{"title":"Women","description":null,"products":[{"product_id":"binding-miss-bowdler-poems-and-essays","title":"[PICTORIAL BINDING.] BOWDLER, Jane. Poems and Essays … The seventh edition.","description":"\u003cp\u003e\u003cstrong\u003e[PICTORIAL BINDING.] BOWDLER, Jane.\u003c\/strong\u003e Poems and Essays … The seventh edition. \u003ci\u003eBath: printed by R. Cruttwell; and sold by C. Dilly, Poultry, J. Robson and T. Hookham, New Bond-Street, London; and N. R. Cheyne, Edinburgh\u003c\/i\u003e. 1793.\u003c\/p\u003e\n\u003cp\u003e8vo. Contemporary pictorial tree calf binding with central motif of an angel holding a trumpet to both boards, double-ruled in gilt with corner pieces, flat spine gilt in compartments, marbled endpapers; pp. vi, [2], 289, [1], title with printer's device, woodcut head-, and tailpieces; at some point affected by water damage, causing some light warping to the boards and text block; hinges cracked, but holding firm, extremities slightly worn, but overall a good copy; armorial bookplate of the David Carnegie, 10th Earl of Northesk (1865-1921) to front pastedown; previous owner's bookplate removed from front free endpaper; contemporary ownership inscription of 'MA Elver' to half-title; later ownership marking to rear free endpaper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSeventh edition of Miss Bowdler's \u003ci\u003ePoems and Essays\u003c\/i\u003e in a striking and very unusual pictorial tree calf binding.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFour years after losing her voice in 1777, Jane Bowdler (1743-1784) took pen and paper. Writing was both a refuge and an outlet and this is Bowdler's only work, published posthumously, whereupon it was received with high acclaim. Such was its success that sixteen editions appeared throughout the eighteenth century. \u003ci\u003ePoems and Essays\u003c\/i\u003e is even rumoured to have taken the fancy of Queen Charlotte, who supposedly read it several times.\u003c\/p\u003e\n\u003cp\u003eJane Bowdler was born surrounded by a literary family, being the sister of Thomas Bowdler, a well-known producer of censored editions of Shakespeare, expurgated works thought to have been edited in large by his other literary sister Harriet. After this seventh edition was printed, her mother died and, in the will, specifically stated that a special edition of \u003ci\u003ePoems and Essays\u003c\/i\u003e be published in the place of a conventional mourning ring.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThis edition was dedicated to The General Hospital of Bath, where Jane Bowdler would have received medical attention for her persistent ill health.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eESTC T129084.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2119011\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":54999490298233,"sku":"2119011","price":425.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2119011.jpg?v=1765468696"},{"product_id":"moore-marianne-the-pangolin-and-other-verse","title":"MOORE, Marianne. The Pangolin And Other Verse.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eOne of only 120 copies\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eMOORE, Marianne.\u003c\/strong\u003e The Pangolin And Other Verse. \u003ci\u003ePlaistow, London: The Curwen Press. \u003c\/i\u003e 1936.\u003c\/p\u003e\n\u003cp\u003e8vo. Boards printed in black and blue; with 8 head and tailpieces by George Plank; pp. [12], 3-24, [6]; a few small spots to boards, a touch toned to spine; internally clean, with some residue from a bookplate, otherwise a very good, bright and attractive copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition. One of 120 copies printed at the Curwen Press. \u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eMoore’s friend and fellow poet, Randall Jarrell, wrote of the title poem of this elegant and compact volume that it \"may be her best poem; […] certainly one of the most moving, honest, and haunting poems that anyone has written in our century.\" It followed the happy accidents of coming across an article in the \u003ci\u003eBulletin of the American Museum of Natural History\u003c\/i\u003e and a small bronze pangolin at the Museum of Modern Art.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2120181\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":56119749771641,"sku":"2120181","price":1300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2120181.jpg?v=1760639163"},{"product_id":"sexton-anne-45-mercy-street","title":"SEXTON, Anne. 45 Mercy Street.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe Woman Who Made Language Sing\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eSEXTON, Anne.\u003c\/strong\u003e 45 Mercy Street. \u003ci\u003eBoston: Houghton Mifflin\u003c\/i\u003e. 1976.\u003c\/p\u003e\n\u003cp\u003e8vo. Original yellow card wrappers; pp. [vi], 114, [2], very minimal stain on front wrapper; otherwise fine.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eUncorrected proof copy of the first edition.