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OBATA SWEING SCHOOL, SAN FRANCISCOBiblio.com

Two Manuscript Instruction Manuals. San Francisco: 1923.

réf. MD39Two large slim folio volumes 43pp.; paper wrappers. Books protected in hand-made craft paper dust jackets; both volumes filled to completion with color pencil designs annotated throughout in pencil in Japanese and English. A dust jacket of one volume soiled and starting to chip along the spine edge. Very good to near fine condition. Two volumes compiled by a student at the Obata Sewing School in San Francisco providing approximately 50 designs 27 of which are accompanied by pasted-in pencil sketches of the finished product. Date of publication based on the three Obata Sewing School blueprint designs copyright 1923 pasted into one of the volumes. Designs include patterns for everyday garments like a baby's dress bib and cape; boy's and girl's sailor suits; a bicycle costume with a divided skirt; man's vest smoking jacket and sack coat; and lady's breaches and knickerbockers. There are also several designs for hats mostly berets and caps. Obata Sewing School was a private sewing school operating in San Francisco in the early decades of the 20th century serving primarily women of the Japanese immigrant Issei community and later the second generation Nisei. Institutions of this kind played a crucial role in the social and economic life of Japanese American communities on the U.S. West Coast prior to World War II. The school offered practical training in Western-style dressmaking and tailoring enabling Japanese immigrant women to acquire marketable skills at a time when access to formal American education and professional employment was limited. Sewing schools such as Obata Sewing School provided not only vocational instruction but also a socially acceptable pathway to economic independence home-based labor and small-scale entrepreneurship. Beyond its practical function Obata Sewing School also served as a community space for women embedded within the broader network of Japanese-language schools religious institutions and mutual-aid associations that structured life in San Francisco’s Japantown Nihonmachi. The curriculum reflected a broader process of cultural adaptation combining Japanese craftsmanship with Western clothing forms required by everyday life in the United States. Like many Japanese American educational and cultural institutions Obata Sewing School ceased operations during World War II following the forced removal and incarceration of Japanese Americans under Executive Order 9066 1942. As a result surviving documentation related to the school - certificates photographs printed ephemera - is rare and often preserved only in private or family archives. Material associated with Obata Sewing School offers valuable insight into women’s labor immigrant education and the material culture of the Japanese American diaspora illuminating an often-overlooked infrastructure that supported daily life resilience and adaptation in prewar immigrant communities. hardcover

Globus Rare Books & Archives · États-Unis2 900,00 $US≈ 2 585,82 €

[JAPANESE ART -- KANO SCHOOL SAMPLE SHEET]. 笹山包 [SASAYAMA TSUTSUMU (Artist).]Biblio.com

In Japanese. 宮殿人物外諸図狩野画 Kyuden jinbutsu hoka shozu - Kano ga Various sketches of courtiers and others painted by Kano -- with French MS inscription Anciens personnages de la palais imperial et dessins divers. A giant composite of six exceptional original late-Edo-period Kano-school triptych screen designs overseen by Naganobu Isenin Kano and Osanobu Seisenin Kano whose works graced the Nishinomaru and Honmaru palaces of Edo Castle.

