Wilde, Oscar; Beardsley, Aubrey [illus]Biblio.com
215 résultats
1894wld44London: Elkin Mathews & John Lane. G : in good condition. Rebacked. Cover rubbed. Page edges browning. Hinge at title cracked. 1894. Limited Edition 500. Blue hardback cloth cover. 220mm x 160mm 9" x 6". 67pp 15pp plates. 10 plates by Aubrey Beardsley. . Elkin Mathews & John Lane hardcover
18930036073Paris and Londres: Librairie de L'Art Independant and Elkin Mathew et John Lane 1893. First Edition. Hardcover Hardcover. Very Good Condition. 20.5cm x 15cm. 84 2 pages. Half leather marbled papered boards gilt lettering and decoration top edge gilt marbled endpapers. Text is in French. First edition one of 600 copies the title page device by Felicien Rops. MASON 348. This copy rebound in a fine signed art nouveau binding by Hatchards Piccadilly without the wrappers with a plentiful quantity of blank leaves at the rear to allow for the binding design. Text is in French. Some discolouration to spine. Very minor rubbing to fore-edge corners lower tail fore-edge corner lightly pushed. Very minor foxing. Category: Theatre & Plays; Fine Bindings; Foreign Language::French; French Language; Antiquarian & Rare. Inventory No: 0036073. BZDB407 Theatre & Plays; Fine Bindings; Foreign Language::French; French Language; Antiquarian & Rare. Unbranded Oscar Wilde Salome. Drame en un acte. Librairie de L'Art Independant and Elkin Mathew et John Lane hardcover
189421246961894. London: Elkin Mathews & John Lane. 1894. Small 4to. Original blue-green woven cloth gilt designs after Beardsley blocked to boards spine lettered in gilt fore- and tail-edges uncut; pp. x 67 1 14 advertisements 2 10 plates including frontispiece illustrated title-page contents page and tailpiece by Aubrey Beardsley printed on glazed paper from line blocks engraved by Carl Hentschel; a few chips to joints and corners small loss to head of spine affecting 2 letters of gilt text spine sunned; internally very clean; a very good copy; bookplate of William Forbes Morgan 1841-1916 to front pastedown.First English edition of Wilde's one-act tragedy the first with Beardsley's illustrations four of which contain caricatures of Oscar Wilde one of only 500 copies translated by and dedicated to Wilde's lover Lord Alfred Douglas.Salome was written in French in late 1891 while Wilde was staying in Paris and accepted for production by Sarah Bernhardt at the London Opera House in 1892. However the Lord Chamberlain prohibited performances because of a ban on Biblical figures being presented on stage an outcome that understandably incensed Wilde. It was finally published in French in 1893 and then in this translation in 1894. Translating the nuances of Wilde's original text written in an idiosyncratic French has been acknowledged as a Herculean task by all those who have attempted it including Beardsley. Even though Wilde himself assisted Douglas the author and the translator nearly came to blows: 'Wilde immediately complained of Douglas's sloppy schoolboy French and an infuriated Douglas blamed any faults upon the original. He and Wilde nearly split over the disagreements and Robbie Ross - doubtless to his later regret - made peace between them that Fall' Daniel. Though Wilde tried to fix some of the errors Douglas raged when he did and wrote to the publishers that September 'as I cannot consent to have my work altered and edited and thus to become a mere machine for doing the rough work of translation I have decided to relinquish the affair altogether.' Daniel. Nevertheless their relationship recovered and the translation has since become the text most familiar to Anglophone audiences. Steven Berkoff used the Douglas translation for his critically acclaimed Salome at the National Theatre in 1988 with all its archaisms and errors unabridged.Sadly Wilde never saw the play produced. Its only performance during his lifetime was a one-off presentation at the Theatre de la Comedie-Parisienne on 11 February 1896 by which time he was already in prison. It was not performed publicly in Britain until 1931.Mason 350; Ross 'Later Work' 86; Samuels Lasner 59. See Daniel 'Lost In Translation: Oscar Bosie and Salome' Princeton University Library Chronicle 2007. hardcover