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eAnne Sexton\u003c\/strong\u003e was one of the most noted poets of mid-20th century America. Her career blossomed from unexpected roots when her therapist suggested she write in order to regain mental stability. Embarking on this creative and therapeutic journey through participating in writing groups in Boston, she became acquainted with the likes of Sylvia Plath and Robert Lowell. Her first book, \u003ci\u003eTo Bedlam and Part Way Back\u003c\/i\u003e (1960) relayed her experiences of mental volatility as she suffered from bipolar disorder and she was praised for her confessional tone. Within 12 years of the writing of her first sonnet, she was an accoladed Pulitzer Prize winner. As writer Erica Jong writes of the fascinating autobiographical potential to Sexton's verse \"She is an important poet not only because of her courage in dealing with previously forbidden subjects, but because she can make the language sing\".\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003e45 Mercy Street\u003c\/i\u003e is a posthumous work, published two years after her suicide and relays the events of her life. Of \u003ci\u003e45 Mercy Street\u003c\/i\u003e she supposedly remarked \"Part of 45 Mercy Street is still too personal to publish for sometime\".\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2121238\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":56089740935545,"sku":"2121238","price":300.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2121238.jpg?v=1736248949"},{"product_id":"sayers-dorothy-l-in-the-teeth-of-the-evidence-and-other-stories","title":"SAYERS, Dorothy L. In the Teeth of the Evidence and Other Stories.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eA QUEEN OF CRIME AND TRANSLATION\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eSAYERS, Dorothy L.\u003c\/strong\u003e In the Teeth of the Evidence and Other Stories. \u003ci\u003eLondon: Victor Gollancz\u003c\/i\u003e. 1939.\u003c\/p\u003e\n\u003cp\u003e8vo. Original black cloth lettered in red; pp. 286; slight spotting to preliminaries, dust wrapper a bit toned at the spine and a slight chipping to extremities, otherwise very good.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition in scarce dust wrapper. Rare in this condition.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDorothy L. Sayers was a translator and crime novelist who revolutionised the genre, particularly for female readers. She was heralded as one of the \"Queens of Crime\" of the 1920s and 1930s 'Golden Age' of Detective Fiction, alongside personalities such as Agatha Christie.\u003c\/p\u003e\n\u003cp\u003eSayers had a penchant for Christian translation and from the early 1940's, her main objective was the translation of the three books of Dante's \u003ci\u003eThe Divine Comedy\u003c\/i\u003e, the third of which she was completing upon her death in 1957. Her radio play \u003ci\u003eThe Man Born to be King\u003c\/i\u003e (1941-2) provoked accusations of 'blasphemy' after its airing on the BBC, with its direct portrayal of Jesus through modern speech and realism. Sayers became obsessional with the works of Dante which she first read in an air-raid shelter, believing that there were many parallels to be drawn between the state of the world and the writing of the master.\u003c\/p\u003e\n\u003cp\u003eSayers was of the first generation of women to receive an Oxford education and graduated with a first-class honours BA in 1915, even an MA in 1920. Crucially, she also granted her leading female character Harriet Vane an Oxford education and rumours always spread that Vane was modelled on the author herself.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eIn the Teeth of the Evidence\u003c\/i\u003e features two Lord Peter Wimsey stories and five Montague Egg stories amongst others.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2121442\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":55204866720121,"sku":"2121442","price":2000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2121442.jpg?v=1739201011"},{"product_id":"fugger-wolfgang-ein-nutzlich-und-wolgegrundt-formular-manncherley-schoner-schriefften-als-teutscher-lateinischer-griechischer-unnd-hebrayscher-buchstaben","title":"[FUGGER, Wolfgang.] [Ein nutzlich und wolgegrundt Formular manncherley schöner Schriefften. Als teutscher, lateinischer, griechischer, unnd hebraÿscher Buchstaben …]","description":"\u003ch3 style=\"font-variant: small-caps\"\u003e‘How Could Art and Knowledge Exist if There Were No Art of Writing?’\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e[FUGGER, Wolfgang.]\u003c\/strong\u003e [Ein nutzlich und wolgegrundt Formular manncherley schöner Schriefften. Als teutscher, lateinischer, griechischer, unnd hebraÿscher Buchstaben …] [\u003ci\u003eNuremberg: Katharina Dieterichin for Wolffgang Starck\u003c\/i\u003e. Not before 1576.]\u003c\/p\u003e\n\u003cp\u003eSmall oblong 4to. Recased in its original eighteenth-century binding reusing a ?fourteenth-century German manuscript fragment on vellum (see below); ff. [97] of [104]; wanting ff. A1 (title), A2–B1 (dedication, note to reader), L2 (italic minuscule) and 2C4 (colophon); rear hinge cracked, final quire loose, quire B reinforced at inner margin; numerous woodcut illustrations and diagrams in the text; light marginal dampstaining at head (heavier to quire B), light spotting and toning; else a good copy; small booklabel removed from front pastedown at an earlier date, eighteenth-century German bibliographical note to front free endpaper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eRare second edition – the contents unchanged save for the colophon – of the Nuremberg printer Wolfgang Fugger’s (1519-1568) extremely important calligraphic manual (first 1553), printed by Katharina Dieterichin (d. 1605), widow of Dietrich Gerlach.