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(AESTHETIC MOVEMENT-LITERARY SPOOF)   POLLARD, Josephine, and Walter                          Satterlee, (illustrator.).  THE DECORATIVE SISTERS; A MODERN BALLAD
New York: Anson D.F. Randolph & Co., 1881. Small 4to. Color printed pictorial paper boards, red linen spine. (34) pages including chromolithographic plates. First American edition. [Holzenberg, # 95]. 

First American edition of this vibrantly illustrated cautionary tale, in which two simple English sisters are seduced by the Aesthetic Movement.  Captivated by a traveling artist who finds them "so intensely picturesque," Dorinda and Dorothea gradually abandon their household duties: "The Decorative Sisters were so mystically mystic -/ So whimsically whimsy - so intensely intense -/ That those who did not know 'twas Aesthetic and Artistic,/ Would surely think that neither has a grain of common sense."
Published same year as Patience, Gilbert and Sullivan's satire of the Aesthetic Movement, The Decorative Sisters similarly pokes fun at the props associated with the young Wilde, Swinburne, and Whistler: painted china, sunflowers and lilies, peacock feathers.  In the end, Dorinda, who moves to London and marries an artist, is sentenced to an empty life of posing, while Dorothea remains in the countryside and finds happiness with an honest farmer.  A very good example of American resistance to art for art's sake.  Light rubbing and shelf wear to boards, tears along upper inner hinge, else very good.


London : Henry Sotheran, 1882. Folio. Publisher's cloth. viii, 32 pages, 36 plates, each with accompanying text leaves. First edition. [Holzenberg, # 10; McLean, Victorian Book Design, pages 133-134].

The first authoritative English language guide to medieval design.  The authors, both Liverpool architects, wrote the book to meet the growing interest in the gothic revival.  All of their chromolithic plate books, including this one,  were  key reference sources for the artists, designers and architects of the Aesthetic Movement.  Their designs were copied to wallpaper and stencils.  The thirty-six plates are fine chromolithographs by Firmin-Didot, Paris .  With a few ex-library stamps, not affecting the plates; spine tear repaired; else very good.

BOND , Anne Lydia, (editor).  THREE GEMS IN ONE SETTING.       

London: W. Kent, n.d. (1860). Small 4to. Original decorative purple cloth with geometric patterns blind stamped in gilt cloth. Chromolithograph title-page, and 17 chromolithograph plates. First edition. [McLean, Victorian Publisher's Bookbindings, page 118; Ball, page 55; Wakeman and Bridson, page 17.]

Anne Lydia Bond was a painter and photographic colorist.  Her illustrations in Three Gems in One Setting were inspired by the work of Noel Humphreys and Owen Jones, as well as by the style of manuscript prayer books.  The book consists of 18 delicate chromolithographic plates by David Brand, illustrating poems by Alfred Tennyson, "The Poet's Song"; Thomas Campbell, "Field Flowers"; and Felicia Dorothea Hemans, "Pilgrim Fathers."  The purple cloth binding features deep insets and an arabesque design, noted by Ball to reflect a Moorish influence.  An inset, color-printed only depicts a rural evening scene and is different from the typographic example photographed in McLean 's Victorian Publisher's Book-Bindings in Cloth and Leather.  Spine and lower edge of binding faded.  Some fading to cloth binding and rubbing to joints, all edges gilt.  Expertly recased.  Ink gift inscription dated 1862, from a husband to his wife on blank leaf facing title page.  Some foxing, otherwise a very good, clean, and bright copy.  


London: Day & Son, (1865). 4to. Publisher's red and gilt cloth, all edges gilt. 26 chromolithograph plates on heavy card stock. First edition.

