Here are some of our most RECENT ACQUISITIONS available for purchase:
Will Bradley, Designer and Typographer
A Will Bradley Design and Typography Archive (Various places: 1895-1992). 16mos. to quartos. Generally very good, specific defects noted. SOLD
Will Bradley (1868-1962) is widely regarded as one of the most important figures in the history of design and typography. Historian Walt Reed said of Bradley: “He was an idea man who enjoyed the challenge of new problems and of finding artistic solutions to them. In the process, he employed an elegance and good taste that transcends the limitations of the time in which he worked and that makes his artistry equally eloquent today.“ He began his career in the late 1880s, achieved phenomenal success in the 1890s as an illustrator and designer, and then spend much of the rest of his active years, as an art director for a variety of magazines (Collier’s, Century, Good Housekeeping, Success) and designer of type. This collection features two brochures for his art service, a half-dozen of Strathmore paper catalogs, an American Line Type book from 1906, ten pieces of commissioned work for various clients, a portfolio of articles about the printing arts and clipped advertisements all by Bradley, and a small collection of autobiographical and biographical pamphlets. Many of these ephemeral pieces are very difficult to locate. This archive was assembled by Anthony Bambace, Bradley bibliographer. Several of these pieces are pictured in his book. The archive includes:
Promotional pieces for Bradley’s Art Service:
• Advance Showing of Designs from Will Bradley’s Art Service (Will Bradley’s Art Service, NY: 1914) 12mo.
• Suggestions (Will Bradley’s Art Service, NY: c.1914) 12mo.
Strathmore paper catalogs designed by Bradley:
• Strathmore Deckle Edge Papers (Strathmore Paper Company, Mittineague, MA, 1904). Octavo. Stains to left margin, remnant of sticker to inside front cover.
• Alexandra Japan (Strathmore Paper Company, Mittineague, MA: 1912). Octavo.
• Fairfield Japan (Strathmore Paper Company, Mittineague, MA, 1912). Octavo.
• Design and Typographic Display of the Use of Color on Strathmore Expressive Papers (Strathmore Paper Company, Mittineague, MA, ). Octavo. Staining to top edge.
• Strathmore Expressive Printing Papers Are Part of the Picture (Strathmore Paper Company, West Springfield, MA, 1954). Quarto. Complete, with the three ephemeral inserts, “Background Information on Bradley Mailing Piece,” “Strathmore Luncheon Invitation”, and “Will Bradley, A Chronology” provided in facsimile.
• The Strathmore Century (Strathmore Paper Company, Westfield, MA, 1992). Quarto.
Type Book designed and illustrated by Bradley:
• American Line Type Book (American Type Founders Co., Boston: 1906). Octavo. Rebound in buckram with all decorated panels retained. Many pages archivally repaired. One page partially clipped. Bambace suggests Bradley designed the entire book in that it includes so much of his work and it falls within the time that Bradley was consulting for American Type Founders.
Commissioned work designed and/or illustrated by Bradley:
• An Illustrated Brochure — A Sketch of the Old South Church and its Officers, Worcester, Massachusetts… (Old South Street Church, Worcester, MA: 1895). Octavo.
• Gilmore’s Court Square Theatre and Opera House (two variants) (Gilmore’s Court Square Theatre, Springfield, MA: 1896, 1897) 12mo. and octavo.
• Colonial Book of the Towle Manufacturing Co. (First and Fifth editions) (Towle Manufacturing Co., Newburyport, MA: 1898, 1908) Octavos. The first is ex-library with a worn spine. The Fifth has a rubber stamp to top right cover.
• An Outline of the Life and Work of Col. Paul Revere (Towle Manufacturing Co., Newburyport, MA: 1901) Octavo.
• The Care and Feeding of Infants (Mellin Foods, Boston: later printing of 1901 edition). Octavo.
• Historical Musical Exhibition under the Auspices of Chickering & Sons (Chickering & Sons, Boston: 1902). 12mo. Soiling to enameled covers.
• Brentano’s Monthly List of New Books (Brentano’s, NY: 1904) 16mo.