189422666ELondon: Elkin Mathews & John Lane 1894. First English Edition. Limited to 500 copies. Illustrated by Aubrey Beardsley. Original gilt-stamped blue cloth. Near fine only slightly handled copy with the gilt-stamping to the boards bright. From the library of Harpo Marx the great clown of the Marx Brothers comedy team and his wife actress Susan Fleming Marx former member of the Ziegfeld Follies and star of early talking films like Million Dollar Legs with W.C. Fields. With a charming bookplate illustrated by Susan Marx with a drawing of Harpo in his comic character which reads: “FROM THE LIBRARY OF HARPO & SUSAN MARXâ€. Elkin Mathews & John Lane hardcover
1894#15<p>Oscar Wilde<br />Salome. A Tragedy in One Act: Translated from the French of Oscar Wilde; Pictured by Aubrey Beardsley.<br />Salomé une tragédie en un acte traduite du français illustrée par Aubrey Beardsley.<br />London Elkin Mathews & John Lane; Boston Copeland & Day 1894.<br /><br />Small quarto. 5 unnumbered leaves half-title engraved title dedication to Alfred Douglas list of characters engraved list of illustrations 67 pp. and 16 pp. of publisher's advertisements. 10 engraved plates printed on Japan paper and one historiated tailpiece.<br /><br />A precious copy from the library of Jules Claretie accompanied by an autograph letter and a superb original photograph of Oscar Wilde.<br /><br />Contemporary binding signed by Gruel. Full olive morocco covers framed with a quadruple blind fillet spine with five raised bands extending onto the covers inner dentelles with gilt fillets gilt edges at the head edges ruled.<br /><br />First English edition printed in 500 copies.<br /><br />Copy enriched with:<br />– An original photograph of Oscar Wilde 145 × 105 mm by Alfred Ellis albumen print of the period.<br />– A press clipping announcing Wilde's death and another reporting on his funeral.<br />– An autograph letter signed by Oscar Wilde to Jules Claretie dated "The Cottage Goring-on-Thames" 1894 4 pages 12mo in black ink on a folded vellum paper bifolium.<br /><br />Translation of the letter originally in French:<br />"Dear Monsieur Claretie<br />Pray allow me the pleasure of asking you to accept a copy of my play Salomé and permit me to assure you how highly I value the privilege of meeting the artistic director of the most artistic theatre in the world.<br />I have retired to the country to reflect upon a new play but before the season ends I hope to return to London and to have the opportunity of seeing you again.<br />The only hope I see for our English drama lies in the establishment of a theatre like the French Theatre. I hope we may find a director possessing as much sympathy for art as yourself.<br />Pray accept this expression of my respect and admiration.<br />Oscar Wilde."<br /><br />One year after its first appearance in French the English version of Salome was published. The dedication reads: "To my friend Lord Alfred Bruce Douglas the translator of my play." In fact the translation gave rise to a dispute between Wilde and his young protégé whose command of French was rather limited. Wilde redid the entire work and refused to allow Douglas's name to appear on the title page. Douglas saw between this dedication and the absence of his name on the title page "the difference between a tribute of admiration from an artist and a tradesman's receipt."<br /><br />The book is one of the masterpieces of the English illustrated book featuring the striking compositions of Aubrey Beardsley 1872–1898 who also designed two magnificent historiated borders for the title page and the list of illustrations as well as the final tailpiece. These stylized and sinuous drawings show the artist at the height of his powers playing with bold areas of deep black ink contrasted with untouched white spaces and sophisticated decorative elements inspired equally by Renaissance ornament and the then-fashionable Japanese style. For Salome the young artist created the archetype of the poisonous woman typical of Symbolism surrounded by grotesque and perverse secondary figures. Wilde paid tribute to him declaring that Beardsley was "the only artist who knew what the dance of Salome was and who could see that invisible dance."<br /><br />This copy belonged to the novelist playwright and critic Jules Claretie 1840–1913 who from 1885 until his death served as administrator of the Comédie-Française which Wilde here does not hesitate to call "the most artistic theatre in the world." Claretie introduced contemporary authors such as Henry Bataille and Octave Mirbeau into its repertoire.<br /><br />This was a bold undertaking and Wilde here pays tribute to it: "The only hope I see for our English drama lies in the establishment of a theatre like the French Theatre."<br /><br />The very fine portrait of Oscar Wilde mounted at the beginning of this copy was taken in 1892 by the London photographer Alfred Ellis 1854–1930. The writer is captured as he truly was at the height of his career: impeccably dressed posing in a high-buttoned double-breasted jacket flower in his buttonhole white pocket square a cigarette in his left hand and his gloves in his right the latter resting on his hip.</p> Elkin Mathews & John Lane