1800réf. 63904Tokyo & Kyoto Japan: Kano School ca. 1800-1810. One 4to. art sample design portfolio sized 12.5 x 14 in. which folds out into giant montage of six large original late-Edo-Period Kano School screen designs on durable handmade Japanese rice paper measuring 110 x 75 in. carefully pasted as montage some titled as well as featuring ink manuscript painting instructions ordered counter-clockwise: “Bamboo scene” 47 x 38.5 in.; King Tang of Shang court scene 36.5 x 39 in.; 2nd Court scene 38.75 x 38.75 in.; Pine tree landscape 38.75 x 38.75 in.; Crane 28.75 x 39 in.; and Island pagoda landscape & pine trees 31 x 41.75 in six w/ original colour painting some colour painting & material instructions in Japanese all arranged to compactly fold and bound with colour woodblock illustrated cloth and old bookseller labels mounted on verso some repairs to corners to reattach the boards thumbing & minor tears a fold creases w/ a few occasional paper repairs at the first most frequently used fold minor creasing & edgewear dustsoiling to fold creases interior offset toning from sizing & paint colours still an extraordinary exemplar. This exceptional late-Edo-period original Kano School painting montage incorporates many of the elements developed by the famed multi-generational painters whom over four centuries revived and shaped Chinese idealist traditions into a uniquely vigorous Japanese art style. The Kano school painters emphasized landscapes Imperial court interior & exterior architectural elements colours uses of gold animal and botanical subjects often creating crowded panoramic scenes typically used in wall & door screens as well as triptych folding wall screens. The repeated instructions on these designs in Japanese by Sasayama Tsutsumu -- one of several Sasayama painters who took that name from the 18th- to 19th-Centuries in the Kano School beginning with Sasayama Yoi d. 1743 student of Kano Sunnobu 1636-1713 and subsequently four more generations afterwards nearly all adopted and chiefly serving the Chofu domain -- specify these designs are each one of three pieces. In addition there are ink manuscript memos appearing with directions on pigments for the final design work such as adding mica flecks or other paints & dyes and these sketches captured key features of a design so that students or other Kano artists could sufficiently enlarge recreated and fully understand the steps required for the finished decorative artwork pieces. The upper right first image presents bamboo looming in the weather emphasizing their connections to architectural features; The second and third designs capture the golden age Curt of the King of Shang in 1600 B.C. memorialized later as the Xia Dynasty; the fourth presents a rugged hillside and trees shrouded in clouds; the fourth a wonderful large crane apparently intended as part of a much larger piece; and finally the sixth lower right features distant pagoda temple shrouded mountains flower-bedecked pine tree in foreground and with delicate colouring and shading. Naganobu Kano fl. 1775-1828 and his son Osanobu Seisenin Kano 1786-1846 were of the Kobikicho family which carried on the Kano School traditions from 1730 until the Meiji Period and were instrumental in producing designs and screens for the Nishinomaru and Honmaru palaces which burned down in 1838 and again in 1844. Even though the paintings no longer exist similar original design such as these do survive in the Tokyo National Museum. Seisenin Kano was especially well known for his art adapted from his studies from ancient paintings at the end of the Edo-period. See: Kano School After the Middle of the Edo Period Art Nomura 2026; Matthew P. McKelway Rediscovering the Kano School Artforum Vol. 53 No. 5 Jan. 2015; Brief Biographies of Scholars Painters and Haiku Poets of Chofu Records of the Sasayama Family Painters of the Chofu Domain 2026. Kano School, hardcover