• The Boys’ Club Minstrels (Boy’s Club Minstrels. NY: 1914). Octavo.
• A portfolio of two articles, a dozen advertisements (including five for Ault & Wiborg), and miscellaneous magazine art (1890s-1910s), by Will Bradley, housed in a cloth tri-fold box.
• A gathering of eight pamphlets (1930-1954) by or about Will Bradley, one of which is signed, housed in a cloth tri-fold box.
Bierce’s Foundational Grizzly Papers, Complete
Ambrose Bierce. The Grizzly Papers in Overland Monthly (San Francisco), January through April and June 1870. Octavos. All near fine, back cover of the January issue is detached, housed in a handsome custom-made clamshell box. $400
In 1871 Ambrose Bierce, under the pseudonym Ursus (latin for “bear”), contributed five “Grizzly Papers” to Overland Monthly. They were commenced under Bret Harte’s editorship and concluded under his successor, William Bartlett. These essays contain some of Bierce’s best and most distinctive early work. They are foundational documents in understanding Bierce’s philosophy of life, later made known in a fractured way through his Prattle columns and short stories. For example, in the first installment, he attacked conformity to fickle public opinion and defended self-reliance, on the ground that “If a man have a broad foot, a stanch leg, a strong spine, and a talent for equilibrium, there is no good reason why he should not stand alone…. A mind that is right side up does not need to lean upon others: it is sufficient unto itself. The curse of our civilization is that the ‘association’ is become the unit, and the individual is merged in the mass.” According to Bierce, civilization owed its advances to the courageous minority, not to the powerful but mediocre majority. In his essay on art and altruism, his natural perversity was on display when he declared, “There is not a more erroneous belief than that one good turn deserves another. In repaying kindness you degrade it to the level of barter.” On war, he wrote that although war was typically “ascribed to the ambition of the few, and the credulity of the many, the bald fact is that the average man takes a diabolical delight in fighting his neighbor to the death.” We do not have a record of how these essays were received, but we know they brought him before a wider reading audience than he had up to that time ever enjoyed. Vintage Bierce, fascinating and provocative as usual, and complete.
A Currier & Ives Print That’s Not Racist!
(Black Americana) Anon. “The First Colored Senator And Representatives In the 41st and 42nd Congress of the United States“ (NY: Currier & Ives, 1872). Lithograph. Image: 11″ x 14″. Mat: 15″ x 18″. VG, with minimal spotting and old damage and loss to upper right background, not affecting image. SOLD
This remarkable print pictures the first African-Americans to sit in the halls of the U.S. Congress. From left to right are Senator H. R. Revels (MS) and Representatives Benjamin S. Turner (AL), Robert C. de Large (SC), Josiah T. Walls (FL), Jefferson H. Long (GA), Joseph H. Rainy (SC), and R. Brown Elliot (SC). Almost every print issued by Currier & Ives was intended for the genteel white middle class home. This one was intended for the small but growing class of free Blacks and Freedmen who had 25 cents to indulge in a display of pride in accomplishments undreamed of just ten years earlier. Worldcat locates four holdings.
Frederick Douglass’ Atlantic Monthly Essays
(Black Americana) Frederick Douglass. “Reconstruction” in Atlantic Monthly, December 1866, and “An Appeal to Congress for Impartial Suffrage“ in Atlantic Monthly, January 1867. Octavos. VG+ with light general wear. $200
Despite Frederick Douglass’ stature as the greatest Black American of the 19th century, his voice was almost never heard in the mainstream press. These are the two most important essays he published appealing to the White establishment. Though they appeared anonymously, like all of the essays and fiction in the Atlantic Monthly during this period, it was no secret to the general public who authored them. The first essay treated the merits of Lincoln’s reconstruction policies and how Congress should deal with Andrew Johnson’s opposition to them. The second essay laid out his arguments for the Black man’s right to the ballot. These are important documents of the views of the spokesman for Black America during Reconstruction.