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFugger’s manual is ‘supreme as an example of engraving. The specimens are cut in relief, apparently on soft metal, with extreme accomplishment, and in this respect it surpassed earlier writing-books in beauty and clearness […] \u003cstrong\u003ethe book was intended, secondarily, as an aid to cutters of printers’ types, and it has a place in the history of typography as the earliest to deal in any way with the design of types'\u003c\/strong\u003e (Carter, preface to 1955 reprint).\u003c\/p\u003e\n\u003cp\u003eIn his dedication to Joachim Tetzel, Fugger writes, ‘How could art and knowledge exist if there were no art of writing? […] Any language which is not well written (being ugly or illegible) is a disadvantage; for a clumsy hand appears ugly to all men’ (\u003ci\u003eibid., trans.\u003c\/i\u003e Plaat). The present writing manual describes how to properly cut a quill and the appropriate position of the hand and the arm for writing (showing examples of ‘clumsy’ and proper techniques) before detailing a variety of German (Kurrent, Kantzlei, Fraktur), blackletter (Textura and Rotunda, the description of the latter making reference to the Schwabacher and Wittenberger types), Roman (italic, antiqua, Roman capitals), Greek, and Hebrew scripts. \u003cstrong\u003eA significant portion of the text is dedicated to Hebrew, including passages from the Book of Esther, an explanation of the theory of gematria, and three pages of sheet music; Fugger also makes reference to the work of Hebraist Sebastian Münster.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe eighteenth-century German bibliographical note mentions the earlier calligraphic work of Johann Neudörffer the Elder – Fugger’s teacher (to whom he refers in the present text) and the author of the first notable German calligraphy manual in 1519, who in turn had collaborated with Durer – adding a reference to Doppelmayr’s 1730 \u003ci\u003eHistorische Nachricht von den nürnbergischen Mathematicis und Künstlern\u003c\/i\u003e. Fugger also owes much to Dürer, his geometric Roman capitals in the final portion reminiscent of Dürer’s 1525 \u003ci\u003eUnterweysung der Messung\u003c\/i\u003e. The second edition reuses the plates of the first and the content of the text is unchanged, the date of 1553 from the first edition appearing as a part-title to both editions. Gerlach (also known as Dieterichin) likely acquired the plates from the heirs of the printer of the 1553 edition, Valentin Gessler (d. 1576). In this edition, however, Gerlach employs a variety of sizes of text and distinctly more elaborate woodcut initials than Gessler, replacing his fleurons with elaborate woodcut tailpieces.\u003c\/p\u003e\n\u003cp\u003eThe binding reuses a fragment of German manuscript waste (?first half fourteenth century), comprising c. 11 lines of visible text in three columns, from verses 34 and 35 (front board: ‘qualitate factor[um]. iudex ver[us e]t iustus […] non putam[us] ite[randa]’; rear board: ‘[complec]tatur velut quib[usdam] fid[e]i sue brachiis […] Prophetavit itaq[ue] Simeon’) from St Ambrose of Milan’s commentary on the Gospel of Luke, this portion, on the Nunc Dimittis, cited by Aquinas in his \u003ci\u003eCatena aurea\u003c\/i\u003e.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBoth the first and second editions are rare both institutionally and in commerce. Collectively, OCLC finds ten copies in the US (Columbia, Harvard, Huntington, Illinois, LoC, Morgan, Newberry, SMU, Stanford, Yale) and only two in the UK (BL, NAL).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eBecker 56; BM STC German, p. 327 (imperfect); Brunet II, col. 419 (1553 edition but not mentioning printer); Graesse II, p. 645 (‘Nürnb. 1553’); Jessen 2269; VD16 3336\/3338. Not in Adams.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124967\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57312180863353,"sku":"2124967","price":5000.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124967.jpg?v=1779361144"},{"product_id":"bernard-suzanne-un-livre-a-inventer-la-lecteur-sujet-du-livre","title":"BERNARD, Suzanne. Un livre à inventer: la lecteur sujet du livre.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe First French Woman to Publish Concrete Poetry\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBERNARD, Suzanne.\u003c\/strong\u003e Un livre à inventer: la lecteur sujet du livre. \u003ci\u003eParis: Art Socio-Expérimental.\u003c\/i\u003e [1962].\u003c\/p\u003e\n\u003cp\u003e8vo. Original brown printed wrappers; pp. [247], [1 (blank)]; spine creased, slight wear to corners with creasing to lower corner of front cover and first 12 pp. of text, two small red ink-marks to fore-edge of textblock; internally clean and bright; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst and only edition, extremely rare, of the first concrete poetry book to be published by a French woman, self-published by Bernard at her centre for socio-experimental art.