Zephyr Used & Rare Books · États-Unis2 850,00 $US≈ 2 541,24 €

Bartolini Luigi (Cupramontana 1892 – Roma 1963)MareMagnum

I guerrieri

1939Acquaforte e punta secca, 1939. Misure della lastra, 260x 185 mm misure del foglio 283x203 mm. Esemplare unico, come da iscrizione a matita “p. e. u” (prova esemplare unico) in basso. Variante dell’opera I guerrieri dello stesso anno (Marino, 866, Ficacci, 85), con numerose modifiche e su una lastra di dimensioni diverse. Firma e data incise sulla lastra in basso a sinistra, firma e titolo a matita in basso “I guerrieri P. e. u Luigi Bartolini”. Luigi Bartolini è considerato uno dei maggiori incisori italiani del Novecento, insieme a Giorgio Morandi e Giuseppe Viviani. Oltre ad essere un prolifico incisore (al suo attivo oltre mille acqueforti), fu anche pittore e scrittore. Partecipò sia come pittore che come incisore a diverse edizioni della Biennale di Venezia dal 1928 al 1962. Presente a varie manifestazioni artistiche, sviluppò diverse maniere definite: ‘maniera bionda’, ‘lineare’ e ‘nera’. Ricordiamo soprattutto le acqueforti della serie Marche e della serie Sicilia. Iniziò la sua produzione grafica nel 1914 e il suo stile si rifà alla tradizione naturalistica dell’Ottocento. Molte sue incisioni si possono ricollegare ad alcune opere del Goya, di Telemaco Signorini e di Giovanni Fattori. Eccellente nella rappresentazione della natura morta e del paesaggio, spesso il Bartolini rappresentò dolcemente le cose e gli oggetti più umili, i soggetti di natura più dimessi. In essi ritroviamo il sentimento che diviene immagine e la forma che si sviluppa in espressione. Con Bartolini l’incisione torna ad essere un mezzo di espressione poetica libera dal simbolismo e dal vedutismo allora in voga presso le accademie. Nelle sue acqueforti prevale ora un tratteggio leggero (genere biondo), ora una ricerca del chiaroscuro alla Rembrandt (genere nero). Bibliografia C. Barsanti, Catalogo ragionato dell’opera grafica di Luigi Bartolini, Galleria Marino Roma (1972), n. 866; Ficacci, Luigi Bartolini alla Calcografia, n. 85. Etching and drypoint, 1939. Plate size, 260x 185 mm sheet size 283x203 mm. A unique example, as per pencil inscription "p. e. u" at bottom. Variant of the work I guerrieri of the same year (Marino, 866, Ficacci, 85), with numerous changes and engraved on a plate of different size. Signature and date engraved on the plate at lower left, and signature and title in pencil at bottom "I guerrieri P. e. u Luigi Bartolini". Born in Cupramontana near Ancona, Luigi Bartolini was the twentieth century Italian etcher, who came closest to the stature of his great rival, Morandi. As a teenager, he saw the collection of etchings, including work by Callot, owned by the Corradi family in Iesi. From 1907 to 1910 Bartolini studied at the Istituto di Belle Arti in Siena, and started to etch c. 1909. He moved to Rome in 1910, where until 1912 he frequented the Accademia di Belle Arti, while also attending lectures on literature and the history of art, and courses on anatomy at the University in Rome. Bartolini studied the etchings of Goya and took lessons on drawing at the Accademia di Spagna. From there, he went to Florence in 1913, where he attended the Scuola del nudo. Bartolini continued his anatomical research, as well as studying architecture, making himself the most assiduous student of all Italian twentieth century printmakers. He also visited the Uffizi and Florentine print dealers to look at the etchings of Rembrandt and Fattori. Bartolini painted his first oils just before the outbreak of the First World War. Although he painted pictures throughout the rest of his career, and was awarded the Premio Marzotto for them in 1956, they have been far eclipsed in fame by his etchings and writings. During the First World War, Bartolini published his first collection of poetry. A very prolific and accomplished writer, in this field he is best known today as the author of the novel, 'Ladri di biciclette' (Bicycle thieves), of 1946, which was quickly turned into a celebrated film by Vittorio de Sica and Cesar Zavattini. After the First World War, Bartolini held a series of minor teaching posts in Macerata, Sassari, Avezzano, Pola, and Caltagirone, while he continued to etch, and started a long career as a polemical journalist and critic of art and architecture. From 1923 to 1929, he wrote for the Naples periodical, 'Cimento', but he also contributed to 'Il Selvaggio', 'Quadrivio', 'Italia letteraria', and 'L'Ambrosiana'. Bartolini's 1924 exhibition of etchings at the Casa d'Arte Bragaglia in Rome was a great success, and later that year he showed 70 etched landscapes of the Marches at the Casa Palazzo di Roma. The following year he visited Paris, where he paid particular attention to the paintings of Van Gogh. Bartolini's political convictions led him to being assaulted by Fascists and hospitalised in 1928. Two years later, he won a prize at the Venice Biennale, where he had exhibited a portfolio of etchings. In 1930, the Turin publisher, Buratti, began to issue a series of portfolios of etchings by contemporary Italian artists under the editorship of Cipriano Oppi, selecting Bartolini for the first album. The following year, Buratti published 'Le carte parlanti', a portfolio of 10 of Bartolini's etchings, which was published in an edition of 20. In 1932, Bartolini shared the first prize at the Prima mostra dell'incisione moderna at the Uffizi with Morandi and Boccioni. His close friend, the leading anti-Fascist art historian, Lionello Venturi, acted as his agent selling his etchings in Paris. Bartolini's correspondence with his compatriots in exile led to his imprisonment, from which he was released on Mussolini's personal intervention. He was then placed under political surveillance. From 1933 to 1938, Bartolini taught in Merano, where he painted and etched in the open air, finding subjects on the banks of the fast flowing Adige. Despite being under political suspicion, he was given a one - man show of 50 etchings at the second Rome Quadri...