The Lives of Women in 1850s New York
Brother Jonathan (New York)
#22 (Christmas Holiday and New Years, 1851). Mammoth newspaper (32.5″ x 22.5″). VG+, with light general wear, small archival repairs, and minor loss to central points and to centerspread. $300
Brother Jonathan, the first great mammoth pictorial, ruled over the genre for twenty years from 1840 to 1860. An offshoot of Benjamin Day’s weekly of the same name, the pictorial appeared twice a year, at New Year’s and the Fourth of July, amazing its readers with larger images than they had ever before seen in print. The pictorial’s contents was a melange of news of important events, story stories, essays, poetry, and ads, but it was the images that sold it. This issue features an elaborate two-third’s page woodcut on page one by the much-neglected pioneer illustrator T. N. Matteson entitled “The Sewing Girl’s Holiday Dream”. It accompanied a short story of the same name that chronicled the realization of a poor sewing girl’s dream to be rescued from her drudgery by her beau who returns from the California goldfields a rich man. The pictorial’s centerspread tells a different story. In twelve panels, it chronicles “the career of a country girl in New York,” a fun-loving but naive girl who begins socializing in ice cream parlors and ends up dead, also told in admonishing detail in an accompanying story. The back page features the deathbed scene of President Zachary Taylor and a handsome portrait of his successor, Millard Fillmore. A wonderfully illustrated document of the period.
Downtown Cleveland, 1873
(City View) William J. Morgan, “Monument Park. Cleveland, Ohio, U.S.A.“ (Cleveland, OH: Morgan Litho Co., 1873). Image: 15.5″ x 24″. Frame: 24.25″ x 32.25″. Colored lithograph. Near fine. Framed under plexiglass in a handsome mid-20th century brass frame with a linen mat and metallic bevel. SOLD
Monument Park, or Public Square as it was initially and is now called, has been the center of Cleveland city life for 200 years. This view from the legendary Morgan Litho Co., which continues in business today, captures activity in the park on a pleasant day, with people travelling in street cars, covered carriages, and cabriolets, and others in pairs or alone on foot, with the city streetscape in the background. Worldcat locates no holdings, but we know of copies at the Library of Congress, the Huntington, and the Western Reserve Historical Society.
Japan’s First Illustrated General Interest Magazine
Fuzoku Gaho (Tokyo)
1899 (Meiji 32), No. 184 (March) through No. 200 (December), lacking Nos. 191, 193, 195, for a total of fourteen issues, bound in 20th century yellow cloth. Octavo. Binding and contents near fine with a few small tears. SOLD
Fuzoku Gaho (founded in 1889) is widely regarded as Japan’s first illustrated general interest magazine. For its first several years it was published monthly and illustrated with woodcuts. Then it appeared semi-monthly, as is reflected in this volume, and featured chromolithographs. In its later period (it ceased publication in 1916), it favored photographs. This volume is profusely and beautifully illustrated with 53 chromolithographs (26 double-page and 28 single-page) and 90 black and white lithographs (21 double-page and 69 single-page). Fuzoku Gaho is loaded with scenes from everyday life (attending performances, listening to a street lecturer, going to market, working a trade, tending house, burying the dead, strolling in a park, sledding with the first snow), images of disasters — natural (earthquakes, violent storms) and man-made (fire) — customs, fashion, etc. The text explores these themes and more, such as history and literature, but you don’t need to be able to read Japanese to appreciate this volume. The many glorious plates provide an intriguing and lovely look at turn-of-the-century Japanese life all by themselves.
A Pencil-Signed Courtroom Scene
William Gropper. “Objection“ (c. 1960s). Lithograph. Image size: 12″ x 7.5″. Frame size: 20″ x 16″. Near fine. $100
The career of the great William Gropper (1897-1977) began in the heady days of WWI socialism and ended in the waning years of the dreary Cold War. He was most visible during the twenties and thirties as a major contributor to the radical magazines, The Liberator and The New Masses, and to more mainstream publications, such as Vanity Fair. He had many admirers, even those who thought he should be in jail for his support of Communism, because of his fluid and economical line. His career was dotted with major shows of his work and he received his fair share of attention in the radical sixties, when being an old lefty wasn’t so much of a crime. Much of his later commercial work focused on the political and legal arenas. This image is one of many that he drew depicting an everyday courtroom scene.
