Results for: American Culture
BEACON HILL: A Local Poem, Historic and Descriptive. Book I
M[orton], S[arah Wentworth].
Boston: Printed by Manning & Loring for the Author, 1797.
Price: $5,500.00
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M[orton], S[arah Wentworth].
Boston: Printed by Manning & Loring for the Author, 1797.
Price: $5,500.00
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Susan B. Anthony Sterling Silver Souvenir Citrus Spoon
[Suffrage Ephemera] [Anthony, Susan].
[Melrose Highlands, Massachusetts: Shepard Manufacturing Company, ca. 1893].
Price: $2,500.00
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[Suffrage Ephemera] [Anthony, Susan].
[Melrose Highlands, Massachusetts: Shepard Manufacturing Company, ca. 1893].
Price: $2,500.00
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![Only edition. Trade catalog: 9-1/4 x 6-1/4", [12]pp; light brown wrappers (stapled) illustrated with three pieces of Paul Revere Ware’ the logo of the Paul Revere Pottery at the rear cover. Illustrated with photographs of the Nottingham Hill studio; an artist painting a large vase; and the studio's offerings. Touch of dampstaining to upper front cover and first leaf; pencil note at second page of price list. Generally very good. The catalog prints brief profile of the Paul Revere Pottery; photographs of its offerings; and, a complete price list. The Saturday Evening Girls and the Paul Revere Pottery (1908-1942) arose out of the confluence of the Arts and Crafts Movement with the women's movement and the progressive spirit of the early 1900s. Founders and artists Edith Brown and Edith Guerrier had the full support of Boston philanthropist Helen Storrow in this experiment to provide a vocation for talented young women and convey the aesthetics of the Arts and Crafts movement in pottery. The Saturday Evening Girls and the Paul Revere Pottery became especially known for their engaging children's ware painted with geese, baby chicks and bunnies and often individualized with children’s names or initials. The Pottery produced lamps, flower vases, bowls, candlesticks, tea caddies, trays, desk sets, pitchers, etc. The pottery invoked a simple elegance in the shape of its ware and often relied on its glazes solely for decoration. The catalog notes: "The motto chosen for the ware on the first little circular is still and always will be the message the potters hope each piece will be worthy to carry - We derive all the value in us from the fact that our makers wrought at us with zeal, with integrity, with fail to do nobly an honest thing". From its inception, the studio attracted an appreciative clientele and wide interest among contemporaries for its mission and its wares. While the studio ceased operation during World War II, its pottery has continue to rise in the collectible market and its influence continues to be assessed by scholars. OCLC records no holding, and only four locations of a 1915 catalog and two locations of a slightly smaller, undated, catalog. Not in McKinstry or Romaine. See: Gadsden, Nonie, ART & REFORM: Sara Galner, The Saturday Evening Girls, and The Paul Revere Pottery (2006, published in connection with the exhibit at the Museum of Fine Arts, Boston); and Chalmer, Meg and Judy L. Young, THE SATURDAY EVENING GIRLS; PAUL REVERE POTTERY (2005).](/wharton/images/items/120x300/15116.jpg "Only edition. Trade catalog: 9-1/4 x 6-1/4\", [12]pp; light brown wrappers (stapled) illustrated with three pieces of Paul Revere Ware’ the logo of the Paul Revere Pottery at the rear cover. Illustrated with photographs of the Nottingham Hill studio; an artist painting a large vase; and the studio's offerings. Touch of dampstaining to upper front cover and first leaf; pencil note at second page of price list. Generally very good. The catalog prints brief profile of the Paul Revere Pottery; photographs of its offerings; and, a complete price list. The Saturday Evening Girls and the Paul Revere Pottery (1908-1942) arose out of the confluence of the Arts and Crafts Movement with the women's movement and the progressive spirit of the early 1900s. Founders and artists Edith Brown and Edith Guerrier had the full support of Boston philanthropist Helen Storrow in this experiment to provide a vocation for talented young women and convey the aesthetics of the Arts and Crafts movement in pottery. The Saturday Evening Girls and the Paul Revere Pottery became especially known for their engaging children's ware painted with geese, baby chicks and bunnies and often individualized with children’s names or initials. The Pottery produced lamps, flower