Libreria Antiquarius · Italie2 500,00 €

CANALETTO Giovanni Antonio Canal detto (Venezia 1697 – 1768)MareMagnum

Il Piccolo Monumento

1740Acquaforte, 1740 circa, monogrammato in lastra in basso al centro A.C. Esemplare nel secondo stato finale, dopo le aggiunte e con la sigla in basso al centro. Della serie Vedute altre prese da i Luoghi altri ideate. In basso a sinistra in primo piano, la continuazione della barca e del ponte parzialmente visti nell'acquaforte Il carro che passa sopra un ponte. Sulla riva lontana del fiume il monumento, incorniciato da un albero e dal fogliame. In lontananza, oltre una zona collinare, vista di una città con torri, campanile, cupole e una piramide. Originariamente questa stampa e Il carro che passa sopra un ponte formavano una lastra unica che venne tagliata forse per un difetto di morsura verificatosi nella zona dell’albero sovrastante il piccolo monumento. Per tale ragione la parte destra della lastra subì una riduzione di circa 25 mm in altezza. Non si conoscono impressioni prima del taglio del rame che venne operato dallo stesso artista, come dimostra l’apposizione – nel secondo stato – della sigla A.C. sul margine inferiore della lastrina con Il Piccolo Monumento. L’elemento decorativo posto alla sommità dell’edificio, forse un leone, è assai prossimo alla scultura, pure enigmatica, che compare sulla colonna ionica del dipinto Capriccio con tempio e colonna. L’opera appartiene alle Vedute altre prese da i luoghi altre ideate… serie delle acqueforti dedicate al console ed amico Joseph Smith, la cui esecuzione va dal 1740 al 1744 circa. Si inserisce nello sviluppo artistico del Canaletto non come parentesi marginale, ma come un momento essenziale di alcuni problemi stilistici, che troveranno la loro piena realizzazione nei primi capolavori eseguiti nel soggiorno inglese. La serie raggruppa fogli che evocano un itinerario che partendo dalla laguna, cioè da Marghera, passando per Mestre, risale il corso del Brenta fino a Padova, non solo inscenata nel cosmorama del Prà della Valle ma in una veduta che segna il passaggio tra la realtà dei luoghi e la fantasia del capriccio. Se il Portico con la lanterna, indubbiamente una delle prove più alte dell’arte incisoria del Canaletto, è una veduta di piena fantasia, l’acquaforte con la cosiddetta Casa del 1741, ricongiunta con la Casa del colonnato, è l’evocazione di una città, che se pur manca di precisi riferimenti topografici, è intrisa di atmosfera veneziana. Giovanni Antonio Canal detto Canaletto (Venezia 17 ottobre 1697 – Venezia 19 aprile 1768)) fu il più illustre protagonista del vedutismo veneziano del Settecento. Grazie a contatti con amatori e collezionisti inglesi in viaggio a Venezia o residenti nella città lagunare, Canaletto beneficia di grande notorietà in Inghilterra presso la più alta aristocrazia e perfino la famiglia reale. Attorno al 1730 suo agente esclusivo è un inglese, il console Joseph Smith: divenuto mercante di quadri, questi si adopera con abilità e tenacia per introdurre il suo protetto nel mercato britannico delle opere d’arte, il più florido al tempo. Titolare di una grande bottega e affiancato da innumerevoli assistenti, Canaletto è artista e abile imprenditore. Nelle opere del Canaletto la città lagunare era raffigurata con grande oggettività: le sue composizioni erano sempre rigorosamente studiate attraverso numerosi disegni preparatori, tratti direttamente dal vero. La “veduta” fu uno dei generi più caratteristici della pittura del Settecento. Si differenzia dal paesaggio (altro genere molto diffuso nel XVIII secolo) per la rappresentazione oggettiva di luoghi e architetture, realizzata attraverso una prospettiva ben studiata. Venezia fu il centro di maggior produzione di “vedute”, con alcune personalità di grande spicco. Al verso, timbro di collezione di