LA PÉROUSE (Jean-François de Galaup, comte de).Livre Rare Book
5 789 résultats
1797réf. LBW-2785[Paris, 1797]. 510 x 699 mm.
1774réf. LBW-6111774 235 x 535 mm.
1789réf. 15722Knapen fils Paris 1789 1 vol. In-8 de 8 ff.n.ch. 136 pp., pleine basane racinée de l'époque, dos lisse orné (frotté), pièce de titre, tranches jaspées (coiffe supérieure arasée, une charnière fragile).
1840réf. LBW-3642[1840]. 220 x 291 mm.
1933réf. 11145Los Angeles: George I Kwon 1933. Second-hand hardcover. Kwon George I & Magpiong Pacficio: Oriental Culinart Artan authentic book of recipes from China Korea Japan & the Philippines. FIRST EDITION George I Kwon: Los Angeles 1933. 8vo 185x130mm blue cloth gilt dec bds 1151pp. KWON George I George Iel-Choong & MAGPIONG Pacifico Victor Pacifico 1906-1967 Oriental Culinary art: an authentic book of recipes from China Korea Japan & the Philippines. Los Angeles : George I Kwon 1933. First Edition. Printed by Wetzel Publishing Co Los Angeles. Foreword by Essie L Elliott. Octavo 185x130mm reverse binding and pagination publisher's original dark blue linen grain cloth gilt decorated and titled upper board and spine 1151pp : 1-68 710. Spine head and foot very faintly rubbed; gift inscription to the rear free end-paper "June 21 1933 Paul R Jones to his sweet sulsi-yalsi wife Estrellita" ¹; very faint offset toning to endpapers. ¶ An intriguing collection of 110 Chinese Korean Japanese and Filipino recipes. The recipes are grouped by course rather than cuisine and are written in a mixture of longhand and ingredients/method formats. Although over half the recipes are Chinese or Chinese-American e.g. 21 recipes for chop-suey Oriental Culinary Art is notable as one of the first American cookbooks to include Korean and Filipino recipes. In contrast to the the Chinese recipes which were compiled by the authors the Korean and Filipino recipes are quite traditional and authentic and appear drawn from the authors' personal experience and families. The recipes include kim-chi Korean pickled cabbage Korean rice cake tteokbokki"kot-choo-jang jige" gochujang jjigae a spicy Korean paste made into a stew mando Mandu or Korean dumplings lechon Filipino roast pig adobo and Dinogo-An Filipino fried blood and organs of a pig. The authors graduated from UCLA in 1932 at the height of the Depression. Unable to find work as graduates in their fields of political science and education they worked in a cafe and grocery store before entrepreneurially self-publishing Oriental Culinary Art². Unusually printed with reverse pagination in the oriental fashion. Scarce. A near fine copy of one of the earliest American collections of Korean and Filipino recipes § OCLC records 23 holdings in the United States but no holdings anywhere else. § Bitting p.266; Cagle & Stafford 426; Brown 178; Axford p.309; Newman. ¹ Jones 1885 -1957 was an entomologist working for the California Department of Agriculture his wife Estrellita was an illustrator in the film industry. ² "Asian American Heroes and Pioneers Bruins" UCLA Alumni Connect May 2017. George I Kwon unknown
1846small 8vo [18 x 12.5 cm]; xvi, 285 pp, map frontis. bound in modern quarter tan morocco leather, gilt rules on spine, gilt title lettering on black leather label, marbled boards, signature on half-title and on verso map, near fine, attractive copy. A picture of this book is available upon request by email. BAL 13652, the first state. Day 51 (Pacific Islands Literature, 100 Basic Books) states that the first edition was issued first in London, and later issued in New York, entitled 'Typee: A Peep at Polynesian Life', with some passages omitted. This is the first of Melville's books, and with the exception of Moby Dick, is the most widely read. 'Melville was the first author of genius to use the South Seas as material and most of those who followed say the region through his eyes and adopted his patterns' (Day). Hill p. 196 cites the 1847 London edition. Taylor 176.