A fine example of Victorian chromolithography by one of the masters of the art form.  Owen Jones, a Welsh architect and ornamental designer, is well known for his chromolithographic books, of which this is a fine example.  Other examples of his books include Ancient Spanish Ballads (1841), The Sermon on the Mount (1844), Gray's Elegy Illuminated... (1846), Scenes from the Winter's Tale (1866), and the monumental Grammar of Ornament (1866).  The twenty-six leaves are brightly colored.  On one side of each card is a Bible verse printed in black and red on a gold background; on the other side is a full-color illustration on a gold background.  Both illustrations and text are within elaborate Egyptian styled borders.  The Red decorated cloth binding is decoratively stamped in gilt and aqua in an Egyptian colored motif; duplicated on the back in blind stamp.  Binding lightly soiled, hinges neatly reinforced with matching cloth tape.  A little very light foxing, else a very good copy of this high-spot of English color printing.

New York : Nafils & Cornish, 1847. 4to. Publisher's stamped gilt cloth, all edges gilt. 104 pages, 10 chromolithographic plates with hand-colored highlights.
A scarce ornamented gift book edited by Alfred Phillips.  OCLC only records three editions from 1846 to 1848 ever published under this title.  Phillips also published it under another title, Flora's Gem, or the Bouquet for all Seasons, also published at the same time, and our volume includes a colored plate with another title leaf The Fairy Bower.  All copies are scarce and uncommon in the trade with no copies of this edition listed in auction records for more than twenty-years.  Phillips edited a collection of poems on floral themes.  This volume includes poems by Benson J. Lossing, Mrs. Sigourney, and Harriett Beecher Stowe, among others.  Ten brightly colored plates each highlighted by hand.  Stereotyped by Vincent Dill, Jr.  Some staining in upper gutter of last half of text not affecting text or print images.




Boston: Lee and Shepard; New York: Charles T. Dillingham, 1885. Oblong 8vo. Publisher's dark taupe cloth, beveled pictorial boards, all edges gilt. Chromolithographed half-title, (32) leaves of letterpress on verso and 16 chromolithographed illustrated plates. First American edition. [Holzenberg. #93]..

A wonderful example of a woman's inspirational book very much in the Aesthetic taste.  An unusual nineteenth century survival of the traditional emblem or gift book.  Each chromolithographed plate illustrates an item of personal adornment, such as a belt, a rouge pot, a bouquet, a ring, etc., while the accompanying letterpress defines the subject in terms of some virtue or moral quality such as humility, modesty, piety and contentment.  The plates are unsigned and two are moveable with small panels that open to reveal hidden treasures.  The colorful binding with design of fancy handkerchief and fan stamped to front with gilt accents, olive colored cloth back and endpapers; previous owners signature on front endpaper.  Light scuffing to edges, near fine.


New York: Lockwood, 1849. 4to. Publisher's gilt decorated cloth, all edges gilt. (23) leaves with 17 chromolithographic decorations. First edition.

An excellent example of early American chromolithography.  T. Gwilt Mapleson (1814-1852) was America 's first and arguably best chromolithographic artist.  This book is by far Mapleson's rarest.  This quarto volume contains nineteen selections from Shakespeare, some handsomely printed in Gothic type and others rendered in colorful calligraphy with stunning borders and decorations.  Bennett, in his checklist of American color plate books, does not include it.  Endpapers renewed, plates fresh and bright, all with tissue guards, wear to tips, still a most attractive copy.  Sinclair of Philadelphia did the actual printing.  



New York : Wiley and Putnam, (1853). 4to. Publisher's morocco. 28 leaves on boards. First edition.  [Bennett, page 71].

Mapleson was America 's finest chromolithographic book designer, the only American on the same artistic level as Henry Noel Humphreys and Owen Jones.  This book, printed by A. Brett and T. Sinclair, is one of his most successful works and a high spot in American color printing.  This copy is in the publisher's deluxe binding.  It has been professionally rebacked using the original spine as an overlay, else very good.



New York : Dodd, Mead, (1881). Square 8 vo. Beveled cream cloth, foliated gilt design in spine, all edges gilt. (62) card stock illuminated pages. [Holzenberg, # 109].