1882140655Philadelphia: J. M. Stoddart & Co 1882. First edition of Rodd's first book of verse which was published with the assistance of Oscar Wilde. 12mo original publisher's vellum with gilt inner dentelles silk watered endleaves top edge gilt with others untrimmed illustrated. In near fine condition. Neat ownership inscription. Rare. J. M. Stoddart & Co hardcover
1894102670New York: R.F. Fenno. c.1894. 1st ed. Original colour illustrated stiff wraps Japanese temple birds colour decorated endpapers pp 23. The yapp edges are bumped lightly at bottom corner with some light creasing two tiny holes backstrip and at rear cover not affecting rear endpaper. In the same format as Renno's printing of Wilde's "The Sphinx" 1894. The title page is "Rosa Mystica" but the poems included are: Requiescat Sonnet on Approaching Italy San Miniato Ava Maria Plena Gratia Italia Sonnet Written in Holy Week at Genoa Rme Unvisited Una Sacra Aeterna Sonnet on Hearing the Dies Irae Sung in the Sistine Chapel Easter Day E Tenebris Vita Nuova Madonna Mia The New Helen. Clean. Very good condition. N.d. c. 1894. Rare Scarce early printing of a collection of Wilde's poetry in Japanese-inspired binding by a small publishing firm. Pictorial Wraps. R.F. Fenno paperback
1894002559Milwaukee Wis.: The Young Churchman Company 1894. Twenty-third Thousand . Hardcover. Good to Very Good/No Jacket. 7 3/4" X 5 1/2. Twenty-third thousand. Addressed to English Speaking Christians of Every Name. Author was Pastor in St Paul's Parish in Portland Maine and the book is dedicated to the communicants of that church. Frontis; 'Consecration of Archbishop Parker' is tissue protected. Preface by author is dated at Portland on St Matthew's Day 1885. 266 pp. plus: Appendix- 3 Notes. Wallpaper ep's brown boards with gilt text on front and spine publisher's colophon blindstamped on rear panel. Book has bumped and scuffed extremities 1 loose page xv & xvi in Contents. Digital images available on request. If you need reasons I'm sure you'll find them here. 'Initial Offering' envelope laid in. Bookseller's Inventory # 122559. <br/> <br/> The Young Churchman Company hardcover
1878233047Oxford: Thos. Shrimpton and Son 1878. First edition first printing. Early twentieth-century three-quarter crushed green morocco over green cloth with gilt rules spine titled ruled and decorated in gilt aeg marbled endpapers bulked with 51 binder's blanks. Bound with original pale blue printed wraps. A very fine copy. Octavo. 16pp. 7" x 5" "O lone Ravenna! many a tale is told / Of thy great glories in the days of old." So Wilde reflects upon the great Italian city. This lyrical exploration of Ravenna introduced the world to Wilde. This work won him the prestigious Oxford Newdigate Prize awarded annually to the best student poem. Wilde recited the poem in public on June 26th 1878 launching his notoriety beyond the walls of academia. <br /> <br /> Wilde was inspired by his travels through the faded glory of the streets of Ravenna the year before. According to Ellmann it is in these streets that "the young man.muses elegiacally upon its fallen greatness"––a musing that would be a continued theme throughout his literary career. <br /> <br /> Beautifully rebound in vibrant green morocco with the original wraps preserved and bound within. <br /> <br /> Mason 301; Ellmann 91. Thos. Shrimpton and Son unknown
1878140943843Oxford: Thomas Shrimpton and Son 1878. First Edition. First edition. Oxford crest present on front wrap and title page; a later pirate edition lacked these. Mason 301. 16 pp. Bound in publisher's gray-green printed wrappers. An unsophisticated copy Very Good with toning and and few small edge chips to fragile wrappers. Contents bright and in great shape. <p>The author's first book. Thomas Shrimpton and Son unknown