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eDespite the known importance of French poet-artists from the first half of twentieth century, the later decades – prior to the shift of the artistic centre to New York – remains comparatively overlooked. One of the major movements was Lettrism, founded in 1946 by Isidore Isou. The present work, in which Bernard pushes the boundaries of the book, language, and art, exemplifies the movement’s guiding principle of reducing language to its fundamental components.\u003c\/p\u003e\n\u003cp\u003eEven when the Lettrists are remembered, however, the women are often completely forgotten. Suzanne Bernard is one such figure who remains almost entirely unknown to this day. She was an experimental poet, and the first French woman to engage with concrete poetry. For most of her career, she was a scholar who specialised in the French Symbolist poet Stéphane Mallarmé. In 1959 she published a monumental study of the prose poem, \u003ci\u003eLe Poème en prose de Baudelaire jusqu’à nos jours\u003c\/i\u003e, and in the 1960s she founded the centre L’Art Socio-Expérimental with her friend Claude Laloum. In May 1968, however, she moved away from her pioneering avant-garde style and instead started writing popular novels.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC and CCfr together find a single copy, at the Bibliothèque littéraire Jacques Doucet; not on Library Hub; no copies traced on the market or at auction.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2123547\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57313941750137,"sku":"2123547","price":2500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2123547_7511196c-2771-4246-8e7a-3d76be9d9fc6.jpg?v=1787055460"},{"product_id":"lessing-doris-the-golden-notebook","title":"LESSING, Doris The Golden Notebook.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eSocietal and Psychological Fragmentation\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eLESSING, Doris\u003c\/strong\u003e The Golden Notebook. \u003ci\u003eLondon: Michael Joseph.\u003c\/i\u003e 1962.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s black cloth, lettered in gilt to spine, iconic yellow dust wrapper designed by William Belcher with author’s photograph to rear panel, priced at 30s to front flap; pp. 567, [1]; a little wear to jacket especially to hinges of flaps, a few chips and small closed tears, slight toning to spine, a couple of short pen marks to spine and one to front panel, slight pushing to crown of spine; endpapers lightly offset, some toning to edges of textblock; else a near-fine copy in a very good dust-jacket.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, first impression of the Nobel Prize winner’s masterpiece.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eThe \u003ci\u003eGolden Notebook\u003c\/i\u003e centres on Anna Wulf, a writer who is attempting to unify the four fragmented notebooks in which she has compartmentalised her life into a single ‘golden’ volume. Lessing’s inspiration for the novel arose out of a desire to write a book about the act of writing itself. Initially, she resisted this ambition, feeling as though the trope had been overworked, but over time she realised her individual approach could render it entirely new.\u003c\/p\u003e\n\u003cp\u003eWith an explicit focus on the position of women in society, Lessing explores wider societal breakdown through the mental break Anna is experiencing. Written at the dawn of second-wave feminism, the work resonates with the era’s emergent discourses on sexual liberation and the women’s movement.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2120161\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":57313950073209,"sku":"2120161","price":600.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2120161.jpg?v=1779383428"},{"product_id":"deshoulieres-antoinette-du-ligier-de-la-garde-poesies","title":"DESHOULIÈRES, Antoinette du Ligier de la Garde. Poësies.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eA Widow’s Unused Sheets\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDESHOULIÈRES, Antoinette du Ligier de la Garde.\u003c\/strong\u003e Poësies. \u003ci\u003eParis: Jean Villette.\u003c\/i\u003e 1691.\u003c\/p\u003e\n\u003cp\u003e8vo in 4s. Eighteenth-century speckled calf, edges speckled red and green, spine gilt in compartments and lettered directly in gilt, board-edges roll-tooled in gilt; Villette’s woodcut monogram device to title, woodcut and typographic headpieces; upper hinge cracked, small abrasions and short splits to joints subtly restored, sporadic light foxing, slight dust-soiling at foot of last 2 ff.; cancelled 1773 ownership inscription ‘de la bibliothèque de Philippe-René ?Prevel’ to front free endpaper, late eighteenth-century ownership inscriptions ‘Ex libris Brelay’ to title and p. 220, Brelay’s printed ownership slip pasted to title (\u003ci\u003esee below\u003c\/i\u003e); a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eExtremely rare reissue reusing the sheets of the first edition of 1688 – printed by Françoise Loir, widow of the printer Sebastien Mabre-Cramoisy – of the poems of Antoinette Deshoulières (\u003ci\u003ec\u003c\/i\u003e. 1634-1694), published to coincide with the reading of Deshoulières’s work at the Académie française in the spring of 1691, our copy owned by a resident of Niort during the French Revolution.