vases, bowls, candlesticks, tea caddies, trays, desk sets, pitchers, etc. The pottery invoked a simple elegance in the shape of its ware and often relied on its glazes solely for decoration. The catalog notes: \"The motto chosen for the ware on the first little circular is still and always will be the message the potters hope each piece will be worthy to carry - We derive all the value in us from the fact that our makers wrought at us with zeal, with integrity, with fail to do nobly an honest thing\". From its inception, the studio attracted an appreciative clientele and wide interest among contemporaries for its mission and its wares. While the studio ceased operation during World War II, its pottery has continue to rise in the collectible market and its influence continues to be assessed by scholars. OCLC records no holding, and only four locations of a 1915 catalog and two locations of a slightly smaller, undated, catalog. Not in McKinstry or Romaine. See: Gadsden, Nonie, ART & REFORM: Sara Galner, The Saturday Evening Girls, and The Paul Revere Pottery (2006, published in connection with the exhibit at the Museum of Fine Arts, Boston); and Chalmer, Meg and Judy L. Young, THE SATURDAY EVENING GIRLS; PAUL REVERE POTTERY (2005).")
[Saturday Evening Girls],
Brighton, Massachusetts: Paul Revere, [ca. 1921].
Price: $750.00
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![First edition. State A - no priority established - of the cover sheet with the statement "Price, 25 cents net" set 1-3/4" and with the imprint of Boston and Cleveland publishers; and State B of page [1] - no priority established - with the word "author" spelled correctly and copyright notice at foot "...Court of the /District of...". Off-white printed sheets, 10-5/8" (wide) x 14-1/8" (long), with vignette of Little Eva and Uncle Tom signed Baker-Smith at the front cover. Discreet institutional stamp at rear (left lower corner) and number stamp in blue also at rear (right lower corner). Archival tape reinforces spine and neat page numbers (from prior bound volume) at upper right. Covers show mild age-toning and surface soiling. Generally an attractive copy. About very good. John Jewett had published UNCLE TOM’S CABIN with a ten percent royalty payable to Mrs. Stowe, Harriet and her sister Catherine having declined his offer to split cost and profit equally. The stunning success of the book convinced them they had made the wrong decision; Catherine, in fact, was furious, sure that the canny publisher had taken advantage of their naïveté. Jewett had pledged, however, to promote the book assiduously and "spare no pains nor expense nor effort to push the book into an unparalleled circulation". Joan Hedrick in her very fine biography of Harriet Beecher Stowe explains "the cultural elaborations of this publishing event are owing to his efforts". UNCLE TOM'S CABIN, as a contemporary observer, commented was into theaters, and "will enter largely into exhibitions of paintings and statuary. It will have its music". Jewett ensured the book would have its music by commissioning John Greenleaf Whittier for $50.00 to write a poem about Little Eva "and getting someone else to set the words to music". The poem first appeared in the newspaper THE INDEPENDENT and was circulated from hand to hand. One Beecher wrote of his verses, "They are beautiful but you should hear Charles [Beecher] sing them, in his clear, rich voice, to know their full power". The publication of UNCLE TOM’S CABIN, in many ways, was the critical event of 19th century America. For decades politicians had sought by compromise to defang the issue of slavery, while its poisons continued to seep through American society. The effect of UNCLE TOM'S CABIN was to take the issue of slavery away from the politicians and a small radical band of abolitionists into the popular culture. The novel inundated America, sweeping away whatever appearance of right or propriety had been claimed by proponents of slavery for a system which enchained and degraded an entire race. This sheet music, like the plays and prints and other items which arose in the wake of the novel, suggest the massive impact of UNCLE TOM'S CABIN and how it pushed the young nation to confront an issue it had sought to evade since its inception. It is one of the most resonant artifacts of America's political and literary past. BAL 21776, PICTURED. Blanck pictures page 1 of the sheet music on p. 130 (Volume VI).](/wharton/images/items/120x300/15248.jpg "First edition. State A - no priority established - of the cover sheet with the statement \"Price, 25 cents net\" set 1-3/4\" and with the imprint of Boston and Cleveland publishers; and State B of page [1] - no priority established - with the word \"author\" spelled correctly and copyright notice at foot \"...Court of the /District of...