1970réf. 151354N.p.: N.p. 1970. Archive of 32 vintage photographs documenting the October 20 1970 collision of two trains along the Chicago Rock Island and Pacific Railroad line in Raytown Missouri. Also included in the archive is a single broadside reward poster offering $5000 for information pertaining to the accident. According to a contemporary newspaper article which appeared in nearby Jackson County's Independence Examiner the accident was believed to have been caused by juvenile vandalism to a nearby track switch. The collision and subsequent derailment resulted in the death of one engineer whose partial body is visible in several photographs. The photographs in the archive range from close-up shots of the mangled train cars and tracks to distance views of the surrounding woods. Frequently displayed in the images is a small handwritten police chalkboard noting the date location and case numbers. A vivid and interesting look at investigative photography and railway disasters in the late twentieth century. Photographs 10 x 8 inches housed in a manila envelope with the logo of Chicago Rock Island and Pacific Railroad Co. on the top left corner. Reward poster 9 x 12 inches. Poster and photographs Near Fine overall envelope Very Good plus. N.p. unknown
1970réf. 151354N.p.: N.p. 1970. Archive of 32 vintage photographs documenting the October 20 1970 collision of two trains along the Chicago Rock Island and Pacific Railroad line in Raytown Missouri. Also included in the archive is a single broadside reward poster offering $5000 for information pertaining to the accident. According to a contemporary newspaper article which appeared in nearby Jackson County's Independence Examiner the accident was believed to have been caused by juvenile vandalism to a nearby track switch. The collision and subsequent derailment resulted in the death of one engineer whose partial body is visible in several photographs. The photographs in the archive range from close-up shots of the mangled train cars and tracks to distance views of the surrounding woods. Frequently displayed in the images is a small handwritten police chalkboard noting the date location and case numbers. A vivid and interesting look at investigative photography and railway disasters in the late twentieth century. Photographs 10 x 8 inches housed in a manila envelope with the logo of Chicago Rock Island and Pacific Railroad Co. on the top left corner. Reward poster 9 x 12 inches. Poster and photographs Near Fine overall envelope Very Good plus. N.p. unknown books
1888réf. 53587Chicago: Rand McNally & Co. 1888. 1888. 20 3/4" x 13 1/2" sheet folded to 24 panels. Map. One cover panel; one panel showing N.P.R.R. route from Minneapolis to Washington Territory; and 10 panels of information to include information on the area's location and physical features climate agriculture stock raising manufacturing mining public schools cities and towns etc. Opposite 12 panels offer a map of Washington Territory printed in red and black. A rare promotional piece to encourage sales of Northern Pacific Railroad lands in Washington Territory. Light soling a few small splits to creases and with minor wear to the extremities. Very good. Rand, McNally & Co., 1888. unknown
1945réf. List2747Paris France; and Washington D.C. 1945. Six 8 x 10 inch and smaller typed pages; one 4 x 5 inch card with two tickets; one twenty-six page 4 x 5.5 inch pamphlet; one six page 6 x 8.5 inch pamphlet; six 2.5 x 3.5 photographs and two 3 x 4.5 inch photographs. Of the printed matter most is affixed to paper some small tears and folds; overall excellent; photographs near fine. Mary J. Bremer 1917–2019 was a Technician fourth grade from Grant Township Nebraska. Her correspondents here include June Miller 1920–deceased an aviation cadet from Michigan and John Melotte 1919–deceased an artilleryman from Philadelphia. Bremer and Miller were members of the Women’s Army Corps WAC. Established in May of 1942 as the Women’s Army Auxiliary Corps the WAC converted to active duty in July of 1943. The women of WAC known as Wacs served in noncombatant roles across the various theaters of World War II. Offered here is a small archive of Bremer’s documents and photographs relating to WAC: a few letters including a description of Paris the day after the Nazi surrender; two pamphlets including the War Department pamphlet Two down and One to go –; and a collection of photographs of Eisenhower’s victory parade and Roosevelt’s funeral procession. On April 12 1945 President Roosevelt died of a stroke in Warm Springs Georgia. His body was returned to Washington two days later and a military procession escorted it from the train station to the White House. Two photographs of the funeral procession are included in the archive. One showing a woman at the start of a section of the parade is identified verso as “WACs led by Capt. Machen”. The following month the Nazis surrendered. Bremer’s friend June Miller was stationed in Paris at the time. She wrote to Bremer the next day describing the celebration: “It began the night before when we stood on the roof and watched the flares go off all over the city--just like the 4th of July; the Sacred Couer was blazing with lights and it looked like a miniature fairy-land. Last night all the famous old buildings including the Arc d’Triumph was all lit up the fountains in the parks at Concord in front of the Trocadero--they were all going and the kids were wading and splashing around having the time of their life. It was really something to see--something the French had been waiting a long time for. “Fini le guerre” they kept saying--the end of the war!” Miller also claims to have witnessed a bomber flying a celebratory loop through the Eiffel Tower: “When we came out of the Trocadéro the fountains were on and what a sight that is. Looking down over the water that looks like a miniature waterfall to the Eiffel Tower at the bottom of a small hill. And if I hadn’t seen it with my own eyes I would never have believed that I saw a small bomber come through the bottom but that’s just what it did--and just did clear it too. The