan Library, The Bible 112. Rumball-Petre, 15. Rylands, 95. STC
2884.
Armorial bookplate of Scottish Presbyterian biblical scholar and pastor (and noted theological book collector) John Eadie, with Latin motto "Crux mihi grata quies" ("The Cross is to me welcome rest"). Eadie—who at one time could recite all of Paradise Lost from memory—was greatly interested in "the movement for a revision of the English New Testament [and] was one of the original members of the New Testament revision company" (DNB). An early owner inscription on title page notes the confirmation of Anna Rita Hill in 1713; contemporary signatures of Thomas Hill on page 381 and Mary Hill on page [748]. From the Bible collection of Bernard Engel, Esq. Occasional contemporary marginalia (presumably in Eadie's hand).
Text and binding fine. An exceptional copy of
an important and rare printing, with a noteworthy provenance. Extremely
scarce.
“THE UNFOLDING OF
A MIND OF GENIUS IN DIALOGUE WITH ITSELF”: RARE 1613 SECOND EDITION IN
ENGLISH OF MONTAIGNE’S ESSAYES
56. MONTAIGNE – Essayes Written In French… Done Into English, according to the last
French edition, by John Florio. London: Melch, Bradwood for Edward Blount and
William Barret, 1613. Folio (8 by 11-1/2 inches), contemporary full
brown calf rebacked and recornered, gilt ornamental lozenges, raised
bands, red morocco spine label.
$16,000
Second edition
in English of Montaigne’s seminal masterpiece, with the important Elizabethan
translation of John Florio used by Shakespeare as a source for The Tempest
(circa 1611), a work profoundly influenced by Lucretius, who is quoted almost a
hundred times in the work, a splendid folio volume in contemporary calf boards.
"Montaigne startles the common reader at
each fresh encounter, if only because he is unlike any preconception we bring
to him… His scope and capaciousness sometimes approach Shakespearean
dimensions… Montaigne's [is]… the first personality ever put forward by a
writer as the matter of his work. Walt Whitman and Norman Mailer are indirect
descendants of Montaigne, even as Emerson and Nietzsche are his direct progeny…
He represents—not everyman… but very nearly every man who has the desire,
ability, and opportunity to think and to read" (Bloom, Western
Canon, 147-151). "Montaigne devised the essay form in which to express
his personal convictions and private meditations, a form in which he can hardly
be said to have been anticipated… He finds a place in the present canon,
however, chiefly for his consummate representation of the enlightened
skepticism of the 16th century, to which Bacon, Descartes and Newton were to
provide the answers in the next" (PMM 95). Here is "the unfolding of
a mind of genius in dialogue with itself and with the world" (Hollier,
250). "It is generally accepted that Shakespeare used Florio's translation
when writing the passage on the natural commonwealth in his Tempest"
(Pforzheimer 378).
The influence on Montaigne of the Roman poet
and philosopher is particularly strong and obvious. The Essays contain
almost 100 direct quotations from Lucretius' Epicurian masterpiece De
rerum natura; in the Essay "On Books," Montaigne lists Lucretius
with Virgil, Horace and Catullus as the top poets. As the critic Stephen
Greenblatt has commented, "beyond any particular passage, there is a
profound affinity between Lucretius and Montaigne. Montaigne shared Lucretius'
contempt for a morality enforced by nightmares of the afterlife; he clung to
the importance of his own senses and the evidence of the material world; he
intensely disliked ascetic self-punishment and violence against the flesh; he
treasured inward freedom and contentment. In grappling with the fear of death,
in particular, he was influenced by Lucretian materialism. He once saw a man
die, he recalled, who complained bitterly in his last moments that destiny was
preventing him from finishing the book he was writing. The absurdity of the
regret, in Montaigne's view, is best conveyed by lines from Lucretius: 'But
this they fail to add: that after you expire / Not one of all these things will
fill you with desire.' As for himself, Montaigne wrote, 'I want death to find
me planting my cabbages, but careless of death, and still more of my unfinished
garden'" (Stephen Greenblatt, "The Answer Man," in The
New Yorker, August 8, 2011). Initially published in French in 1580,
Montaigne's Essayes were first published in English in 1603, with
this translation. Frontispiece portrait of Florio by William Hole
bound between Contents and first text leaf; containing general title page,
separate title pages for the second and third books. With rear blank leaf,
elaborate ornamental woodcut-engraved initials, headpieces throughout.