Lavishly illustrated with nineteen full-page illustrations combined with text, eleven other full page illustrations, pictorial title page, four pictorial half-titles and ten decorated pages - all in Chromolithography.  Designed by Howard Pyle in an Aesthetic style recalling the work of Walter Crane, which he soon repudiated.  The illustrations which spread out over the text prefigure the style of Eugene Grasset in "Quatre Fils d'Aymon."  Color lithography by Brett Lithographing Company in New York .  Covers with black lettering, pictorial design in gilt, red and black illumination the capital "T."  According to Whitman Bennett. American Nineteenth Century Color Plate Books, page 91: "one of the most notable gift books ever produced in this country and the best of the Pyle color work..."  Fine copy.



Meridian, Connecticut and New York: 1892. Folio. (iii),Frontispiece view of extensive factory, 1-70, 101-150, 201-224, 301-342, as issued. 

A rare trade catalogue.  Romaine located one copy at the Metropolitan Museum of Art and OCLC located copies at Winterthur and the Connecticut Historical Society.  This catalogue is notable for its exquisite color-printed wood engravings of tea and coffee pots and accoutrements, tureens, canisters, dishes, jars, cuspidors, and hotel/restaurant ware.  The engravings were by Sanford & Lohmann, color inks from Chas. Eneu Johnson, and printing by E.A. Horton.  In contemporary accounts, Horton is mentioned as a "fancy" printer, who's output was "the last word" in printing.  Laid-in is a color flier for "The New Mikado Pearl Agateware."  A handsome documentation of material culture.  Gilt and stamped cloth, worn along edges and at extremities.  Some stains on front floral endpapers; free endpaper torn with small piece missing.  Otherwise, near very good copy.



New York : Scribner, Armstrong and Company, 1878. 4to. Publisher's embossed cloth. Color frontispiece, 336 pages, illustrations in text throughout. [Holzenberg, # 69]. 

With its full-color frontispiece, "My Lady's Chamber" by Walter Crane, Clarence Cook's best seller was one of the most popular American books to proselytize the new aesthetic decoration of the home.  It was modeled after Charles Locke Eastlake's Hints on Household Taste, first published a decade before, but Cook adds a distinctively American flavor.  All the attention to form and function, beauty and utility, are observed, creating a middle class ideal for home decoration that heavily influenced popular taste.  The cover design is by Daniel Cottier, the proprietor of an international chain of decorating firms, and a seminal figure in the transmission of Aesthetic ideas from England to America .  Binding sturdy and tight; covers lightly soiled; contents clean, else good. 



London : C. Kegan Paul & Co., 1881. 8vo. Publisher's gilt cloth, top edge gilt. Frontispiece, xvi, 292, 28 plates. First edition. [Holzenberg, # 74].

Scarce first edition.  Edis was himself a practicing architect and designer, and his Decoration and Furniture of Town Houses is in part an extended advertisement for prominent firms and colleagues including Morris & Co., and E.W. Godwin.  This book is an extension of the author's series of Cantor Lectures to The Society of Arts in 1880 and this is enlarged and amplified.  An illustrated practical guide to Victorian furniture and household objects with credits to Morris & Co., Holland & Sons, Gillow, Trollope, Doulton, Minton, Wedgwood, etc., including interesting locks, bell-lever, and keys by Thomas Elsey.  The book plugs Edis's own work, and many of the plates are devoted to rooms - splendidly, almost outrageously Aesthetic rooms - from his London house.  A splendid aesthetic item.  A fine copy.


  FALKE, Jacob Von.  ART IN THE HOUSE.      

Boston : L. Prang, 1879. 4to. Publisher's full brown morocco, elaborately blind and gilt stamped, all edges gilt. xxx, 356 pages, added chromolithographic title page, 60 plates. First American edition. [Holzenberg, # 77].

Falke was perhaps the most important German writer on taste in the Aesthetic era.  He has written a history of interior decoration--beginning with the Greco-Roman house through the eighteenth century.  Critical observations on style and harmony are filtered through aesthetic principles.  Successive chapters deal with decorating the house in various stages: the floor, wall ornaments, ceilings, furniture and decorations on the table.  His work reflects many of the "artistic" principles in vogue in England and elsewhere: the dependence of Form on function; the importance of good design in everyday living; and the preferred use of historical styles as inspiration, rather than strict models, for modern decor.  This edition was translated by C.C. Perkins from the third German edition.  The 60 plates are a combination of five chromolithographs, and 55 albertypes and typographic etchings.  In addition there are one hundred and sixty-six in-text figures.  Front cover with a gilt stamped vignette; interior of front hinge neatly reinforced; some light foxing.  Otherwise, a very good copy of a heavy book usually found in shaken and worn condition.  