1878151231878. the fine Bradley Martin copy Recited in The Theatre Oxford June 26 1878. Oxford: Thos. Shrimpton and Son 1878. Original grey printed wrappers.<br/> <br/> First Edition of Oscar Wilde's first book the Newdigate Prize-winning poem that he wrote while a student at Magdalen College. To quote from Pearson: He Wilde left Oxford in a blaze of glory. The subject for the Newdigate Prize Poem that year was Ravenna and it so happened that he had visited the place on his way to Greece the year before noting it as a theme for poetic treatment. He could therefore put in bits of local colour which the other competitors had to glean from books. He won the prize as John Ruskin and Matthew Arnold had done before him and declaimed the poem in the Sheldonian Theatre on June 26 1878. When the Professor of Poetry J.C. Shairp whose duty it was to suggest textual improvements to the winner of the Newdigate advised certain alterations Wilde listened with due courtesy took careful notes of every suggestion but went away and printed the poem exactly as he had written it. In this copy the slip "PRINTED IN GREAT BRITAIN" is affixed to the title verso. This is a remarkably fine copy of this very delicate piece light browning as usual around the edges of the wrappers but no wear. Though not really as scarce an item as one might expect for a first effort this is THE copy for condition and for provenance -- see below. Mason pp 241-249. Housed in a morocco-backed slipcase with inner chemise. Provenance: bookplate of H. Bradley Martin on the case's chemise. To this day the eight-part Bradley Martin sale of 1989-1990 remains the sale of a generation especially for the remarkable condition of his collection for this item see lot #3320. unknown
1878236London: Thos. Shrimpton and Son 1878. Very good in original gray-green printed wrappers which are a bit browned at edges and with a few small chips. Now housed in a custom chemise and green morocco-backed slipcase. First Edition. With crest on wrapper title page and with woodcut on the last page. Wilde's first book.<br /> <br /> Wilde's poem was the Newdigate Prize winner for 1878 presented at Oxford University for best poetry. "During a vacation ramble in 1877 Wilde started from Greece and visiting Ravenna by chance on the way he obtained material for a poem on that ancient city and singularly enough Ravenna was afterwards given out as the topic for the Newdigate competition." Hamilton The Aesthetic Movement in England as quoted by Mason pg. 243.<br /> <br /> 8vo. 16pp. Mason pg. 241. Thos. Shrimpton and Son unknown
1872385457Northampton: Dicey & Co 1872. First Edition. Hardcover. Poor copy in gilt-blocked cloth over beveled boards. Spine bands worn with some loss. Panel edges dulled. Hinges starting. Text remains clear without blemish. Physical description: vii 256 pages. Subjects: England Northamptonshire.Northamtonshire England Description and travel; Poetry. English literature 1789-1919 Works. 19th century description and travel. Northampton: Dicey & Co hardcover
1872008136Northampton: Dicey & Co. Mercury Office Northampton 1872. Edited by Edward Dicey. Bound in quarter vellum. Binding by Birdsall & Son. Northampton signed at the foot of the front pastedown. Vellum spine and corners with raised bands on the spine Gilt title on red moroccor label with gilt decorated panels gilt ruling and floral motif.patterned cloth boards with gilt decoration along vellum edges. Top edge gilt. vii 256 pages. 5.5 X 7.5 inches.Foxing to endpapers an dadjacent pages otherwise pages all quite cllean throughout. Very good finely bound copy. Two newsapaper cuttings from the Northampton Mercury laid in. First Edition. Hard Cover. Very Good/No Jacket. Dicey & Co. Mercury Office Northampton Hardcover
1855612331855. Göttingen Georg H. Wigand 1855 8° XIII 3 558 2 pp. Pappband d.Zt.; frisch bezogen. First German Edition of the "Practical observations on aural surgery and the nature and treatment of diseases of the ear. London: John Churchill 1853" by Sir William Robert Wills 1815-1876 translated by Ernst von Haselberg with a foreword by Wilhelm Braun." "Mein Freund und früherer Schüler Dr. Addinell Hewson zu Philadelphia hat eingewilligt die Amerikanische Ausgabe dieses Buches zu besorgen welche bei Blanchard und Lea herauskommt; und mein Freund Dr. von Haselberg zu Stralsund hat die Uebersetzung ins deutsche übernommen. Dublin 12. Juni 1853.". "This work did more to place British otology on a scientific basis than anything previously published. In his own words Wilde "laboured to rescue the treatment of ear diseases from empiricism and found it upon the well-established laws of modern pathology practical surgery and reasonable therapeutics". He showed the middle ear to be the site of origin of most of the diseases of the ear. He is remembered for his method of treating acute mastoiditis using "Wilde's incision". The book was bitterly attacked by Kramer - see especially Lancet 1853 2 446 - and also by Thomas Wakley editor of that journal. Wilde was the father of Oscar Wilde." Garrison & Morton No.3369 1st. engl. Ed. 1853 unknown