James Henry Lockhart (Pittsburgh 1912-Rotonda West 2002) - Lugt 4387. Magnifica prova, impressa su carta vergata coeva, con margini, in ottimo stato di conservazione. Bibliografia Bromberg, n. 33 p. 169; Succi, I, p... Etching, 1740 circa, signed with monogram bottom centre: A. C. Second final state, with the signature added and other additions. From the series: Vedute alter prese da i Luoghi altri ideate - In the lower left foreground, the continuation of the boat and bridge partially seen on the etching The Waggon Passing over a Bridge. On the far bank of the river the monument, framed by a tree and foliage. In the distance beyond a hilly area, view of a town with towers, campanile, domes and a pyramid. Originally this print and The Waggon Passing over a Bridge formed a single plate that was cut perhaps because of a morsure defect occurred in the area of the tree above the small monument. For this reason, the right side of the plate was reduced in height by about 25 mm. There are no known impressions before the cutting of the copper, which was done by the artist himself, as shown by the affixing - in the second state - of the initials A.C. on the lower margin of the plate with The Little Monument. The work belongs to the Vedute altre prese da i luoghi altre ideate... series of etchings dedicated to the consul and friend Joseph Smith, whose execution goes from about 1740 to 1744. It is part of the artistic development of Canaletto not as a marginal parenthesis, but as an essential moment of some stylistic problems, which will find their full realization in the first masterpieces executed in his English stay. The series groups together sheets that evoke an itinerary that starting from the lagoon, that is from Marghera, passing through Mestre, goes up the course of the Brenta to Padua, not only staged in the cosmorama of Prà della Valle but in a view that marks the passage between the reality of places and the fantasy of caprice. If the Portico with the lantern, undoubtedly one of the highest proofs of Canaletto's engraving art, is a view of full fantasy, the etching with the so-called House of 1741, rejoined with the House of the colonnade, is the evocation of a city, which even though it lacks precise topographical references, is imbued with Venetian atmosphere. Giovanni Antonio Canal called Canaletto (Venice 17 October 1697 - Venice 19 April 1768)) was the most illustrious protagonist of the Venetian vedutismo of the eighteenth century. Thanks to his contacts with English amateurs and collectors travelling to Venice or living in the lagoon city, Canaletto enjoyed great notoriety in England among the highest aristocracy and even the royal family. Around 1730 his exclusive agent was an Englishman, the consul Joseph Smith: having become a picture dealer, he worked with skill and tenacity to introduce his protégé into the British market of works of art, the most flourishing at the time. Owner of a large workshop and flanked by countless assistants, Canaletto is an artist and a skilled entrepreneur. In Canaletto's works the lagoon city was depicted with great objectivity: his compositions were always rigorously studied through numerous preparatory drawings, taken directly from life. The "veduta" was one of the most characteristic genres of eighteenth-century painting. It differs from landscape (another genre widespread in the eighteenth century) for the objective representation of places and architecture, achieved through a well-studied perspective. Venice was the center of greater production of "views", with some very important personalities. On verso, collection mark of James Henry Lockhart (Pittsburgh 1912-Rotonda West 2002)- Lugt 4387. A fine impression, printed on contemporary laid paper, good condition. Bibliografia Bromberg, n. 33 p. 169; Succi, I, p. 278, n. 7.