planes seemed to be going as wild as the people on the ground--they were so thick up there that pretty soon we thought surely something would happen.” In June Dwight Eisenhower returned from Europe and a homecoming parade was held for him in Washington D.C. Six photographs of this parade are included in the archive including a shot of his plane arriving at the airport and one where he is visible standing in the back of a Jeep. Miller notes in her letter from Paris that “you wondered what was coming next; where we would go from here ‘cause in a sense there is still a war very definitely going on”. In fact John Melotte who seems to be Miller’s partner writes to Bremer that he “May be slated for that place they call the CBI but don’t tell June please. She does not want me to even mention the place in my letters so I let well enough alone” July 15 1945. Hostilities would continue in the CBI—the China-Burma-India theater—until September of that year. The process by which soldiers were selected to be sent to the Asia-Pacific theater is laid out in the War Department pamphlet Two down and One to go –. The pamphlet reminds them that there are still “a couple of big jobs ahead” the primary one being to “crush” or “smash” the “Japs” and the second one being to occupy and police “conquered lands . until the peril of future aggression is gone.” It is a visually striking piece with illustrations in a bold black and red color palette; its cover is a reproduction of a caricature of Hitler Mussolini and Hirohito by Polish-Jewish artist Arthur Szyk. Also included in the archive are a card from a friend with tickets to an American League baseball game; a humorous poem congratulating Wacs Ruth O.B. and Lenore I. Nier on new work assignments; and a Christmas 1945 WAC pamphlet with a dinner menu and list of WAC officers. The pamphlet assures the Wacs with a note from Colonel Kenton Cooley “Before another Christmas you all will have returned to civilian life and each of you will take with you my appreciation and my sincere admiration for a great job well done.” Of interest to scholars of women’s history especially in the military; and of the events leading up to the end of the Second World War. unknown
1945réf. List2747Paris France; and Washington D.C. 1945. Six 8 x 10 inch and smaller typed pages; one 4 x 5 inch card with two tickets; one twenty-six page 4 x 5.5 inch pamphlet; one six page 6 x 8.5 inch pamphlet; six 2.5 x 3.5 photographs and two 3 x 4.5 inch photographs. Of the printed matter most is affixed to paper some small tears and folds; overall excellent; photographs near fine. Mary J. Bremer 1917–2019 was a Technician fourth grade from Grant Township Nebraska. Her correspondents here include June Miller 1920–deceased an aviation cadet from Michigan and John Melotte 1919–deceased an artilleryman from Philadelphia. Bremer and Miller were members of the Women’s Army Corps WAC. Established in May of 1942 as the Women’s Army Auxiliary Corps the WAC converted to active duty in July of 1943. The women of WAC known as Wacs served in noncombatant roles across the various theaters of World War II. Offered here is a small archive of Bremer’s documents and photographs relating to WAC: a few letters including a description of Paris the day after the Nazi surrender; two pamphlets including the War Department pamphlet Two down and One to go –; and a collection of photographs of Eisenhower’s victory parade and Roosevelt’s funeral procession. On April 12 1945 President Roosevelt died of a stroke in Warm Springs Georgia. His body was returned to Washington two days later and a military procession escorted it from the train station to the White House. Two photographs of the funeral procession are included in the archive. One showing a woman at the start of a section of the parade is identified verso as “WACs led by Capt. Machen”. The following month the Nazis surrendered. Bremer’s friend June Miller was stationed in Paris at the time. She wrote to Bremer the next day describing the celebration: “It began the night before when we stood on the roof and watched the flares go off all over the city--just like the 4th of July; the Sacred Couer was blazing with lights and it looked like a miniature fairy-land. Last night all the famous old buildings including the Arc d’Triumph was all lit up the fountains in the parks at Concord in front of the Trocadero--they were all going and the kids were wading and splashing around having the time of their life. It was really something to see--something the French had been waiting a long time for. “Fini le guerre” they kept saying--the end of the war!” Miller also claims to have witnessed a bomber flying a celebratory loop through the Eiffel Tower: “When we came out of the Trocadéro the fountains were on and what a sight that is. Looking down over the water that looks like a miniature waterfall to the Eiffel Tower at the bottom of a small hill. And if I hadn’t seen it with my own eyes I would never have believed that I saw a small bomber come through the bottom but that’s just what it did--and just did clear it too. The planes seemed to be going as wild as the people on the ground--they were so thick up there that pretty soon we thought surely something would happen.” In June Dwight Eisenhower returned from Europe and a homecoming parade was held for him in Washington D.C. Six photographs of this parade are included in the archive including a shot of his plane arriving at the airport and one where he is visible standing in the back of a Jeep. Miller notes in her letter from Paris that “you wondered what was coming next; where we would go from here ‘cause in a sense there is still a war very definitely going on”. In fact John Melotte who seems to be Miller’s partner writes to Bremer that he “May be slated for that place they call the CBI but don’t tell June please. She does not want me to even mention the place in my letters so I let well enough alone” July 15 1945. Hostilities would continue in the CBI—the China-Burma-India theater—until September of that year. The process by which soldiers were selected to be sent to the Asia-Pacific