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eVoltaire called Deshoulières the most successful of French female poets, as ‘her verses have been the most widely remembered’ (quoted in \u003ci\u003eNouvelle biographie universelle\u003c\/i\u003e XIII, col. 828, \u003ci\u003etrans\u003c\/i\u003e.). She was named a member of the Paduan Accademia degli Ricovrati and of the Academy of Aries, and in 1688 she received a pension of 2000 livres from Louis XIV. Although she was unable to join the Académie française due to her sex, her poems were recited as part of the official proceedings for the election of Bernard de Fontenelle in 1691. Our copy, with a cancel title (although retaining Loir’s 1687 \u003ci\u003eprivilège du roi\u003c\/i\u003e), was evidently issued by Villette to capitalise on this event.\u003c\/p\u003e\n\u003cp\u003eVillette bought much of Cramoisy’s unsold stock from Loir in 1691 and would eventually publish his own ‘second edition’ in 1693, after the publication rights had been ceded to him. Pasted to the title-page is a Revolutionary-era printed ownership slip, ‘661 au cit[oyen] Brelay, rue de la Liberté, a Niort. Deux-Sèvres’, the egalitarian designation citoyen was popularised following the 1789 Declaration of the Rights of Man and of the Citizen and was used as a universal form of address during the Revolution.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds only two copies in the US (Cornell, Minneapolis) and none in the UK; not in Library Hub. CCfr records three copies only.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eTchemerzine II, p. 807. For the 1688 Cramoisy edition, see BM STC French F-170; Brunet II, col. 626; Cioranescu II, pp. 738-39; Gay III, p. 17; Graesse II, p. 368; USTC 6129821.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124634\u003c\/p\u003e","brand":"Sotherans","offers":[{"title":"Default Title","offer_id":63778095006073,"sku":"2124634","price":2250.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124634.jpg?v=1781628369"},{"product_id":"hobbes-john-oliver-pseud-i-e-pearl-mary-teresa-richards-the-dream-and-the-business","title":"HOBBES, John Oliver ( pseud ., i.e. Pearl Mary Teresa RICHARDS). The Dream and the Business.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eFirst Loves, Second Thoughts\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eHOBBES, John Oliver (\u003ci\u003epseud\u003ci\u003e., i.e. Pearl Mary Teresa RICHARDS).\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e The Dream and the Business. \u003ci\u003eLondon: T. Fisher Unwin\u003c\/i\u003e. 1906.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s blue and white cloth, design by Beardsley blocked to upper board in yellow and orange, spine lettered in red; pp. vii, [1 (blank)], 444, [2 (advertisements)], with half-title; without the very rare dust-jacket, boards slightly rubbed, spine toned with pushing to ends; light spotting to half-title and browning to endpapers; a very good copy; contemporary booklabel of the Ardkinglas estate to front pastedown.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of the last published work by Anglo-American author Pearl Craigie (\u003ci\u003enée\u003c\/i\u003e Richards, 1867–1906), with a cover by Aubrey Beardsley reproducing his poster design for T. Fisher Unwin’s \u003ci\u003ePseudonym and Autonym Libraries\u003c\/i\u003e.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eT. Fisher Unwin had published Craigie’s first book, the wildly popular \u003ci\u003eSome Emotions and a Moral\u003c\/i\u003e, in 1891 as part of the \u003ci\u003ePseudonym Library\u003c\/i\u003e. Divided into four sections – ‘First Loves’, ‘Second Thoughts’, ‘The Compromise’, and ‘The Conflict’ – The Dream and the Business ‘contrasted the Roman Catholic with the nonconformist temper of mind’ (\u003ci\u003eDNB\u003c\/i\u003e). Set against the backdrop of upper-class English Society, it contrasts the ideal and the ordinary, reason and emotion, and Christianity and paganism, and follows the complex relationships amongst Catholic Lord and Lady Marlesfold, the ‘pagan’ artist Maurice Lessard, and the Nonconformists Jim and Sophy Firmalden.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eProvenance\u003c\/i\u003e: with the booklabel of the Ardkinglas estate on Loch Fyne in Argyllshire, likely that of the Scottish physicist Sir Andrew Noble, 1st Baronet (1831–1915).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 969; Samuels Lasner 76c.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2126081\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326408962425,"sku":"2126081","price":100.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2126081_0cc65043-d4b3-486f-8f0f-8a26646e5823.jpg?v=1787324599"},{"product_id":"burney-frances-evelina-or-the-history-of-a-young-ladys-entrance-into-the-world","title":"BURNEY, Frances. Evelina or The History of a Young Lady's Entrance into the World.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eCovert Decadent Elements\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eBURNEY, Frances.\u003c\/strong\u003e Evelina or The History of a Young Lady's Entrance into the World. \u003ci\u003eLondon: J.M. Dent and Company.\u003c\/i\u003e 1893.\u003c\/p\u003e\n\u003cp\u003eTwo volumes, 8vo. Original brown cloth, spines lettered in gilt within architectural borders; vol. I: pp. xxxii, 237, [1]; vol. II: pp. [ii], 276; title-pages to each vol. by Beardsley (printed in red and brown), 7 plates after William Cubitt Cooke, including frontispieces to both vols; spines darkened, slight discolouration to boards, a few marks; browning to endpapers and light offsetting to title; nonetheless a very good set.