1871190902Glasgow: Cameron & Ferguson 1871. Second edition of this collection of poetry by Jane Francesca Wilde 1821-1896 the mother of Oscar Wilde. Prior to the publication of the first edition in 1864 Lady Wilde contributed pro-Irish independence poetry to The Nation under the nom-de-plume "Speranza". Octavo. Engraved frontispiece of the poet after Bernard Mulrenin. With 10 pp. of publisher's ads at rear. Original green cloth spine and front cover lettered and decorated in gilt brown coated endpapers. Bookplate of Jeremy J. Mason. Extremities a little worn cockling to rear cover binding shaken foxing to outer leaves. A good copy. hardcover
1881ST20886London: David Bogue 1881. FIRST EDITION First Issue. 192 x 126 mm. 7 1/2 x 5". ix 1 236 1 pp. <br/> EXTREMELY ATTRACTIVE CRIMSON MOROCCO INTRICATELY GILT BY ZAEHNSDORF stamp-signed and dated 1909 on front turn-in covers framed in gilt with delicate pointillé cornerpieces surrounding inlaid green morocco drawer handles and oblique floral tools raised bands spine panels densely gilt in the pointillé style of Bozerian with stems of flowers radiating from pairs of inlaid green drawer handles turn-ins gilt-ruled red silk endleaves top edge gilt other edges untrimmed. Original slightly soiled gilt limp vellum binding bound in at rear. Mason 304. A few trivial spots internally but A VERY FINE COPY--the leaves fresh clean and wide-margined and the binding lustrous and virtually unworn.<br/> <br/> This is a finely bound copy of the first edition of Wilde's first book of poetry and his first substantial work of any kind. The collection is made up of 61 poems 31 of which appear here for the first time. Many reflect Wilde's delight in his visit to the art towns of Italy; other poems such as the tender "Resquiescat" written in memory of Wilde's sister Isola who had died at the age of eight show a more personal emotional sentiment. According to Mason "the first printing June 1881 consisted of 750 copies of which only 250 copies were used for the first edition the remaining 500 being equally divided between the second and third editions." Wilde himself oversaw the layout and design of the book choosing the handmade Dutch paper on which it is printed and the design of prunus blossoms on the vellum binding here bound in at the rear. The only published books by Wilde to appear before the present work were his student poem "Ravenna" which was named the "Newdigate Prize Poem" at Oxford for 1878 issued in wrappers and his drama "Vera; or the Nihilists" printed in 1880 of which Mason had knowledge of only two copies. Our attractive binding is a fine example of the work of the Zaehnsdorf firm long a top-ranked English bindery. Born in Pest Hungary Joseph Zaehnsdorf 1816-86 served his apprenticeship in Stuttgart worked at a number of European locations as a journeyman and then settled in London where he was hired first by Westley and then by Mackenzie before opening his own workshop in 1842. His son and namesake took over the business at age 33 when the senior Joseph died and the firm flourished under the son's leadership becoming a leading West End bindery. Over the years Zaehnsdorf employed a considerable number of distinguished binders including the Frenchman Louis Genth who was chief finisher from 1859-84 and trained a number of others including Roger de Coverly and Sarah Prideaux. A family-run business until 1947 the Zaehnsdorf bindery continued to produce consistently attractive and innovative designs executed with unfailing skill. David Bogue unknown