theater is laid out in the War Department pamphlet Two down and One to go –. The pamphlet reminds them that there are still “a couple of big jobs ahead” the primary one being to “crush” or “smash” the “Japs” and the second one being to occupy and police “conquered lands . until the peril of future aggression is gone.” It is a visually striking piece with illustrations in a bold black and red color palette; its cover is a reproduction of a caricature of Hitler Mussolini and Hirohito by Polish-Jewish artist Arthur Szyk. Also included in the archive are a card from a friend with tickets to an American League baseball game; a humorous poem congratulating Wacs Ruth O.B. and Lenore I. Nier on new work assignments; and a Christmas 1945 WAC pamphlet with a dinner menu and list of WAC officers. The pamphlet assures the Wacs with a note from Colonel Kenton Cooley “Before another Christmas you all will have returned to civilian life and each of you will take with you my appreciation and my sincere admiration for a great job well done.” Of interest to scholars of women’s history especially in the military; and of the events leading up to the end of the Second World War. unknown books
réf. 7236Battle Creek Mich.: Review & Herald Steam Printing house 1883. 8vo 8.5" x 5.75" printed wrappers. 46 pp. Folding map 12.75" x 18.25" plus margins. CONDITION: Good dampstaining at covers and the top of the second half of the pamphlet. Light vertical crease at middle throughout. Map good one minor tear at margin. A promotional pamphlet for land along the Sioux City and Pacific Railroad including former Indian reservation lands with an appealing map of the rail line and its spurs. The text begins with a message to the public advertising the Elkhorn Valley Route on the Sioux City and Pacific Railroad the railroad having recently extended to Fort Niobrara Nebraska and thereby placing within reach of home-seekers millions of acres of free government lands. This is followed by an exhaustive overview of Northern Nebraska and its attractions geographical outlines physical geography topography and neighboring areas including Indian camps and more. A good portion of the text is devoted to Northern Nebraska's geology covering the Old Forest Bed Epoch the origins of "modern Nebraska" "How Came that Grand Old Forest" and so forth. Also included are testimonials from dozens of farmers who settled in Northern Nebraska including "exceptional cases" and highlighted is a large buffalo flat "8 miles long by 3 miles wide". The prospective settler is advised on how to reach these lands how to make a profitable investment in Nebraska lands and Omaha Reserve lands formerly home to the Omaha tribe and how to acquire them. A letter from the U.S. Land Office in Nebraska to the General Passenger Agent of the Sioux City & Pacific R.R. is printed here as well. Ads are included for the Land Agency of I. N. Taylor of Oakdale and Neligh Nebraska and real estate dealers Richards & Keene of Nebraska. The text concludes with a price list of commodities in Northern Nebraska. The map entitled "Sioux City & Pacific R.R. and connections to the Free Homes for the Million" by Rand McNally & Co. of Chicago spans from Council Bluffs Omaha in the east to the Black Hills in the west and from Pierre South Dakota in the north to a portion of Colorado in the south. The Sioux City and Pacific Railroad and its connections are shown in bold connecting with other railroad routes across the midwest. Battle Creek, Mich.: Review & Herald Steam Printing house, 1883 unknown books
1868réf. 49559New York: Published by the Union Pacific Railroad Company 1868. 1868. RAILROAD. First edition. 8vo. Original pictorial printed wrappers 32 pp. frontispiece Map of the Union Pacific Rail Road and its Connections introduction. Details the formation of the company and the progress of the work including the topography character of the country and distances along the line. Much information is provided regarding agricultural resources timber minerals etc. Branches and connecting roads along with the needed resources for construction are discussed as is information on actual earnings anticipated earnings and the issuance of the company's first mortgage bonds. A wonderful advertisement on the rear cover panel offers First Mortgage Bonds at par principal and interest Payable In Gold. A faint vertical crease and very lightly toned at the cover edges else a near fine bright copy. Published by the Union Pacific Railroad Company, 1868. unknown
réf. 87968Lawrence Massachusetts: Pacific Mills Late 19th C. Very Good Plus. Two separate dark wood cases 12 in. x 16.4 in with glass covering displaying wool and cotton fiber and cloth salesperson samples. These cases highlight the three stages of the production of wool and cotton: the raw product the wound yarns and the finished dyed or printed cloth. Gold "Pacific Mills Lawrence Massachusetts" decal to front. Left sides have three brass screws for glass removal. Wooden fitted lid with gold company logo to top fits either box cases do not stack. Light wear and scratches to cases. Contemporary stickers to sides of cases indicating the type of display. May require additional shipping fee. The Pacific Mills was incorporated in 1853 with capital of $1 million. The original mills and print works were built by the Essex Company remodeled in 1882 and enlarged and added to over the many years of its operation. In the latter part of the 19th century it was considered one of the foremost corporations in the world. Abbot Lawrence the city's namesake was the first president. The company started as a producer of women's dress goods in wool and cotton and included a print house and dye works. By the 1890s the mills were producing calicos lawns shirtings and a large variety of other products. By 1895 there were over 200000 spindles turning. Pacific Mills unknown
1930réf. P2627Montreal: Canadian Pacific c.1930. Very Good laid down on acid free canvas for long term preservation. Image Size : Platemark Size : Paper Size : 760x1015 mm 29.92x39.96 Inches Coloring: Black & White Medium: Offset Lithograph Categories: Posters;Transportation Ships; Canadian Pacific unknown