Libreria Antiquarius · Italie2 500,00 €

De Son Nicolas (Reims, attivo 1625-1637)MareMagnum

La Cattedrale di Reims

1625Acquaforte, 1625, firmata in basso al centro N. Deson Rem. In. Sculp. Et ex. Magnifica prova, nel secondo stato di tre con l’imprint dell’artista; esiste un terzo stato con l'excudit di Edmé Moreau, che apparentemente acquistò la lastra dopo la morte dell'artista. Impressa su carta vergata coeva e rifilata al rame, piega di stampa nella parte inferiore sinistra, minime abrasioni al verso, per il resto in ottimo stato di conservazione. Rara acquaforte della facciata della cattedrale di Reims dell'artista locale Nicolas de Son (attivo dal 1625 al 37), che fece parte di una breve stagione della stampa autoctona nella provincia di Champagne dagli anni 1620 agli anni 1640 insieme ad artisti come Edmé Moreau, Jean Colin e Nicolas Regnesson. La grande stampa rappresenta la facciata ovest della cattedrale in grande dettaglio, mostrando non solo le composizioni più ampie dei principali programmi scultorei chiaramente delineati, ma anche diversi passaggi architettonici e scultorei secondari, come i doccioni dell'edificio e i trafori delle sue rinomate finestre in vetro dipinto. La tavola sembra aver seguito il successo dell'acquaforte di Moreau del 1623 dello stesso soggetto, ma l'ha superato per qualità tecnica e sfumature storiche ("Quella eseguita da Nicolas de Son è migliore"; "In questa stampa, Nicolas de Son dimostra la sua sorprendente comprensione dell'arte gotica, rara all'epoca" [Age of the Musketeers, p. 124]). De Son, le cui prime opere mostrano l'influenza di Jacques Callot (c. 1592-1635), dimostra molta della maestria tecnica del famoso incisore lorenese: egli contrappone gli attori di pietra della storia sacra raffigurata nell'architettura con i variegati abitanti della città del XVII secolo, minuziosamente resi, che interagiscono con la cattedrale medievale, una gamma di personaggi dai mendicanti al portale principale, ai negozianti nelle loro bancarelle, ai cittadini di classe superiore con i loro cavalli e carrozze. De Son rende magistralmente il paesaggio urbano mentre si allontana, mostrando i recinti del palazzo arcivescovile (il Palais du Tau) sulla destra e i tetti di paglia (uno riparato dagli operai) delle abitazioni sulla sinistra. Le prime incisioni in pendant di De Son, Cristo e la donna di Samaria e La cena di Emmaus, mostrano ancora una notevole aderenza a Callot, ma le sue scene di genere un po' più tardive (per esempio La fiera del villaggio) e il suo capolavoro, Suite di dodici paesaggi, dimostrano scelte di disegno più originali. La presente acquaforte e un'opera simile che raffigura la chiesa abbaziale di Saint Nicaise, ora distrutta, sono le uniche due opere datate dell'artista, entrambe del 1625. Poco è noto della vita di Nicolas de Son, che lavorò come disegnatore e incisore a Reims, a parte alcune incisioni firmate e un riferimento alla sua morte nel 1637. De Son produsse un piccolo corpus di incisioni di Callot, Vignon e Jan Lys, così come due vedute della Cattedrale di Reims di sua invenzione, entrambe datate 1625. Bibliografia S. Reed, French Prints from the Age of the Musketeers, p. 124-5, no. 55; LeBlanc 15; M. Sutaine, Nicolas de Son Graveur, Travaux de l’Académie Impériale de Reims, vol. 35, no. 4 (1862), pp. 122-9. Etching, 1625, signed at the bottom center N. Deson Rem. In. Sculp. Et ex. Magnificent proof, rich in tones, of the second state of three with the artist's imprint, printed on contemporary laid paper, trimmed to the copperplate, printing crease in the lower left corner, minimal abrasions on the verso, otherwise in excellent condition. Rare etching of the façade of Reims Cathedral by the local artist Nicolas de Son (active 1625-37), who was part of a brief flourishing of native printmaking in the province of Champagne from the 1620s through the 1640s along with such artists as Edmé Moreau, Jean Colin, and Nicolas Regnesson. The large print represents the cathedral’s west front in great detail, with not only the broader compositions of the major sculptural programs clearly delineated, but also several ancillary architectural and sculptural passages, such as the building’s gargoyle waterspouts and the tracery of its renowned painted glass windows. Le somptueux frontispiece seems to have followed upon the success of Moreau’s 1623 etching of the same subject, but surpassed it in technical quality and historical nuance (“The one executed by Nicolas de Son is better”; “In this print, Nicolas de Son demonstrates his astonishing understanding of gothic art, rare at the time” [Age of the Musketeers, p. 124]). De Son, whose early works show the influence of Jacques Callot (c. 1592-1635), demonstrates much of the technical mastery of the famous Lorraine etcher: He contrasts the stony actors of sacred history depicted in the architecture with the varied, minutely rendered inhabitants of the seventeenth-century town interacting with the medieval cathedral, a range of characters from beggars at the main portal, to shopkeepers in their stalls, to upper-class citizens with their horses and carriages. De Son masterfully renders the townscape as it recedes in the distance, showing the precincts of the archbishop’s palace (the Palais du Tau) at the right and the thatched roofs (one being repaired by workmen) of dwellings at the left. De Son’s early pendant etchings, Christ and the Woman of Samaria and The Supper of Emmaus, still show considerable adherence to Callot, but his somewhat later genre scenes (e.g. The Village Fair) and his masterpiece, Suite of Twelve Landscapes, demonstrate more original design choices. The present etching and a similar piece depicting the now destroyed abbey church of Saint Nicaise are the artist’s only two dated works, both 1625. This impression of Le somptueux frontispiece carries De Son’s signature and his excudit, indicating that it is from the print’s second state; a third state exists with the excudit of Edmé Moreau, who apparently acquired the plate after the artist’s death. Virtually nothing is known about the life of Nicolas de Son, who worked as a draughtsman and etcher in Reims, apart from a few signed etchings and a source reference to his death in 1637. De Son produced a small corpus of etchings after Callot, Vignon and Jan Lys as well as two views of the Cathedral of Reims after his own invention, both of which are dated 1625. Bibliografia S. Reed, French Prints from the Age of the Musketeers, p. 124-5, no. 55; LeBlanc 15; M. Sutaine, Nicolas de Son Graveur, Travaux de l’Académie Impériale de Reims, vol. 35, no. 4 (1862), pp. 122-9.