The First Science Fiction Detailing an Artificial Satellite
Edward Everett Hale. “The Brick Moon“ in Atlantic Monthly, October through December 1869 and “Life in the Brick Moon“ in Atlantic Monthly, February 1870, a complete run. Octavos. VG+, with general light wear, especially to the first spine. SOLD
Hale, the Unitarian clergyman best known for his Civil War short story, “Man Without a Country”, concocted this early entry into the annals of American Science Fiction after being inspired, no doubt, by Jules Verne’s A Journey to the Moon. This four-piece set, consisting of a novella and a short story, focuses on the construction and launching of, and life on an artificial satellite constructed, improbably, out of bricks. There a society of three dozen people live in harmony and self-sufficiency. Bleiler calls it “a curious work,” a mixture of hard science fiction and social satire. Weird and wonderful.
A Poster Advertising America’s First Avant Garde Magazine
Thomas Fleming. “M’lle New York Fortnightly“ (Fleming, Schiller, and Carnick Press: NY: [March] 1896). Colored lithograph. Image size: 17″ x 12″. Frame size: 26″ x 21″. Near fine, with modest crimping to the left edge of the poster paper. Attractively double-matted and framed. $400
M’lle New York is widely regarded as America’s first Avant Garde magazine. It made no effort to be in step with American culture; in fact, it disdained American culture, as the French accented title implied. Instead, the magazine attempted to appeal to a select elite: “the aristocracies of birth, wit, learning, and art.” It was a very small audience indeed with the cultivated open-mindedness to appreciate the magazine. It was the brainchild of Vance Thompson, journalist, autodidact, and Francophile. Assisting him in the enterprise was James Gibbon Huneker, who would later become the greatest arts critic of his generation, and cartoonists Thomas Fleming and T.E. Powers, who never again produced more interesting work. As befitted a magazine on the cutting-edge, it was the first publication to introduce America to the work of Maeterlinck, Ibsen, Hamsun, Verlaine, and Munch. The magazine had a languid, shocking sexuality about it, depicting gauzy-clad full-breasted women embracing death or being leered at by apes or dwarves. More in keeping with its time, it displayed an overt anti-Semitism throughout its run, featuring a number of demeaning stereotypical images of Jews and publishing such drivel as: “Jewish children are more intelligent than ours at the age of puberty; however, they lose as they grow. They are at once nearer Nature and the ape.” Though Blacks were also portrayed stereotypically, the magazine celebrated the work of several Black poets. It foreshadowed the little magazines of the teens and twenties, exuding a European decadence long before it became a defining cultural movement. This poster by the magazine’s chief artist is the eleventh in a series of fourteen posters produced during the life of the magazine to advertise its existence. Scarce.
The Concert to Top All Concerts
(National Peace Jubilee) Rheimunt Sayer. “Exterior View of Coliseum for the Grand National Peace Jubilee, Boston Mass,…1869” (Boston: New England Lith. Co., 1869). Image: 14″ 18.75″. Frame: 20″ x 24.75″. Hand colored lithograph. Good with three dime-sized water drops visible on the sky at right and a stain to the right of the caption. Framed under plexiglass in a handsome mid-20th century brass frame with a linen mat and metallic bevel. $400
The Grand National Peace Jubilee was a musical celebration organized by Patrick Gilmore that took place in Boston over four days in mid- June 1869. It featured an orchestra and a chorus, as well as numerous soloists. More than 11,000 performers participated, including the famous violinist Ole Bull as the orchestra’s concertmaster and Carl Zerrahn as director of the choral forces. The Coliseum was a temporary building erected for the event near today’s Copley Square in Boston’s Back Bay neighborhood. Historian Richard Hansen says the event was the “high-water mark in the influence of the band in American life.” Worldcat locates two holdings; AAS also owns a copy.