1930réf. P2626Montreal: Canadian Pacific c.1930. Very Good laid down on acid free canvas for long term preservation. Image Size : Platemark Size : Paper Size : 765x1015 mm 30.12x39.96 Inches Coloring: Black & White Medium: Offset Lithograph Categories: Posters;Transportation Ships; Canadian Pacific unknown
1936réf. P3290Canada: Canadian Pacific c. 1936. Very Good backed on tissue paper for long term preservation. Image Size : 582x898 mm 22.91x35.35 Inches Platemark Size : Paper Size : Coloring: Printed in Color Medium: Offset Lithograph Categories: Transportation Ships; Advertising; Posters; Canadian Pacific unknown
1930réf. P3291Canada: Canadian Pacific c. 1930. Very Good backed on acid free tissue paper for long term preservation. Image Size : 581x895 mm 22.87x35.24 Inches Platemark Size : Paper Size : Coloring: Printed in Color Medium: Offset Lithograph Categories: Advertising; Transportation Ships; Posters; Canadian Pacific unknown
1981réf. 71406Port Townsend WA & various other places 1981. Correspondence Archive. Near Fine. 17 items total: 13 TLS 2 ALS and 2 APCS. Items listed individually below. This collection documents the administrative and social structure of the Port Townsend Washington literary scene during its foundational years. The correspondence centers on Cheryl Van Dyke in her role as manager of The Imprint a bookstore that functioned as a primary hub during Centrum Foundation's annual Writers' Conference at Fort Worden State Park. The letters are often in response to Van Dyke's inquiries regarding bookshop stock to support conference lectures and workshops; they frequently evolve into warm personal exchanges that reveal the close-knit nature of this regional symposium. This material originates from the personal papers of Cheryl Van Dyke a poet and artist whose early collection Cheat Grass was a cornerstone of the emerging Copper Canyon Press catalog. As an essential figure in the region's fine press circles Van Dyke's stewardship of The Imprint made the shop a vital setting where established writers and burgeoning Pacific Northwest voices intersected. Condition is uniformly Very Good to Near Fine showing only occasional light edgewear or minor corner creasing consistent with professional handling. 17 pieces of correspondence. No envelopes present. Organized here chronologically: 1- Hugo Richard "Dick". APCS to Cheryl Van Dyke. Missoula MT. Postmarked December 17 1975. Postcard 3.25" x 5.5". This warm personal note is written addressed and signed in black ink by Hugo. 2- Whalen Philip. TLS to Cheryl Van Dyke. San Francisco CA Zen Center 300 Page St. Dated April 8 1977. Two pages 11" x 8.5" typed on rectos only. Signed by Whalen in black ink at the conclusion. A few later notations in pencil presumably by Van Dyke. 3- Broumas Olga. TLS to Cheryl Van Dyke. Eugene OR. Dated May 22 1977. One page 6" x 9" typed on recto only on toning pulpy paper. With one correction and signed by Broumas in black ink at the conclusion. 4- Hamill Sam. Typed Circular Reproduction sent to Cheryl Van Dyke. An invitation and open call for poetry or prose submissions for two upcoming periodical publications. Port Townsend WA. Dated November 16 1977. One page 11" x 8.5" photomechanically reproduced on recto only. On Copperhead letterhead Copper Canyon Press with the names of Tree Swenson and Jo Cochran also listed at the top. Correction small illustration and signature of Sam Hamill in black also reproductions part of the general circular. 5- Snyder Gary. TLS to Cheryl Van Dyke. n.p. n.d. likely California circa 1978. This one page 11" x 8.5" letter is on the verso side of an open letter and subscription form for the Kuksu Press and its Kyoi/Kuksu literary journal. Signed in black ink at the conclusion by Snyder. 6- Gallagher Tess & Cheryl Van Dyke. TLS to Tess Gallagher from Cheryl Van Dyke initial letter on the recto and ALS to Van Dyke from Gallagher response letter on the verso. Washington state dated April 6 1978 with response undated. One page 5.5" x 8.5" TLS on The Imprint bookstore's letterhead and ALS response in black ink on verso. Signed in blue ink by Cheryl Van Dyke and in black ink by Gallagher at their respective conclusions. 7- Stafford William "Bill". TLS to Cheryl Van Dyke. Lake Oswego OR. Dated April 7 1978. One page 11" x 8.5" on recto only. Additional note in Stafford's hand and signed by him at the conclusion in black ink. 8- Wakoski Diane. TLS to Cheryl Van Dyke. East Lansing MI. Dated June 15 1978. One page 11" x 8.5" on recto only. Signed in black ink at the conclusion by Wakoski. 9- Kumin Maxine. TLS to Cheryl Van Dyke. Princeton NJ. Dated April 11 1979. One page 9" x 6" on Princeton University letterhead on recto only. Signed in blue ink by Kumin at the conclusion with a short note in her hand. 10- Levertov Denise typed and signed by Phyllis Leith Secretary to D.L. TLS to Cheryl Van Dyke. n.p. Dated April 16 1979. One page 11" x 8.5" on recto only. Signed in brown ink by Phyllis Leith secretary to Denise Levertov. 11- McElroy Colleen J. TLS to Cheryl Van Dyke. Seattle WA. Dated April 17 1979. One page 11" x 8.5" on recto only. With one brief additional note in the margin and signed in black ink at the conclusion by McElroy. 12- Halperin Mark. TLS to Cheryl Van Dyke. n.p. Dated April 25 1979. One page 11" x 8.5" on recto only. Signed at the conclusion in blue ink by Halperin. 13- Swenson Tree. APCS to Cheryl Van Dyke. Cedar City UT. Postmarked June 25 1980. The postcard shows an aerial view of Escalante Canyon Utah with a quotation by Joseph Wood Krutch card produced by Beautyway of Flagstaff AZ. A warm and lengthy handwritten personal note in black ink in Swenson's distinctive hand while "on VACATION" and signed affectionately by Tree Swenson at her conclusion. 14- Stafford William. TLS to Cheryl Van Dyke. Lake Oswego OR. Dated April 21 1981. One page 11" x 8.5" on recto only. Signed in black ink at the conclusion by Stafford. 15- Yolen Jane. TLS to Cheryl Van Dyke. n.p. Dated May 5 1981. One page 11" x 8.5" on recto only. Notations in presumably Van Dyke's hand. Signed in blue ink at the conclusion by Jane Yolen. 16- Matthews William. TLS to Cheryl Van Dyke. n.p. Dated May 8 1981. One page 11" x 8.5" on recto only. A few notations in presumably Van Dyke's hand. Signed in black ink at the conclusion by Matthews. 17- Heynen Jim. ALS to "David" and to Cheryl Van Dyke. Norwich Norfolk England. Dated November 22 no year. One page 10" x 8" on recto and verso. All written in black ink. Warm professional and personal content. First message addressed to "David" takes up most of the recto signed by Jim Heynen at the conclusion. The second message addressed to Van Dyke starts near the bottom of the recto and extends all the way to the end of the verso and is signed by Heynen at the conclusion. unknown