Libreria Antiquarius · Italie2 500,00 €

PETTIT, Walter William; (Fredonia Normal School)Biblio.com

Two Student Notebooks of Walter Pettit an Internationally Acclaimed Social Worker and Dean of the Columbia School of Social Work containing his Essay on Lynching and Boyhood Account of an 1898 Trip from Sitka Alaska to Dawson City

1890réf. 460264Fredonia New York 1890. Hardcover. Good. Two notebooks with printed title: Normal Rhetorical Exercise Correction Book. Fredonia N.Y.: F.C. Chatsey Publisher Copyright 1886. Small quartos. Bound in quarter cloth and marbled paper over boards. Covers are rubbed and worn one front cover has some staining good overall. Both notebooks contain several book reports and essays on special topics written by Walter Pettit when he was a teenage student at the Fredonia Normal School. Both notebooks date from the late 1890s. In addition to reports on The House of the Seven Gables Gulliver’s Travels The Merchant of Venice Oliver Twist and other books; the notebooks include both fictional essays such as “My Flying Machine” and “A Trip to the North Pole” and personal essays on special topics. Here for example is an excerpt from an essay titled: “Should Lynching be Suppressed”: “One of the greatest evils in existence is lynching. That it should be abolished is evident. Many innocent people have met their death by this means and it still is in existence in the Southern States. Perhaps some person … suspected of a crime is imprisoned. A crowd collects and is excited by somebody over the crime … the jailor gives up the suspected criminal to the mob who immediately carry the poor man to the nearest tree … This incident is kept from the newspapers and the suspected criminal dies unmourned unknown. With hanging by authorities … the criminal has a chance for his life; he may plead his case before unprejudiced men. His death is not embittered by the taunts of an unfeeling multitude of men women and children many of whom are as bad as the criminal. The wretches who are the leaders in such a mob are far worse than the victim â€¦” Also included is a travelogue from Sitka Alaska to Dawson City then at the height of the gold rush written in the form of a letter: “Feb. 18 1898: Dawson City Canada / Dear Friend … We started from San Francisco … arrived at Sitka … the town consists of a number of Indian huts a few Russian and American residences … we accompanied an excursion party to the Yukon. This river is one of the largest in the world … upon its banks are a few Indian villages … and here and there ‘Totem poles’. These totem poles … are made of wood grotesquely carved with figures of men beasts and birds. Upon them are kept the records of the Indian’s ancestors. These Indians are a half civilized sneaking dirty race short in stature with small eyes. They act as guides around the settlements … While at Sitka we bought a large stock of groceries … We carried these with us when we went to Dawson. Our party consisted of ten Indians my partner and I. Our journey took three weeks … we reached this city in October and immediately rented the only vacant building in town … I wish you where here to wait on some of our customers. They bring in a bag of gold dust and we weigh out enough to pay for the groceries they buy. This city is in the midst of the gold fields. It is composed principally of saloons dancing halls theaters and gambling houses. The miners sleep in tents … we have rows nearly every night and thieves are as thick as mosquitos â€¦” A graduate of the Class of 1901 Pettit had quickly shed such early external prejudices against indigenous peoples and gold miners. He taught high school in the Philippines 1901-09 attended Teacher’s College at Columbia and served as a U.S. Government Special Relief Assistant in Russia during World War I. As Director of the New York School of Social Work Pettit won international acclaim for his work on the “interdependence of peoples and the strengthening of international relations”. A compelling pair of notebooks that sheds light on Pettit’s early education in upstate New York. American Sociological Review December 1961 pp. 959-60. hardcover