Occasional mispagination as issued without loss of text. STC 18042. Lowndes,
1588. ESTC S111840. See Langland to Wither 102. Title page
with contemporary owner signature dated 1614.
Interior quite fresh with only minor expert
archival repair to edges of title page and and a few leaves not affecting text,
lightest scattered foxing, faint rubbing to boards. A very handsome
near-fine copy.
A GREAT MODERN RARITY:
STUNNING FIRST ISSUE, REVIEW COPY OF SALINGER'S CLASSIC, WITH AN
EXTRAORDINARY UNRECORDED BROADSIDE IN WHICH SALINGER REVEALS PERSONAL
FEELINGS ABOUT HIS DISAPPOINTMENT THAT CHILDREN WILL NOT READ IT
74. SALINGER, J.D. – The Catcher in the Rye. Boston: Little, Brown, 1951.
Octavo, original black cloth, original dust jacket. Housed in a custom chemise
and half morocco slipcase.
$39,500
First edition of
Salinger’s first book, in first-issue dust jacket with photograph of Salinger
on the back panel. With review slip and Salinger broadside laid in. A lovely
copy.
"The Catcher in the Rye is
undoubtedly a 20th-century classic" (Parker, 300). "This novel is a
key-work of the nineteen-fifties in that the theme of youthful rebellion is
first adumbrated in it, though the hero, Holden Caulfield, is more a gentle
voice of protest, unprevailing in the noise, than a militant world-changer… The
Catcher in the Rye was a symptom of a need, after a ghastly war and
during a ghastly pseudo-peace, for the young to raise a voice of protest
against the failures of the adult world" (Anthony Burgess, 99
Novels, 53-4). Laid in
to this copy is a review slip headed "To the Literary Editor."
In
addition, this copy includes an unrecorded mimeographed broadside from the
Little, Brown publicity department that reads: "In J. D. Salinger's own
words: Born in New York City, in 1919. Have lived in and around New York most
of my life. Educated in Manhattan public schools, a military academy in
Pennsylvania, three colleges (no degree). A happy, tourist's year in Europe
when I was eighteen and nineteen. I'd like to say who my favorite fiction
writers are, but I don't see how I can do it without saying why they are. So I
won't. I'm aware that a number of my friends will be saddened, or shocked, or
shocked-saddened, over some of the chapters of THE CATCHER IN THE RYE. Some of my
best friends are children. In fact, all of my best friends are children. It's
almost unbearable to me to realize that my book will be kept on a shelf out of
their reach." A 1953 printing of this broadside (coinciding with
publication of Nine Stories) has been recorded but does not include
the last four sentences. The present copy is dated 1951, the year of
publication.
Book fresh and fine; bright, unrestored dust
jacket near-fine, with only lightest rubbing to spine head and minor toning. A
clean and lovely copy, exceptionally desirable with rare broadside.
Muito mais haveria para mostrar,
mas e eu optei por estas, como sempre a escolha é muito pessoal e criticável (embora
tente sempre apresentar obras novas que nunca tenham por aqui passado visto que
algumas delas já são do nosso conhecimento), a opção das mais importantes será
sempre vossa, para o que será indispensável a consulta e leitura do respectivo
catálogo, pelo que vos apresento os meus votos de uma boa consulta e leitura
atenta deste mesmo catálogo.
Saudações bibliófilas e bom fim-de-semana.
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e copyright da Bauman Rare Books.
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