1882#8<p>Oscar Wilde<br />Poems. Fourth Edition.<br />London David Bogue 1882.<br /><br />Octavo. ix pp. 1 blank leaf 234 pp. 2 pp. publisher's catalogue and 1 blank leaf.<br /><br />Publisher's binding. Full white vellum Bradel binding both covers decorated with a symmetrical gilt and blind-stamped floral panel spine likewise adorned with a large gilt floral panel title in gilt lettering top edge gilt untrimmed.<br /><br />Fourth edition.<br /><br />Copy enriched with an autograph inscription signed on the verso of the half-title:<br />"To Alphonse Daudet the greatest novelist of our time homage from the author. Oscar Wilde May 3 83."<br /><br />An exceptional inscription to "the greatest novelist of our time."<br /><br />Having only just returned from New York Oscar Wilde spent the period from February to mid-May in Paris. It was there that he made the acquaintance of Alphonse Daudet whom he met both at his home his wife hosted a celebrated salon and at the residence of the painter Giuseppe de Nittis.<br /><br />Robert Harborough Sherard who was a friend of both Daudet and Wilde testified to the genuine esteem the English writer held for the French novelist.<br /><br />Although their aesthetics may at first appear far apart certain parallels can nevertheless be drawn between their works. Thus it has been written of L'Homme au cerveau d'or one of the tales from Lettres de mon moulin that "one might readily believe it to be the work of an Edgar Allan Poe or an Oscar Wilde."<br /><br />Yet Alphonse Daudet like the vast majority of French writers did not distinguish himself by his courage and even went further: in 1895 after Wilde's sentence to two years' hard labour he refused to sign a petition by Hugues Rebell calling for a reduction of his sentence accompanying his refusal with the remark: "As a father I can only express my horror and indignation."<br /><br />Let us recall that this exemplary family man confided to Gustave Flaubert during a dinner: "To experience pleasure against my own flesh I require the flesh of two women one whom I handle and the other who attends to the backside of the one I am fondling" Journal of Edmond de Goncourt 5 May 1876.<br /><br />This inscription by Oscar Wilde certainly dates from a period when he was seeking to ingratiate himself with the French intellectual milieu yet he was nonetheless fully aware of Alphonse Daudet's great talent and sincere in this fine dedication.</p> David Bogue
1882#9<p>Oscar Wilde<br />Poems. Fourth Edition.<br />London David Bogue 1882.<br /><br />Octavo. ix pp. 1 blank leaf 234 pp. 2 pp. publisher's catalogue and 1 blank leaf.<br /><br />Publisher's binding. Full white vellum Bradel binding both covers decorated with a symmetrical gilt and blind-stamped floral panel spine likewise adorned with a large gilt floral panel title in gilt lettering top edge gilt untrimmed.<br /><br />Fourth edition.<br /><br />Copy enriched with an autograph inscription signed on the verso of the half-title:<br />"To Alphonse Daudet the greatest novelist of our time homage from the author. Oscar Wilde May 3 83."<br /><br />An exceptional inscription to "the greatest novelist of our time."<br /><br />Having only just returned from New York Oscar Wilde spent the period from February to mid-May in Paris. It was there that he made the acquaintance of Alphonse Daudet whom he met both at his home his wife hosted a celebrated salon and at the residence of the painter Giuseppe de Nittis.<br /><br />Robert Harborough Sherard who was a friend of both Daudet and Wilde testified to the genuine esteem the English writer held for the French novelist.<br /><br />Although their aesthetics may at first appear far apart certain parallels can nevertheless be drawn between their works. Thus it has been written of L'Homme au cerveau d'or one of the tales from Lettres de mon moulin that "one might readily believe it to be the work of an Edgar Allan Poe or an Oscar Wilde."<br /><br />Yet Alphonse Daudet like the vast majority of French writers did not distinguish himself by his courage and even went further: in 1895 after Wilde's sentence to two years' hard labour he refused to sign a petition by Hugues Rebell calling for a reduction of his sentence accompanying his refusal with the remark: "As a father I can only express my horror and indignation."<br /><br />Let us recall that this exemplary family man confided to Gustave Flaubert during a dinner: "To experience pleasure against my own flesh I require the flesh of two women one whom I handle and the other who attends to the backside of the one I am fondling" Journal of Edmond de Goncourt 5 May 1876.<br /><br />This inscription by Oscar Wilde certainly dates from a period when he was seeking to ingratiate himself with the French intellectual milieu yet he was nonetheless fully aware of Alphonse Daudet's great talent and sincere in this fine dedication.</p> David Bogue