Between the Covers- Rare Books, Inc. ABAA · États-Unis2 800,00 $US≈ 2 496,66 €

American Board of Commissioners for Foreign Missions (Agents Appointed to Establish a School for Heathen Youth)Biblio.com

A Narrative of Five Youth from the Sandwich Islands Now Receiving an Education in this Country

1816réf. 271New York: J. Seymour American Board of Commissioners for Foreign Missions Agents Appointed to Establish a School for Heathen Youth 1816. first edition. modern 1/4 niger morocco. Good. Inspiration for the First Mission to Hawaii. Rare in commerce most copies have been acquired by American institutions. Few copies have come to documented auction in the past 100 years. Of those made available about half are decommissioned library copies including a copy that sold for over $15000 at a 2006 Sotheby's auction. Condition: Very Good IMPORTANCE & BACKGROUND A biographical account of the lives of five Hawaiian youths who would come to form a core of initial students enrolled at the new Foreign Mission School established at Cornwall Connecticut in 1816. The vivid accounts of Captain Cook's and others explorers' voyages to the Sandwich Islands Hawaii and other Pacific islands generated interest in the U.S. to properly educative Hawaiians in both academic and Christian teachings. The school formed under the direction of the American Board of Commissioners for Foreign Missions ABCFM would serve to educate foreign students in preparation for missionary work in their native lands and elsewhere. A Narrative of Five Youth from the Sandwich Islands was the first of many publications intended to raise funds and stir up popular support for the new school as well as for the first Christian mission sent to the Hawaiian Islands three years later. The publications were a great success leading to the significant funding and public support critical to early efforts to fold Hawaii within the cultural and commercial influence of the United States. BOOK INFO Published in 1816 in New York by J. Seymour under the direction of ".agents appointed to establish a school for heathen youth" e.g. American Board of Commissioners for Foreign Missions. First edition first printing. Bound in modern 1/4 green niger morocco with gilt spine lettering over finely woven green cloth backed boards. Refreshed endpapers. Thin Octavo 8 1/2" x 5 1/8". Collated and complete: 3 4-44 p. ABOUT THE WORK & HISTORICAL CONTEXT By the early 1800s Hawaii had become a key aspect of America's growing trade with China. It was a critical resupply port for American ships on the trade route to China and a lucrative source for sandalwood. American merchants saw commercial possibilities that could be expanded. Protestant missionaries saw heathens in need of salvation via Christian conversion. This is a biographical account of and strong bit of fundraising propaganda on how five Hawaiian youths were saved from their heathen ways and savage pasts through a civilized education and Christian conversion. While the backgrounds of the youth vary - one was the son of a chief and another the survivor of brutal inter-tribal warfare for example-- the stories of these five youths share a number of common elements. All had spent time as sailors on American trade ships. Three had served at sea in the War of 1812. Most had experienced periods of extreme hardship after reaching New England. All found sponsors teachers and spiritual guides who helped them on their path to converting to Protestantism. CONDITION INFO The book is Good to Very Good by early 19th century American imprint standards. Binding is tight. Leather is supple. Areas of dust and light soiling to cloth. Lightly toned pages overall with light foxing. Some abrasion to paper along gutter margins of first few pages. Browning to first and last page with some brittleness and chipping. The paper used by the printer was quite thin so the text block background is darkened a bit by opposing page text on the same leaf as in all copies. No writing ex libris marks or library markings. Slight loosening at the head of the first few leaves where binding cords are exposed. A few smudges marginal paper nicks and other signs of light handling. . J. Seymour, American Board of Commissioners for Foreign Missions (Agents Appointed to Establish a School for Heathen Youth)

Ironwolf Rare Books · États-Unis2 750,00 $US≈ 2 452,07 €

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