Boston : James R. Osgood, 1874. 8vo. Publisher's green cloth. Frontispiece plate, 314 pages. First edition .

A charming book, written as a series of letters from an architect to his client, heavily illustrated with attractive drawings in the text.  The author was an architect in Springfield , Massachusetts , the designer of Trinity  Church there.  This book reflects the aesthetic sensitivity which was beginning to be felt throughout America .  Chapters include Every Man should have a Home; Building-sites and foundation-walls; The weakness and sham of brickwork; Fashion and ornament, hard wood and paint, etc.  With thirty text illustrations.  A remarkably bright copy.



 ( New York ): Charles Scribner's Sons, 1881. 12mo. Publisher's embossed cloth. Frontispiece, xii, 242 pages, 5 chromolithographic plates. First edition [Holzenberg, # 42].

This book contains the first printed designs by Louis Tiffany who contributed two designs, including a colored frontispiece "Interior-Morning Room."  Includes detailed instructions and ideas for decorative projects in the home.  The text is an important example of Aesthetic Movement material for the middle class woman by a woman, "with numerous illustrations and five colored plates from designs by Samuel Colman, Rosina Emmet, George Gibson, and others."  Early owner's signature on title leaf and front end paper. A good copy, scarce thus.


London : Cassell Peter & Galpin, (1878-1879). Folio. Publisher's decorated cloth. 52 pages, 52 plates. First edition. [Holzenberg, For Art's Sake, 38].

Hulme's book, illustrating methods for turning designs in nature into ornamentation, was a cornerstone in the development of English Art Nouveau.  His emphasis, as the title suggests, is on botanical form, particularly those of indigenous wild flowers, such as Hedge Cress, Corn Marigold, Meadow Saffron, etc.  This was the only edition of the work--surprising given the importance of the work and the many editions of Hulme's other books.  The handsome chromolithographic plates were exquisitely printed by Dupuy et fils, Paris .  The influence of Hulme's teacher, Christopher Dresser, is apparent in many of Hulme's designs.  According to Eric Holzenberg, For Art's Sake, The Aesthetic Movement in Print and Beyond, 1870-1890, this is "one of the most arresting, yet least well-known, color plate books of the Aesthetic era...the plates in his Suggestions are an entertaining riot of vivid purples, greens and yellow, often accented with gold."  This work, when met with, is often falling to pieces and damaged through the Victorian use of gutta-percha as a binding medium, which then decays.  With this copy, which is in excellent condition, the spine is neatly repaired, a few missing elements replaced with compatible cloth.  The copy is free from foxing, which is unusual for this title.



London : Cassell Petter & Galpin, n.d. (1875). Small folio. Publisher's gilt cloth. xiii, (i), 137 pages, 32 plates. First edition. [Holzenberg, # 37].

A utilitarian, but useful, guide to ornament and symbolism based on the author's wide studies.  Frederick E. Hulme was a disciple of Owen Jones and Christopher Dresser, and this book is in a sense a distillation of the principles underlying both The Grammar of Ornament and Principles of Decorative Design, presented in several hundred line vignettes on thirty-two plates, organized into broad categories: Geometry, Symbolic art; Letters & Inscriptions; Heraldry; Natural vs. Conventional ornament, etc.  The book is particularly noteworthy for its elaborate gilt publisher's binding in the Modern Gothic style.  Very good.



Paris : Librarie Hachette et Cie, 1873. Large 8vo. Publisher's decorative paper boards. (4) 750, (1) pages, 12 etched plates. First edition.