1882001873Boston Massachusetts: Roberts Brothers 1882. 4th Edition . Hardcover. Very Good/No Jacket. 16mo - over 5¾ - 6¾" tall. Covers in brown cloth with black decoration; spine gold stamped with wear at head and foot; top edge gilt; 16mo; with 230 pages. <br/> <br/> Roberts Brothers hardcover
188121118Roberts Brothers. Good with no dust jacket. 1881. Hardcover. Green boards gilt titling to spine gilt embossed globe with child atop on cover. Light scuffing to surface corners and head and tail of spine bumped. Floral endpapers front and back no tears or separations in gutters. Binding stitching has broken with pages 65-88 loose from binding and pages 89-112 hanging by the bottom threads. All other sections appear intact. Penciled name and date on blank fly. Text unmarked. Photos on request. ; 7.0 X 4.75 X 0.80 inches; 230 pages . Roberts Brothers hardcover
1881010736Boston: Roberts Brothers 1881. Mason 310 with all the first issue points: Yellow top-stain green floral endpapers and child-on-a-globe front board design in gilt. Green cloth. Light shelfwear with frayed spine ends. The cloth has a 2" tear along the rear joint. The front hinge is just starting to crack. In an otherwise tight binding. First American Edition. Hard Cover. Good/No Jacket. 12mo - over 6¾" - 7¾" tall. Roberts Brothers Hardcover
1894304460London: Printed for Private Circulation. 11 pages. Number 69 of 75 copies. Some light foxing to the pages. A piracy actually printed circa 1905. In Stuart Mason's bibliography as item 600. . Near Fine. Soft cover. First Thus. 1894. Printed for Private Circulation paperback
184670120081070Printed for T Allman London 1846. First Edition. Hardcover. Very Good Condition/No Dust Jacket. Author details by reference to WorldCat. Original brown covers with simple blind decoration gilt lettering and ornate decoration on spine corners and spine-ends are lightly bumped. Sound binding gift-note dated Nov 27 1846 on front end-paper. Vignette title. Clean pages with occasional very light foxing. Black and white frontis full page illustration facing title-page. No dust jacket as published. Undated by publisher. Dated from gift note. Quantity Available: 1. Shipped Weight: under 1 kg. Pictures of this item not already displayed here available upon request. Inventory No: 70120081070. All our books music and maps are sent by a tracked mail service. Printed for T Allman hardcover
1882List3658Boston Massachusetts: W. A. Evans & Bro 1882. Folio illustrated wraps. Pages detached from each other small chip to corner images and music fine remains good to very good and quite attractive. Good to very good. A visually striking example of Oscar Wilde–related ephemera issued during the height of the writer’s American lecture tour of 1882. Though lacking a printed date the title strongly suggests publication in connection with Wilde’s appearance at the Boston Music Hall on January 31 1882 where he delivered his lecture “The English Renaissance†as part of his widely publicized tour across the United States. Contemporary accounts describe the event as a notable cultural moment including the presence of Harvard students dressed in exaggerated aesthetic costume who occupied the front rows of the hall reflecting both the fascination with and satirical reception of Wilde’s aesthetic persona.1<br /> <br /> The lithographic cover prominently depicts a figure carrying an oversized sunflower an image closely associated with Wilde and the broader Aesthetic Movement. Such illustrated sheet music functioned not only as musical publications but also as collectible artifacts capitalizing on the figure of Wilde. Over the course of several months he traveled widely across the United States and Canada delivering lectures on art decoration and cultural taste and quickly became a subject of both admiration and parody in the American press. Although he never returned for a comparable national tour Wilde maintained a lasting connection to American audiences. We know of a variant edition of the Evans imprint with a different illustration as well as a different version published in Boston by Ditson the same year. <br /> <br /> OCLC 500491189 specifying this edition with the large sunflower illustration locating five copies. <br /> <br /> 1 “Freshmen at Oscar Wilde’s Lecture†The Harvard Crimson February 1 1882. W. A. Evans & Bro unknown