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition thus, no. 60 of the limited large-paper issue of 200 copies. This is the first book to use Beardsley’s title-page design which was reproduced in the same publisher’s editions of Frances Burney’s \u003ci\u003eCecilia\u003c\/i\u003e (1893) and Madame de Stael’s \u003ci\u003eCorinne\u003c\/i\u003e (1894).\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBeardsley was likely also responsible for the spine design, but his artistic input into this attractive edition of Burney’s 1778 novel went no further. The illustrator chosen by Dent, William Cubitt Cooke (1866–1951), was not a natural bedfellow of the subversive Beardsley, being best known for his well-mannered illustrations of the complete works of Jane Austen and Charles Lever.\u003c\/p\u003e\n\u003cp\u003eAlthough Beardsley’s architectural title-page design seems to conform to eighteenth century proportions and conventions at first glance, he was unable to resist adding two bare-breasted figures and a sinister animal skull. ‘Sex and death were never far from his thoughts or from the work of his pen’ (Grolier Club, \u003ci\u003eAubrey Beardsley – 150 Years Young, online\u003c\/i\u003e).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eReade 35; Samuels Lasner 24; Vallance 62.i.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125438\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326461063545,"sku":"2125438","price":450.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125438.jpg?v=1787324967"},{"product_id":"dostoevsky-fyodor-lena-milman-translator-george-moore-introduction-poor-folk","title":"DOSTOEVSKY, Fyodor; Lena MILMAN ( translator ); George MOORE ( introduction ). Poor Folk.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eDostoevsky for English Readers\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eDOSTOEVSKY, Fyodor; Lena MILMAN (\u003ci\u003etranslator\u003ci\u003e); George MOORE (\u003ci\u003eintroduction\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Poor Folk. \u003ci\u003eLondon: Elkin Mathews and John Lane\u003c\/i\u003e. 1894.\u003c\/p\u003e\n\u003cp\u003e8vo. Original yellow cloth, design to upper board and Keynotes device by Beardsley to spine, untrimmed; pp. xx, 191, [1 (blank)], 14 (publisher’s catalogue), [2]; title-page printed in red and black, Beardsley’s cover design and Keynotes device repeated to title and p. v, respectively; slight soiling to boards (heavier to spine), front hinge tender; lettering to spine dulled; a very good copy.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition in English of Dostoevsky’s first novel, the third volume of the Keynotes series, instrumental in introducing Dostoevsky and his singular brand of naturalism to Anglophone readers.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eWritten to fund Dostoevsky’s gambling debts and first published in 1846, this epistolary novel following the tragic lives of two impoverished cousins was a huge success in Russia. The British were slow to see the attraction of his work, with Victorian novels favouring neat plots and clear moral frameworks.\u003c\/p\u003e\n\u003cp\u003eThe first appearance of Dostoevsky in English was Marie van Thilo’s liberal 1881 rendering of Dostoevsky’s \u003ci\u003eBurned Alive\u003c\/i\u003e, followed by Frederick Whishaw’s \u003ci\u003eCrime and Punishment\u003c\/i\u003e (1886), \u003ci\u003eThe Idiot\u003c\/i\u003e (1887), and a handful of other novellas. Notably, \u003ci\u003eThe Brothers Karamazov\u003c\/i\u003e would not be published in English until Constance Garnett’s translations began to appear in 1912, and it was only with the publication of Garnett’s twelve-volume \u003ci\u003eNovels of Dostoevsky\u003c\/i\u003e that the writer truly began to gain acceptance in Britain.\u003c\/p\u003e\n\u003cp\u003eMilman’s (1862–1914) translation was significantly ahead of its time and received glowing contemporary reviews, \u003ci\u003eThe Times\u003c\/i\u003e calling it a ‘most impressive and characteristic specimen of Russian fiction. Those to whom Russian is a sealed book will be duly grateful to the translator (who has acquitted herself excellently)’. She had encountered John Lane through her contributions to \u003ci\u003eThe Yellow Book\u003c\/i\u003e, for which she produced a short story on Venice and a piece on Henry James.\u003c\/p\u003e\n\u003cp\u003eShe also corresponded extensively with George Moore (their letters published as \u003ci\u003eGeorge Moore in Transition: Letters to T. Fisher Unwin and Lena Milman\u003c\/i\u003e, 1894–1910 (1968)), hence his introduction to this volume.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 829; Samuels Lasner 27; Vallance 69.iii.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125437\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326463947129,"sku":"2125437","price":475.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125437.jpg?v=1787324985"},{"product_id":"egerton-george-pseud-adelbert-von-hagen-translator-grundtone-keynotes-autorisirte-uebersetzung-aus-dem-englischen-mit-dem-portrait-der-verfasserin","title":"‘EGERTON, George’ ( pseud .); Adelbert von HAGEN ( translator ). Grundtöne. “Keynotes”. Autorisirte Uebersetzung aus dem Englischen … mit dem Portrait der Verfasserin.