Albert Jacquemart was a specialist in Chinese ceramics who published this work as a major reference work in the field.  He was a leading collector who established the typology still used in the west to describe Chinese ceramics from the time of the Qing Dynasty.  This first edition covers ceramics from Egypt , China , Japan , Korea , India , and other locations throughout history, beautifully reproduced in plates.  In addition to the twelve etched plates there are 200 wood engravings in the text.  The paper covered boards are decorated with elaborate designs of flora and insects in black, blue, and red.  A bit of rubbing to boards.  Some slight toning to versos of plates and some light foxing throughout.  Overall a very good, pretty copy.



New York : American Builder Pub. Co. , 1875. Folio. Publishers cloth. (iv) pages, 84 lithographic plates. First edition and only edition. [Hitchcock, 701].

A rare and uncommon book in trade.  The designs, in plan, perspective and elevation are for houses in both masonry and wood, mostly in the Gothic revival style.  They also include a few interior detail plates: some in strong Aesthetic Movement style.  According to the preface: "The following designs have all been selected from the pages of the American Builder, but it is believed that subscribers to that publication will be glad to get them in book form, printed on fine paper.  As the American Builder has been in existence since 1868, there were, of course, a great number of illustrations to select from.   We have chosen those which we deemed most suitable for a popular book of practical designs."  Mild wear at extremities, else very good.


MORRIS, William, and others.  LECTURES ON ART. 

London : Macmillan, 1882. 12mo. Publisher's cloth. x, 232 pages. First edition.

Anthology of reports "delivered in support of the Society for the Protection of Ancient Buildings."  Articles by Poole , W. B. Richmond, Edward Poynter, J. T. Micklethwaite, and William Morris.  Among the topics included are "The Egyptian Tomb," "Monumental Painting," " English Parish Churches ," and "History of Pattern Designing."  Cover slightly soiled.  Owner's name stamped on front blank leaf, else very good.



London : Blackie & Son, (circa 1901). 8vo. Publishers green decorated cloth. xi, 27 pages, plus 66 printed color plates, of which 2 are lettered A and B and the remainder numbered I-LXIV. First edition

A good copy of an attractive manual with colorful designs in the broad Art Nouveau and Arts and Crafts styles.  A near fine copy.



New York : William T. Comstock, 1882. Oblong 4to. Publisher's cloth, later cloth covered slip case. 16, (12) pages, 20 chromolithographed plates complete, each with a leaf of text.  First edition

Roger Moss, in his pioneering book, Century of Color, refers to Rossiter frequently and reproduces five color plates from this magnificent book.  While OCLC locates fourteen copies in American libraries, no copy has sold at auction in the past twenty-five years (the last in 1961).  The book is also not in Hitchcock, who does record other books on house painting.   The book records the bold combinations of reds, greens, oranges, yellows, browns, and blues, which comprise the Victorian pallet, "exhibiting the use of color in exterior and interior house painting, and embracing examples of simple and elaborate work in plain, graded, and parti-colors...the whole work offering valuable hints and suggestions on harmonious color treatment, suitable to every variety of building."  Some minimal foxing but a very good copy nevertheless. 




New York: Seeley Brothers, 1886. Folio. Publishers blind-stamped cloth. Lithographic title leaf, (8) pages, 20 chromolithographic plates, each with descriptive text facing, (3) folios of advertisements, one with paint samples, which includes 2 chromolithographic plates with 1 incorporating 12 flat pastel paint samples. First edition.  [McKinstry, 1456; Romaine, p. 260].

Rare paint trade catalogue with only one copy of the 1886 edition and two copies of the 1889 edition listed on OCLC. "In 1875, the architect Elisha Charles Hussey boarded a transcontinental train to survey the state of American architecture. The resulting book, Home Building...from New York to San Francisco, (N.Y., 1876), contained 42 plates. A decade later Seeley Bros. Paint Co. recycled several of Hussey's designs as full-color lithographs. These plates are among the most informative to survive for details of late Victorian exterior decoration...Picking out in bright color was relatively rare in the third quarter of the nineteenth century...The Seeley Brothers Company seems consistently to have advocated gayer treatments than Sherwin-Williams, Devoe, or Lucas." (Roger Moss, Century of Color. Exterior Decoration for American Buildings 1820-1920, page 49). Of considerable value as architectural documents, house paint catalogues such as this by Seeley are also among the most interesting American color plate books. The introductory text contains testimonials, advertisements, and comments of the manufacturers, and one folio leaf of forty glossy paint samples with folio descriptive text facing with four and a half chips missing - not uncommon with paint catalogues. Generally in very good condition.