1981réf. 71406Port Townsend WA & various other places 1981. Correspondence Archive. Near Fine. 17 items total: 13 TLS 2 ALS and 2 APCS. Items listed individually below. This collection documents the administrative and social structure of the Port Townsend Washington literary scene during its foundational years. The correspondence centers on Cheryl Van Dyke in her role as manager of The Imprint a bookstore that functioned as a primary hub during Centrum Foundation's annual Writers' Conference at Fort Worden State Park. The letters are often in response to Van Dyke's inquiries regarding bookshop stock to support conference lectures and workshops; they frequently evolve into warm personal exchanges that reveal the close-knit nature of this regional symposium. This material originates from the personal papers of Cheryl Van Dyke a poet and artist whose early collection Cheat Grass was a cornerstone of the emerging Copper Canyon Press catalog. As an essential figure in the region's fine press circles Van Dyke's stewardship of The Imprint made the shop a vital setting where established writers and burgeoning Pacific Northwest voices intersected. Condition is uniformly Very Good to Near Fine showing only occasional light edgewear or minor corner creasing consistent with professional handling. 17 pieces of correspondence. No envelopes present. Organized here chronologically: 1- Hugo Richard "Dick". APCS to Cheryl Van Dyke. Missoula MT. Postmarked December 17 1975. Postcard 3.25" x 5.5". This warm personal note is written addressed and signed in black ink by Hugo. 2- Whalen Philip. TLS to Cheryl Van Dyke. San Francisco CA Zen Center 300 Page St. Dated April 8 1977. Two pages 11" x 8.5" typed on rectos only. Signed by Whalen in black ink at the conclusion. A few later notations in pencil presumably by Van Dyke. 3- Broumas Olga. TLS to Cheryl Van Dyke. Eugene OR. Dated May 22 1977. One page 6" x 9" typed on recto only on toning pulpy paper. With one correction and signed by Broumas in black ink at the conclusion. 4- Hamill Sam. Typed Circular Reproduction sent to Cheryl Van Dyke. An invitation and open call for poetry or prose submissions for two upcoming periodical publications. Port Townsend WA. Dated November 16 1977. One page 11" x 8.5" photomechanically reproduced on recto only. On Copperhead letterhead Copper Canyon Press with the names of Tree Swenson and Jo Cochran also listed at the top. Correction small illustration and signature of Sam Hamill in black also reproductions part of the general circular. 5- Snyder Gary. TLS to Cheryl Van Dyke. n.p. n.d. likely California circa 1978. This one page 11" x 8.5" letter is on the verso side of an open letter and subscription form for the Kuksu Press and its Kyoi/Kuksu literary journal. Signed in black ink at the conclusion by Snyder. 6- Gallagher Tess & Cheryl Van Dyke. TLS to Tess Gallagher from Cheryl Van Dyke initial letter on the recto and ALS to Van Dyke from Gallagher response letter on the verso. Washington state dated April 6 1978 with response undated. One page 5.5" x 8.5" TLS on The Imprint bookstore's letterhead and ALS response in black ink on verso. Signed in blue ink by Cheryl Van Dyke and in black ink by Gallagher at their respective conclusions. 7- Stafford William "Bill". TLS to Cheryl Van Dyke. Lake Oswego OR. Dated April 7 1978. One page 11" x 8.5" on recto only. Additional note in Stafford's hand and signed by him at the conclusion in black ink. 8- Wakoski Diane. TLS to Cheryl Van Dyke. East Lansing MI. Dated June 15 1978. One page 11" x 8.5" on recto only. Signed in black ink at the conclusion by Wakoski. 9- Kumin Maxine. TLS to Cheryl Van Dyke. Princeton NJ. Dated April 11 1979. One page 9" x 6" on Princeton University letterhead on recto only. Signed in blue ink by Kumin at the conclusion with a short note in her hand. 10- Levertov Denise typed and signed by Phyllis Leith Secretary to D.L. TLS to Cheryl Van Dyke. n.p. Dated April 16 1979. One page 11" x 8.5" on recto only. Signed in brown ink by Phyllis Leith secretary to Denise Levertov. 11- McElroy Colleen J. TLS to Cheryl Van Dyke. Seattle WA. Dated April 17 1979. One page 11" x 8.5" on recto only. With one brief additional note in the margin and signed in black ink at the conclusion by McElroy. 12- Halperin Mark. TLS to Cheryl Van Dyke. n.p. Dated April 25 1979. One page 11" x 8.5" on recto only. Signed at the conclusion in blue ink by Halperin. 13- Swenson Tree. APCS to Cheryl Van Dyke. Cedar City UT. Postmarked June 25 1980. The postcard shows an aerial view of Escalante Canyon Utah with a quotation by Joseph Wood Krutch card produced by Beautyway of Flagstaff AZ. A warm and lengthy handwritten personal note in black ink in Swenson's distinctive hand while "on VACATION" and signed affectionately by Tree Swenson at her conclusion. 14- Stafford William. TLS to Cheryl Van Dyke. Lake Oswego OR. Dated April 21 1981. One page 11" x 8.5" on recto only. Signed in black ink at the conclusion by Stafford. 15- Yolen Jane. TLS to Cheryl Van Dyke. n.p. Dated May 5 1981. One page 11" x 8.5" on recto only. Notations in presumably Van Dyke's hand. Signed in blue ink at the conclusion by Jane Yolen. 16- Matthews William. TLS to Cheryl Van Dyke. n.p. Dated May 8 1981. One page 11" x 8.5" on recto only. A few notations in presumably Van Dyke's hand. Signed in black ink at the conclusion by Matthews. 17- Heynen Jim. ALS to "David" and to Cheryl Van Dyke. Norwich Norfolk England. Dated November 22 no year. One page 10" x 8" on recto and verso. All written in black ink. Warm professional and personal content. First message addressed to "David" takes up most of the recto signed by Jim Heynen at the conclusion. The second message addressed to Van Dyke starts near the bottom of the recto and extends all the way to the end of the verso and is signed by Heynen at the conclusion. unknown books