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe New Woman Goes Global\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003e‘EGERTON, George’ (\u003ci\u003epseud\u003ci\u003e.); Adelbert von HAGEN (\u003ci\u003etranslator\u003ci\u003e).\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/i\u003e\u003c\/strong\u003e Grundtöne. “Keynotes”. Autorisirte Uebersetzung aus dem Englischen … mit dem Portrait der Verfasserin. \u003ci\u003eZurich, Erfurt, and Leipzig: Eduard Moos\u003c\/i\u003e. 1896.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s mauve and pale green boards illustrated by Beardsley, upper board lettered in gilt and black, spine lettered in gilt (gothic letter), yellow patterned endpapers, edges stained red; pp. 192, 48 (advertisements), photographic frontispiece of Egerton with tissue guard, title-page repeating design by Aubrey Beardsley (adapted from first edition of Keynotes), lithographic floral headpieces; corners and spine ends lightly rubbed; sporadic light foxing; a very good copy; 1918 ownership inscription of Elizabeth Laska to front free endpaper.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eVery rare third edition, published three months after the first, of the first translation of George Egerton’s \u003ci\u003eKeynotes\u003c\/i\u003e into German, with a title-page by Beardsley adapted from the first English edition seemingly not present in the first German edition.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBorn Mary Elizabeth Annie Dunne (1859–1945), Egerton’s \u003ci\u003eKeynotes\u003c\/i\u003e was instrumental in shaping the New Woman movement. Enormously popular, it went through six English editions within months of publication and enjoyed similar success in the present German, with three editions in as many months; it was highly esteemed by the Riga-born German biographer of women (often considered a pioneering New Woman herself) and literary critic Laura Marholm, who reviewed the work both in the \u003ci\u003eFrankfurter Zeitung\u003c\/i\u003e (22 April 1894, predating the work’s appearance in German by two years) and in her \u003ci\u003eDas Buch der Frauen\u003c\/i\u003e (\u003ci\u003eSix Modern Women\u003c\/i\u003e): ‘The point on which [\u003ci\u003eKeynotes\u003c\/i\u003e] differs from all other well-known books by women is the intensity of the awakened consciousness. It follows no pattern and is quite independent of any previous work; it is simply full of a woman’s individuality’ (\u003ci\u003etrans.\u003c\/i\u003e Brooke Cameron, p. 309).\u003c\/p\u003e\n\u003cp\u003eMarholm’s early introduction of \u003ci\u003eKeynotes\u003c\/i\u003e to German audiences was known to Egerton: a week after Marholm’s article appeared in the \u003ci\u003eFrankfurter Zeitung\u003c\/i\u003e, Egerton informed John Lane of the review, which included ‘some very flattering things about the poor little writer’ (quoted in Brown, p. 146); ‘The article was part of a series by Marholm that was subsequently published in 1895 as \u003ci\u003eDas Buch der Frauen\u003c\/i\u003e, and in English translation by Lane in 1896, where the chapter on Egerton bears the title “Neurotic Keynotes”’ (ibid.).\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eThe first edition was seemingly published without the illustrated boards or the title-page by Beardsley\u003c\/strong\u003e (see the copy at the University of Zurich); all editions bear a prefatory note from Egerton to the translator, in English: ‘Here let me offer you my thanks for your work and the evident liking that prompted you to do it’.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eOCLC finds a single copy of any German edition outside continental Europe, at the University of Delaware; not on Library Hub.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eSee Gertner Zatlin 824; Samuels Lasner 25n.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125434\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326468338041,"sku":"2125434","price":850.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125434.jpg?v=1787325003"},{"product_id":"farr-florence-the-dancing-faun","title":"FARR, Florence. The Dancing Faun.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eSociety as Sham\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eFARR, Florence.\u003c\/strong\u003e The Dancing Faun. \u003ci\u003eBoston: Roberts Brothers and London: Elkin Mathews and John Lane\u003c\/i\u003e. 1894.\u003c\/p\u003e\n\u003cp\u003e8vo. Publisher’s light blue cloth, spine lettered directly in gilt, upper board illustrated by Aubrey Beardsley and lettered in teal; pp. 169, [1 (blank)], [4 (advertisements)], lithographic title-page illustrated by Beardsley; spine ends and corners lightly bumped, spine lightly sunned, a few small flecks to boards, hinges cracked; front free endpaper excised; half-title inscribed ‘Martha ?Chaites Waters | from her cousin Clara’, dated 26 May 1911, occasional underlining in pencil.