Bridgeport , Connecticut : Palliser, 1878. Folio. Later quarter-blue pebbled cloth over black silk moire. (iii), (7) pages, plus 40 plates with text on verso of previous plate. First edition, thus. [Hitchcock, 907; Holzenberg, # 56].

An appealing and influential book, the designs range from simple and inexpensive to ambitious and pretentious.  The American architectural firm of Palliser, Palliser & Company was founded in 1876.  Like Shoppell's Co-Operative Building Plan Association, they specialized in the marketing of stock house plans.  The plans reflect the full-fledged Americanized Queen Anne style of Norman Shaw.  Palliser's first book plans, Model Homes for the People,  was published in 1876, but it is the two volumes of cottages - Palliser's American Cottage Homes (1878) and Palliser's New Cottage Homes (1887) - that capture the inventiveness and vigor of the American Queen Anne style.  The illustrated title-page of this book is an outstanding example of American Aesthetic book design.  In addition to the house plans and views, there are seven pages which include specifications and contracts for builders and also building related advertisements in the back. Professionally rebound, else very good.




London : Smith, Elder, and Co., 1849. 8vo. Publisher's embossed cloth. viii, (iv), 205, (1), 16 pages, 14 plates. First edition. [Holzenberg, # 8].

The first treatise in English to teach the real significance of architecture as the most trustworthy record of life and faith of nations.  Ruskin's Seven Lamps of Architecture was an attempt to apply to architecture some of the principals he sought to enforce in the case of painting;  it was influential in encouraging the Gothic revival of the time (DNB).  Ruskin drew and etched the plates for the first edition only.  The publisher's dark brown cloth, stamped in blind on both covers with an elaborate design of medallions representing Ruskin's Seven Lamps, surrounded by Gothic beasts and foliage.  Bookplate.  Occasional spotting.  Very good.



SHELDON, George William.  ARTISTIC COUNTRY-SEATS.  Volume II in two volumes.

New York : D. Appleton , 1887. Large folios. Later buckram. (iv), 100 pages, 27 photographic plates; 101-187 pages, 23 photographic plates. First edition. [Hitchcock, # 1162].

Sheldon's mammoth work, published from 1886 through 1887, is a glorious tribute to the emerging Aesthetic movement in American architecture.  Arnold Lewis, in American Country Houses of the Gilded Age, refers to Sheldon's work as the first, best, and most exquisite documentation of the period's grand houses.  Sheldon photographs and describes houses by A.J. Downing; McKim, Mead and White; Charles Cook; Theodore Chandler, and other leading American architects.  Volume two includes fifty fine photogravures, printed on India paper, each with its own dust sheet.  Most of the houses shown are in Newport, Tuxedo Park, Mt. Desert, ME, Western Massachusetts, Cleveland, Cincinnati, and other American cities in the Northeast.  Vincent Scully, in Shingle Style (1955) speculates that only five hundred sets were printed.  Because of the scarcity of the book in the trade, we feel the number might have been fewer.  Our copy has been rebound in library buckram, with a rubber stamp on the front of each volume.  The plates are in excellent condition with no foxing.  OCLC cites only six copies, two of which are for Volume II only.   



Philadelphia : Lippincott, 1861. 8vo. Publisher's cloth. 355 pages, with 202 illustrations in the text, 52 of which are full-page, 2 chromolithographic plates. First edition. [Hitchcock, 1200]. an>

Sloan presents forty plans for villas, cottages, and farm houses, along with notes on suitable furniture and landscape settings.  With the signature of William R. Williams, the noted Baptist minister and book collector, whose library was estimated at twenty-five thousand books.  The two chromolithographic plates, tiles and stained glass by Gibson, Philadelphia , are by Duval.  A water stain in the lower margin; spine sunned and lightly chipped; else a very bright copy.  Uncommon in commerce.