réf. 51-0842Sacramento Division: 1936-1946. Original blueprints dated 1936-46. 2 sheets each 24 x 55 inches. Shows all the industrial buildings between Beamer St. and Cross St. 5th St. and B. St. The second map shows the Standard Oil facility at Gum Ave. and the Union Oil Co. tanks near Pendergast. 24 x 55 inches. Scale 1"=100'. Plans of the buildings. Very useful for Phase 1 EIRs. Sacramento Division: 1936-1946. unknown
1980réf. 71395Port Townsend WA: Copper Canyon Press / Copperhead / Tree Swenson / Sam Hamill 1980. First editions. Fine Press Paperback Books & Broadside. Near Fine. From the library of the poet Cheryl Van Dyke. This lot of three items includes a likely unique calligraphic manuscript executed and produced as a fine hand-made single-poem book a chapbook with pre-publication design proofs and an early Copper Canyon letterpress broadside. Together these items trace a lovely collaboration between poet Cheryl Van Dyke and designer Tree Swenson during the most prolific years of Copper Canyon Press. -Item #1: DIANA. Port Townsend WA: Winter Solstice 1980. Original Calligraphic Manuscript. 12pp. Quarto 32cm x 25cm / 12.5" x 9.75". Hand-sewn in original black fine paper wrappers. The front cover is embellished with a hand-drawn illustration of a stylized eclipse design in gold calligraphy. The internal text is calligraphed in white and gold on midnight-blue fine paper. Collation: 1-2 blank; 3 title page featuring the author's name poem title and a decorative illustration in white and gold; 4 blank; 5-10 poem text executed in white calligraphy; 11 blank; 12 colophon reading: "Calligraphy completed on the Winter Solstice of 1980 by Tree" accompanied by a small calligraphic square device mark. In Near Fine condition with only minor sporadic spotting and light rubbing to covers. An exceptional likely unique artifact. A significant likely unique manuscript by Tree Swenson co-founder and designer of Copper Canyon Press; produced for and presumably presented to the poet Cheryl Van Dyke. Swenson displays her mastery of a calligraphic hand in executing the poem "Diana" by Cheryl Van Dyke. This manuscript dated on the Winter Solstice of 1980 is a beautiful formal and thematic rendering of the poem. The use of black and midnight-blue papers with white and gold illumination suggests a thematic alignment with the solstice date of its completion as well as the astrological constellational and mythological references of the poem. While Swenson's typography defined the visual identity of the Pacific Northwest poetry renaissance of this period this item represents a primary hand-rendered document devoid of mechanical reproduction making it an important piece of regional literary heritage offering a unique counterpoint to the era's celebrated fine-press output. A beautiful and elegant work. -Item #2: CHEAT GRASS: A COPPERHEAD CHAPBOOK. Port Townsend WA: Copper Canyon Press 1975. First Edition. 24pp. Quarto 25.5cm. Original letterpress-printed wrappers string-sewn. Colophon states: "Designed and printed by Tree Swenson and Sam Hamill at Copperhead. The text is 70 lb. Curtis Tweedweave. The type is hand-set 14 point Centaur. Illustrations by Cheryl Van Dyke." Unsigned/unnumbered as issued. With the accompanying material: two folded sheets laid in-presumably pre-publication design proofs; one of the illustration by itself and another of the cover/title page which are designed in exactly the same way. A Near Fine copy with only some light fading to the cover near the spine. An early and essential title from the foundational years of Copper Canyon Press in Port Townsend. Published as part of the "Copperhead" series. "Cheryl Van Dyke has had poems in Kayak Paintbrush Port Townsend Journal and in other periodicals. Cheat Grass is her first published collection." -Item #3: KUHN SPIT. Port Townsend WA: Copper Canyon Press 1976. Broadside 36.5cm x 26cm / 14.5" x 10.25". Letterpress-printed in three colors on light brown paper. Comprising the title thirty-three lines of verse in four stanzas and a stylized printed illustration. Unsigned/unnumbered as issued. Near Fine condition with a light bump and soft crease at the top right corner. This poetry broadside was published in 1976 shortly after the release of Van Dyke's chapbook Cheat Grass. Like most ephemeral productions from Copper Canyon Press during its early Port Townsend years it was likely designed and printed by Tree Swenson and Sam Hamill. Clean lovely letterpress work on high-quality paper. From the personal library of the poet Cheryl Van Dyke a Pacific Northwest poet and artist whose early work Cheat Grass helped define the nascent literary landscape of Port Townsend's Copper Canyon Press in the 1970s. An integral figure in the region's fine press circle she also managed The Imprint from the mid-1970s through the early 1980s-a bookstore that served as a vital social and literary hub for the burgeoning Pacific Northwest poetry community. Tree Swenson is a master typographer and calligrapher who co-founded Copper Canyon Press in 1972 with Sam Hamill and others. Her rigorous design aesthetic and commitment to letterpress excellence established the visual identity of the press for decades. Copper Canyon Press is a nonprofit independent poetry publisher that "believes poetry is vital to language and living." The press made its start in 1972 in Denver CO and moved to Port Townsend WA in 1974. [Copper Canyon Press / Copperhead / Tree Swenson / Sam Hamill] paperback