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition, published simultaneously in London and Boston as the second instalment of Elkin Mathews’ \u003ci\u003eKeynotes\u003c\/i\u003e series; \u003ci\u003eThe Dancing Faun\u003c\/i\u003e is the first book by the actress, director, composer, and suffragist Florence Farr, friend of both Wilde and Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eFarr studied at Cheltenham Ladies’ College and was a childhood friend of May Morris; at the age of nineteen, she posed with Morris and other friends for Burne-Jones’s \u003ci\u003eThe Golden Stairs\u003c\/i\u003e (now at the Tate Britain). She subsequently studied at Queen’s College, the first British educational institution to grant women academic qualifications, and turned to acting; Farr wrote extensively on the ‘New Woman’ and on women’s rights, was a close friend and collaborator of both Yeats and Shaw, and was instrumental in establishing the New Stage Club, which staged the first performance of Wilde’s \u003ci\u003eSalomé\u003c\/i\u003e in England.\u003c\/p\u003e\n\u003cp\u003eShe was also a friend of Beardsley, from whom she commissioned a poster for her first directorial project at the Avenue Theatre on the Embankment, a joint production of Yeats’s \u003ci\u003eThe Land of Heart’s Desire\u003c\/i\u003e (written at Farr’s request) and \u003ci\u003eA Comedy of Sighs\u003c\/i\u003e by John Todhunter on 29 March 1894. The faun to the frontispiece ‘has the eyeglass and features of J[ames] McNeill Whistler’ (Vallance).\u003c\/p\u003e\n\u003cp\u003eFarr was ‘a writer with a gift for witty, epigrammatic dialogue in the Oscar Wildean mode. Set in the world of actors and social poseurs with which Farr was personally familiar, \u003ci\u003eThe Dancing Faun\u003c\/i\u003e brilliantly illustrated the proposition that society itself was the greatest of stages – a realm composed entirely of “sham” in which, as the character noted, one’s only consolation was to recognise “that you would shudder a good deal more if you for one moment saw the truths which underlie these shams.”’ (Stetz and Samuels Lasner, p.42).\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 826; Samuels Lasner 26; Vallance 69.ii; see Stetz and Samuels Lasner, England in the 1890s (1990).\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2125387\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326483083641,"sku":"2125387","price":500.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2125387.jpg?v=1787325110"},{"product_id":"green-anna-katharine-the-doctor-his-wife-and-the-clock","title":"GREEN, Anna Katharine. The Doctor, His Wife and The Clock.","description":"\u003ch3 style=\"font-variant: small-caps\"\u003eThe Mother of American Mysteries\u003c\/h3\u003e\n\u003cp\u003e\u003cstrong\u003eGREEN, Anna Katharine.\u003c\/strong\u003e The Doctor, His Wife and The Clock. \u003ci\u003eLondon: T. Fisher Unwin.\u003c\/i\u003e 1895.\u003c\/p\u003e\n\u003cp\u003eTall 16mo. Publisher’s brown wrappers illustrated by Aubrey Beardsley and printed in red, printer’s device in black to rear cover; pp. [iv], 131, [1]; with 2 ff. plates comprising frontispiece repeating Beardsley’s illustration with facing architectural illustration, with tissue guard; lettering to spine faded, spine ends chipped, a few chips to upper cover; else a very good copy, uncut; nineteenth-century compliments slip of J.W. Wild loosely inserted.\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eFirst edition of this detective story by the ‘mother of the American detective novel’, with wrappers and a frontispiece designed by Beardsley.\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eBrooklyn-born Anna Katharine Green (1846–1945, here published under her married name, Rohlfs) was the author of \u003ci\u003eThe Leavenworth Case\u003c\/i\u003e (1878), one of the earliest mysteries written by an American woman; the work received high praise from Wilkie Collins: ‘Her powers of invention are so remarkable – she has so much imagination and so much belief (a most important qualification for our art) in what she says … Dozens of times reading the story I have stopped to admire [Green’s] fertility of invention’. The Leavenworth Case introduced her detective protagonist, Ebenezer Gryce, who reappears here as the investigator of a seemingly unsolvable murder in nineteenth-century New York.\u003c\/p\u003e\n\u003cp\u003eBeardsley’s image is taken from the poster he designed to promote Fisher Unwin’s children’s books. He had also designed a poster for Fisher Unwin’s ‘Pseudonym Library’, later issued in reduced form as ‘an advertisement slip for insertion in books and magazines’ (Ross 77).\u003c\/p\u003e\n\u003cp\u003eThe loosely inserted compliment slip may be that of John William Wild, architect, brother-in-law of Owen Jones (who used Wild’s sketches as the basis for a portion of the \u003ci\u003eGrammar of Ornament\u003c\/i\u003e), and curator of Sir John Soane’s Museum, although it was seemingly retroactively inserted: he had died, at the museum, no less, in 1892.\u003c\/p\u003e\n\u003cp\u003e\u003ci\u003eGertner Zatlin 972; Samuels Lasner 75b.\u003c\/i\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eSKU: \u003c\/strong\u003e2124692\u003c\/p\u003e","brand":"Henry Sotheran Limited","offers":[{"title":"Default Title","offer_id":64326559793529,"sku":"2124692","price":275.0,"currency_code":"GBP","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0045\/2178\/7426\/files\/2124692.jpg?v=1787325538"}],"url":"https:\/\/sotherans.co.uk\/collections\/women.oembed","provider":"Sotherans","version":"1.0","type":"link"}