New York : Harper & Brothers, 1878. 8vo. Later cloth, all edges gilt. Frontispiece, 237, pages. First edition. [Holzenberg, # 86].

This, the author's first book (inspired by Eastlake 's Hints on Household Taste), linked Spofford with the Aesthetic Movement.  Spofford (1835-1921) was one of the most influential sources for style in homemaking during the last quarter of the 19th century.  In her preface she acknowledges the influence of an impressive number of artists and influential design writers including Dresser, Violett-le-Duc, and Racinet; and her illustrations of modern art furniture reveal her debt to Talbert, Crane and Morris.   Herter Brothers, A. Kimbel and J. Cabus, and Cottier and Company were some of the American firms that provided her with information and designs.  Morris and Company was one of the British names she mentioned.  The frontispiece is a three-part embroidered screen designed by Walter Crane, executed by the students at the Royal School of Art Needlework in London , that was exhibited at the 1876 Philadelphia Centennial Exposition.  Very good



London : Griffith and Farran, (1863). 8vo. Beveled, full red morocco, all edges gilt. 16 chromolithographic pages. First edition.

This is most likely the last of eleven books that Samuel Stanesby illuminated for Griffith and Farran from 1857 through 1865. Stanesby's illuminations, chromolithographed by Thomas Bessent in six or more colors each, are distinctively and identifiably his own designs.   Each page of text has ornamented borders, most with calligraphic text printed chromolithography, each with tissue guards.  The present work contains poetry and prose about love by Shakespeare, Wordsworth, Longfellow, John Brainard, Eliza Books, and other authors.  This book is in the deluxe publisher's binding--full red morocco with gilt stamping on the spine and both boards.  There is some light edge wear, else a very good and bright copy of a scarce book, rare in the deluxe binding and emblematic of the genre of mid-nineteenth century illumination.


New York : Craftsman Publishing Company, 1909. Small 4to. Tan burlap Cloth. Frontispiece, (vi), 205 pages, 4 chromolithograph plates; laid-in 24 page pamphlet and two articles. Second edition.

Stickley founded the Craftsman magazine in 1901; its articles on Morris, Ruskin, etc. continued to popularize the achievement of the Aesthetic Movement of the previous decades.  The present work is one of the key contemporary sources on the development of the early functional aesthetic in America and encourages the ideals of the Arts and Crafts Movement, with articles and designs for cottages and country homes; illustrated with photographs, drawings, and plans.  The second edition was published the same year as the first, 1909.  Stickley also includes articles on landscaping and gardens, furniture and decoration, fabrics and needlework, and more.  The book also served as a trade catalogue for Stickley products.  Laid-in is a pamphlet "Twenty-four Craftsman Houses, with Floor Plans," as well a newspaper clipping and article from Home and Country, February 1895 on "Cups and Saucers."  Front inner hinge cracked but firm; two illustrations on pages 164-165 flawed but legible; else very good.


(TRADE CARD - AESTHETIC MOVEMENT)   LANG & NAU.  Chromolithographic Invitation to the Lang & Nay Fall Exhibition

Brooklyn , New York : Sackett, Williams and Betzig, (1882). Oblong 12mo. (4 x 5 inches) on stiff card stock.

Rare chromolithographic trade card with only one copy found - Brooklyn Museum .  Elaborate Victorian trade card for the Brooklyn-based furniture and upholstery company Lang & Nau, featuring an invitation on the verso: "You are respectively invited to attend our Fall Exhibition on Monday Oct. 9th, Tuesday Oct. 10th, & Wednesday Oct. 11th. Lang & Nau, Fulton, Cor. Clinton Street , Brooklyn , N.Y. "
Lang and Nau specialized in modern Aesthetic Movement interiors.  The invitation depicts the parlor of a brownstone, featuring objects d'art arranged against a background of patterned moldings, mantel, wallpaper, rugs, tiles, upholstery, and draperies.  Shades of peacock blue, terracotta, and "greenery-yallery," heightened in gold, recall the fashionable decorative work of James Whistler, William Morris, and Edward Burne-Jones across the Atlantic , while the pudgy family dog by the fire signals old-fashioned domestic comfort.  Lightest edge wear, else a near-fine artifact of New York 's Gilded Age.