1980réf. 71395Port Townsend WA: Copper Canyon Press / Copperhead / Tree Swenson / Sam Hamill 1980. First editions. Fine Press Paperback Books & Broadside. Near Fine. From the library of the poet Cheryl Van Dyke. This lot of three items includes a likely unique calligraphic manuscript executed and produced as a fine hand-made single-poem book a chapbook with pre-publication design proofs and an early Copper Canyon letterpress broadside. Together these items trace a lovely collaboration between poet Cheryl Van Dyke and designer Tree Swenson during the most prolific years of Copper Canyon Press. -Item #1: DIANA. Port Townsend WA: Winter Solstice 1980. Original Calligraphic Manuscript. 12pp. Quarto 32cm x 25cm / 12.5" x 9.75". Hand-sewn in original black fine paper wrappers. The front cover is embellished with a hand-drawn illustration of a stylized eclipse design in gold calligraphy. The internal text is calligraphed in white and gold on midnight-blue fine paper. Collation: 1-2 blank; 3 title page featuring the author's name poem title and a decorative illustration in white and gold; 4 blank; 5-10 poem text executed in white calligraphy; 11 blank; 12 colophon reading: "Calligraphy completed on the Winter Solstice of 1980 by Tree" accompanied by a small calligraphic square device mark. In Near Fine condition with only minor sporadic spotting and light rubbing to covers. An exceptional likely unique artifact. A significant likely unique manuscript by Tree Swenson co-founder and designer of Copper Canyon Press; produced for and presumably presented to the poet Cheryl Van Dyke. Swenson displays her mastery of a calligraphic hand in executing the poem "Diana" by Cheryl Van Dyke. This manuscript dated on the Winter Solstice of 1980 is a beautiful formal and thematic rendering of the poem. The use of black and midnight-blue papers with white and gold illumination suggests a thematic alignment with the solstice date of its completion as well as the astrological constellational and mythological references of the poem. While Swenson's typography defined the visual identity of the Pacific Northwest poetry renaissance of this period this item represents a primary hand-rendered document devoid of mechanical reproduction making it an important piece of regional literary heritage offering a unique counterpoint to the era's celebrated fine-press output. A beautiful and elegant work. -Item #2: CHEAT GRASS: A COPPERHEAD CHAPBOOK. Port Townsend WA: Copper Canyon Press 1975. First Edition. 24pp. Quarto 25.5cm. Original letterpress-printed wrappers string-sewn. Colophon states: "Designed and printed by Tree Swenson and Sam Hamill at Copperhead. The text is 70 lb. Curtis Tweedweave. The type is hand-set 14 point Centaur. Illustrations by Cheryl Van Dyke." Unsigned/unnumbered as issued. With the accompanying material: two folded sheets laid in-presumably pre-publication design proofs; one of the illustration by itself and another of the cover/title page which are designed in exactly the same way. A Near Fine copy with only some light fading to the cover near the spine. An early and essential title from the foundational years of Copper Canyon Press in Port Townsend. Published as part of the "Copperhead" series. "Cheryl Van Dyke has had poems in Kayak Paintbrush Port Townsend Journal and in other periodicals. Cheat Grass is her first published collection." -Item #3: KUHN SPIT. Port Townsend WA: Copper Canyon Press 1976. Broadside 36.5cm x 26cm / 14.5" x 10.25". Letterpress-printed in three colors on light brown paper. Comprising the title thirty-three lines of verse in four stanzas and a stylized printed illustration. Unsigned/unnumbered as issued. Near Fine condition with a light bump and soft crease at the top right corner. This poetry broadside was published in 1976 shortly after the release of Van Dyke's chapbook Cheat Grass. Like most ephemeral productions from Copper Canyon Press during its early Port Townsend years it was likely designed and printed by Tree Swenson and Sam Hamill. Clean lovely letterpress work on high-quality paper. From the personal library of the poet Cheryl Van Dyke a Pacific Northwest poet and artist whose early work Cheat Grass helped define the nascent literary landscape of Port Townsend's Copper Canyon Press in the 1970s. An integral figure in the region's fine press circle she also managed The Imprint from the mid-1970s through the early 1980s-a bookstore that served as a vital social and literary hub for the burgeoning Pacific Northwest poetry community. Tree Swenson is a master typographer and calligrapher who co-founded Copper Canyon Press in 1972 with Sam Hamill and others. Her rigorous design aesthetic and commitment to letterpress excellence established the visual identity of the press for decades. Copper Canyon Press is a nonprofit independent poetry publisher that "believes poetry is vital to language and living." The press made its start in 1972 in Denver CO and moved to Port Townsend WA in 1974. [Copper Canyon Press / Copperhead / Tree Swenson / Sam Hamill] paperback books
1818Uncommon French Sea Chart of the Pacific ocean, separtely publisheb by the Depot General de la Marine. This work is significantly revised and improved from the 1797 edition, to be noticed the improvements and additions to the coastline of Australia. The first edition showed very little of the Southern Coastline and did not specifically delineate Tasmania as an island. Also the coastline of Argentina is also greatly improved. Perfect status of conservation.
1840Dettagliata carta nautica dell'arcipelago compreso tra l'Australia settentrionale e l'Asia sudorientale, che comprende Giava e l'arcipelago delle cosidette Piccole Isole della Sonda: le isole di Bali, Lombok, Sumbawa, Flores, l'arcipelago di Solor, di Alor e le isole Aru (o Aroe). Comprende, inoltre, il mar di Banda, il mare degli Arafura e il Golfo di Carpentaria.Disegnata da Pierre Daussy e incisa da Chassant. Prima edizione pubblicata nel 1840.Incisione su rame, in ottimo stato di conservazione. Detailed sea chart of Timor Sea west from the Gulf of Carpentaria and including Banda Sea. Relief shown by hachures and bathymetric soundings.First edition, published "par ordre du roi" in 1840. Drawed by Pierre Daussy and engraved by Chassant.Copperplate, in excellent condition.
