New York Views and other Fine American Prints: Further selections from the collection of Robert Fridenberg, Dean of American printsellers; October 8th, 1943; Sale Number 122
Kende Galleries of Gimbel Brothers, New York, 1943, Wraps, , , Good
27 pp. 127 lots. P.O. signature, coffee ring on wraps. Many lots with sale price recorded in pencil. Twelve reproductions in balck and white: New York from Governor's Island, 1850; Astor House, Park Hotel, on Broadway, Barclay & Vesey Sts., 1834; Crystal Palace Fire, October 5th, 1858; New York Fire of 1835, view from top of Bank of America, corner of Wall and Wm. st.; New York Fire of 1835, view of ruins from Exchange Place; First Division, State Artillery, 1844; Jefferson Guards, State Artillery, 1843; Manhattan College, Melrose and surroundings, Westchester, 1868; Merchants signals with a view of Governor's Island; Washington crossed here, probably intended for tavern sign; General Fraser, 1794. Most pictures are about 3'' X 4''.
The Society for the History of Authorship, Reading and Publishing was founded to create a global network for book historians working in a broad range of scholarly disciplines. Research addresses the composition, mediation, reception, survival, and transformation of written communication in material forms from marks on stone to new media. Perspectives range from the individual reader to the transnational communication network. With more than a thousand members in over forty countries, SHARP works in concert with affiliated academic organizations around the world to support the study of book history in all its forms.
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Collection Summary Creator: Schoolcraft, Henry Rowe, 1793-1864 Title: Papers of Henry Rowe Schoolcraft 1788-1941 (bulk 1820-1856) Size: 25,000 items; 90 containers plus 1 oversize; 28 linear feet; 69 microfilm reels Repository: Manuscript Division, Library of Congress Abstract: Author, ethnologist, explorer, geologist, glass manufacturer, and Indian agent. Correspondence, journals, articles, books, manuscripts of magazines, poetry, speeches, government reports, Indian vocabularies, maps, drawings, and other papers reflecting Schoolcraft's career as a glass manufacturer, mineralogist on an exploring expedition in the Ozark Mountains, geologist on the Cass expedition to the Northwest Territory, leader of expeditions throughout the Great Lakes region, member of Michigan's legislative council, Indian agent, superintendent of Indian affairs for Michigan, ethnologist, and author of works concerning the Iroquois of New York state and other Indians of North America.
The Lucile project is an attempt to recover the publishing history of a single 19th century book. Owen Meredith's Lucile was first published in 1860, by Chapman & Hall in England and as a Ticknor & Fields "Blue & Gold" in the United States. It was reviewed in the New York Times, as well as other newspapers and magazines. In England, it saw only a handful of editions over the next 40 years. In the United States, however, it remained in print until 1938, last offered as a surviving title in Burt's Home Library remaindered to Blue Ribbon Books in 1936. It went out of print in 1938.
THIS EXHIBITION presents Renaissance editions of Dante's Divine Comedy from the John A. Zahm, C.S.C., Dante Collection at the University of Notre Dame, together with selected treasures from The Newberry Library. The Zahm collection ranks among the top Dante collections in North America. Purchased for the most part by Zahm in 1902 from the Italian Dantophile Giulio Acquaticci, the 15th- and 16th- century imprints presented here form the heart of Zahm's collection, which totals nearly 3,000 volumes, including rare editions and critical studies from the Renaissance to the present. The nine incunable editions and nearly complete series of 16th-century imprints featured in this exhibit constitute essential primary sources for both the history of Dante's reception during the Renaissance and the early history of the printed book.
News for nerds.
Freneau, Philip Morin, 1752-1832 Poems Relating to the American Revolution Philip Freneau with an introductory memoir and notes by Evert A. Duyckinck W.J. Widdleton New York 1865
"Woman, the New Factor in Economics." by Rev. Augusta Cooper Bristol. from The Congress of Women: Held in the Woman's Building, World's Columbian Exposition, Chicago, U. S. A., 1893.. Chicago, ILL: Monarch Book Company, 1894. pp. pp. 80-86. at The Celebration of Women Writers, University of Pennsylvania Digital Library
"Rev. Augusta Cooper Bristol is a native of New Hampshire. She was born April 17,1835. Her parents were Otis Cooper and Hannah (Powers) Cooper. In 1866 she married Louis Bristol, a lawyer of Connecticut. She is a woman of big brain, well stored with valuable information, and one of the most graceful and profound writers and speakers of the present day. Her principal literary works are a volume of poems and various published lectures, some of which have been translated into French. She is a member of no special church at present, but in faith is Unitarian, and not infrequently speaks from the pulpit. Her postoffice address is Vineland, N. Y." Augusta Bristol [1835-1910]
"Considered the most important work of literary history and criticism ever published, the Cambridge History contains over 303 chapters and 11,000 pages, with essay topics ranging from poetry, fiction, drama and essays to history, theology and political writing. The set encompasses a wide selection of writing on orators, humorists, poets, newspaper columnists, religious leaders, economists, Native Americans, song writers, and even non-English writing, such as Yiddish and Creole."