(TRADE CARD)   DAVELUY OF BRUGES .  Trade Card for the Young  Ladies  Academy , Sisters of Notre Dame, Cincinnati .

Cincinnati : (circa 1860). Lithograph prined card (5 1/4 x 6 3/4 inches).

Eight sisters of Notre Dame de Namur arrived in Cincinnati from Belgium in 1840.  They were eager to teach and founded the first Notre Dame school in the United States .  This trade card illustrates this first school with a French caption "Etablissement des soeurs de Notre Dame, a Cincinnati , Etats Unis."  With elaborate border in gold.  Very good.



New York : William T. Comstock, 1882. 4to. Publisher's cloth. (10) pages, 52 plates, (16) pages of advertisements. First edition. [Hitchcock, 1279;[Holzenberg, # 89].

"Fifty-two large quarto plates, comprising a large number of halls, staircases, parlors, libraries, dining rooms, etc. together with special designs for low cost, medium, and elaborate wood mantels, sideboards, furniture, wood ceilings, doors, door and window trims, wainscots, bank, office and store fittings, in perspective, elevation, and detail, making a valuable series of suggestions for architects, and architectural designers," forming a surprisingly complete visual glossary of Aesthetic forms and motifs.  Tuthill is best know as the designer of New York City 's Carnegie Hall, but was also an architectural writer and designer.  Plates depict interiors and interior details as designed by fifteen architects and designers including W.A. Bates, Burnham & Root, Cabot & Chandler, Edward Dewson, Gould & Angell, William Tuthill, et al.  Previous owners library name stamp used several times, mainly on front end leaf, title page and on reverse of plates and on obverse of one plate.  A tight sound copy with some wear to the base of the spine, and some rubbing to the tips, else very good.


WOODWARD,  George E., and Edward G. Thompson.  WOODWARD'S NATIONAL ARCHITECT.       

New York : (1869). 4to. Publisher's cloth. Engraved title, x, (48) pages, 100 numbered plates. Second edition. [Hitchcock, 1436]. 

The title page declares: "containing 1000 original designs, plans and details to working scale, for the practical construction of dwelling houses for the country, suburb and village."  House pattern books really came into their own in the 1860s and 1870s during the building boom following the Civil War.  Among the earliest was Woodward's Country Homes, published by George E. Woodward (described as "Architect and Civil Engineer" as well as Architectural Book Publisher) in 1865 -- of interest not only for its many designs for houses (Gothic and Mediaeval Revival predominating) but also for its lengthy discussion of Balloon frames (first used in Chicago in 1832).  This was followed by a number of other titles, the most successful being this title.  This was one of the earliest (together with Cummings and Miller's Architecture: Designs for Street Fronts, Suburban Houses, and Cottages,... published in Troy , New York in 1868) of a new type of larger-format pattern books both for designs and details in much larger scale.
"Publishers and writers catered to this market for practical guides by providing complete sets of scaled architectural drawings, specifications, and cost estimates for pattern book designs.  The small-scale perspectives and plans of Downing's books disappeared.  George Woodward claims that the drawing and information in his National Architect 'can at once be placed in the hands of the builder for execution.'  This volume alone went through ninety-five editions from 1869 until 1877...." (Mary N. Woods, From Craft to Profession. The Practice of Architecture in Nineteenth-Century America , University of California Press , 1999, pages 85-89). Spine sunned with some wear at extremities, repaired; bookplate; tear at pages ix-x, repaired.


YOUNG, Jennie J.  THE CERAMIC ART.       

New York : Harper & Brothers, 1879. 8vo. Publisher's gilt cloth. (iv), 499, (3) pages. First edition.

A comprehensive history of ceramics throughout Europe , England and Ireland , the United States , the Middle East , and Asia .  There are descriptions of materials and techniques, as well as, decoration and ornament; Young writes, "the combination of the useful and the beautiful is the great charm of the ceramic art."  With four hundred and sixty-four in-text illustrations.  Bookplate, covers slightly spotted, else very good. 


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