"NYU Bobst Library, NYU Institute of Fine Arts, NYU Courant Institute of Mathematical Sciences, NYU Real Estate Institute, The New-York Historical Society, New York School of Interior Design, Cooper Union, New School University, Parsons School of Design, Mannes College of Music."
The New York Public Library has been an essential provider of free books, information, ideas, and education for all New Yorkers for more than 100 years. Founded in 1895, NYPL is the nation’s largest public library system, featuring a unique combination of 88 neighborhood branches and four scholarly research centers, bringing together an extraordinary richness of resources and opportunities available to all.
The EServer (founded in 1990 at Carnegie Mellon as the English Server), attempts to provide an alternative niche for quality work, particularly writings in the arts and humanities. Now based at Iowa State University, we offer fifty collections on such diverse topics as art, architecture, race, Internet studies, sexuality, drama, design, multimedia, and current social issues. In addition to short and longer written works, we publish hypertext and streaming audio and video recordings. Our collections grow as increased membership has new works to publish with us, and as we teach new members how to publish works to the Web and to the more than two million readers who visit our site per month. According to Alexa, this makes us the most popular arts and humanities website in the world.
An excellent report by Maureen Mulvihill of the auction of rare books and manuscripts from the estate of Paula Peyraud
The Paula Peyraud Collection: Samuel Johnson & Women Writers in Georgian Society. An Auction Report by Maureen E. Mulvihill as published in Eighteenth-Century Studies, Fall 2009, with 8 images and a list of selected buyers, prices & new locations of the Peyraud properties.
A pdf of the published report may be downloaded here: http://www.ilab.org/download.php?object=documentation&id=81
‘DARK LADY’ OF RARE BOOK COLLECTORS, PAULA FENTRESS PEYRAUD (CHAPPAQUA, NY, 1947 ~ 2008). Peyraud Collection Auction, May 2009, Bloomsbury Auctions N.Y. 483 Lots (books, manuscripts, images). Sales total: $1.6 million, including premium. Photograph, Margie Van Dyke. Bookplate from Peyraud copy of Frances Burney’s Cecilia, (lot 218, buyer McGill University). Bookplate bears inscribed initials (“FCP - EKP”), being the collector’s grandparents Frank C. Peyraud & Elizabeth Krysler Peyraud, both visual artists (see “Peyraud,” Benezit, vol. 10, 2006 edition).
from A Time of Gifts
No janitor was about. A young Benedictine, finding me loitering in the gatehouse, took me in tow, and as we crossed the first great courtyard, I knew I was in luck. He spoke beautiful French; he was learned and amusing and the ideal cicerone for all that lay ahead.Partick Leigh Fermor
Afterwards, it was in confused musical terms that the stages of our progress strung themselves together in my memory. This is how they resound there still. Overtures and preludes followed each other as courtyard opened on courtyard. Ascending staircases unfolded as vaingloriously as pavanes. Cloisters developed with the complexity of double, triple, and quadruple fugues. The suites of state apartments concatenated with the variety, the mood and décor of symphonic movements. Among the receding infinity of gold bindings in the library, the polished reflections, the galleries and the terrestrial and celestial globes gleaming in the radiance of their flared embrasures, music, again, seemed to intervene. A magnificent and measured polyphony crept in one’s ears. It was accompanied by woodwinds at first, then, at shortening intervals, by violins and violas and ’cellos and then double basses while a sudden scroll-work of flutes unfurled in mid-air; to be joined at last by a muted fanfare from the ceiling, until everything vibrated with a controlled and pervading splendour. Beyond it, in the church, a dome crowned the void. Light spread in the painted hollows and joined the indirect glow from the ovals and the lunettes and the windows of the rotunda. Galleries and scalloped baldachinos and tiered cornices rose to meet it; and the soft light, falling on the fluted pilasters and circles of gold spokes, and on the obelisks wreathed with their sculpted clouds, suffused the honeycomb side-chapels and then united in a still and universal radiance. Music might just have fallen silent; unless it were about to begin. In the imagination, instruments assembled—unseen cymbals just ajar that would collide with a resonance no more strident than a whisper; drums an inch below their padded sticks with palms ready to muffle them; oboes slanting, their reeds mute for a moment more; brass and woodwind waiting; fingers stretched motionless across wires of a harp and fifty invisible bows poised in the air above fifty invisible sets of strings.