\". Off-white printed sheets, 10-5/8\" (wide) x 14-1/8\" (long), with vignette of Little Eva and Uncle Tom signed Baker-Smith at the front cover. Discreet institutional stamp at rear (left lower corner) and number stamp in blue also at rear (right lower corner). Archival tape reinforces spine and neat page numbers (from prior bound volume) at upper right. Covers show mild age-toning and surface soiling. Generally an attractive copy. About very good. John Jewett had published UNCLE TOM’S CABIN with a ten percent royalty payable to Mrs. Stowe, Harriet and her sister Catherine having declined his offer to split cost and profit equally. The stunning success of the book convinced them they had made the wrong decision; Catherine, in fact, was furious, sure that the canny publisher had taken advantage of their naïveté. Jewett had pledged, however, to promote the book assiduously and \"spare no pains nor expense nor effort to push the book into an unparalleled circulation\". Joan Hedrick in her very fine biography of Harriet Beecher Stowe explains \"the cultural elaborations of this publishing event are owing to his efforts\". UNCLE TOM'S CABIN, as a contemporary observer, commented was into theaters, and \"will enter largely into exhibitions of paintings and statuary. It will have its music\". Jewett ensured the book would have its music by commissioning John Greenleaf Whittier for $50.00 to write a poem about Little Eva \"and getting someone else to set the words to music\". The poem first appeared in the newspaper THE INDEPENDENT and was circulated from hand to hand. One Beecher wrote of his verses, \"They are beautiful but you should hear Charles [Beecher] sing them, in his clear, rich voice, to know their full power\". The publication of UNCLE TOM’S CABIN, in many ways, was the critical event of 19th century America. For decades politicians had sought by compromise to defang the issue of slavery, while its poisons continued to seep through American society. The effect of UNCLE TOM'S CABIN was to take the issue of slavery away from the politicians and a small radical band of abolitionists into the popular culture. The novel inundated America, sweeping away whatever appearance of right or propriety had been claimed by proponents of slavery for a system which enchained and degraded an entire race. This sheet music, like the plays and prints and other items which arose in the wake of the novel, suggest the massive impact of UNCLE TOM'S CABIN and how it pushed the young nation to confront an issue it had sought to evade since its inception. It is one of the most resonant artifacts of America's political and literary past. BAL 21776, PICTURED. Blanck pictures page 1 of the sheet music on p. 130 (Volume VI).")
[Stowe, Harriet Beecher] Whittier, John G[reenleaf].
Boston: John P. Jewett & Company. New York: Newman & Ivison, 1852.
Price: $750.00
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Souvenir Spoon: "Uncle Tom's Cabin"
[Stowe,, Harriet Beecher].
[Wallingford, Connecticut: The Watrous Mfg. Co., ND, but ca. 1896].
Price: $500.00
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[Stowe,, Harriet Beecher].
[Wallingford, Connecticut: The Watrous Mfg. Co., ND, but ca. 1896].
Price: $500.00
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![Only edition. Pamphlet: 5-1/4 x 3-7/8", [12]pp; black wrappers (stapled) with silver lettering and decorations; halftone photographic portrait of the writer at the last page, with facsimile signature. Very good. An account of an aged couple who lose their home, despite having worked all of their lives. At the story's end appears a letter from [Bishop] Frances McConnell as President of the American Association for Old Age Security. He writes the enactment of a state "Old Age Security Law" could prevent stories such as that of Martin and Bertha. Obviously written prior to the passage of the Social Security Act, LIGHTS OUT is a sentimental, but effective argument for enabling those earnings have provided them a meager living to grow old in the comfort and dignity of their home. Jane Addams, who served as a vice president of the Association and was a good friend of Zona Gale, wrote an endorsement of the piece. The writer's first stories featured two elderly lovers, suggesting her empathy for the elderly throughout her life. It was after she met Senator Robert M. La Follette in 1913, however, that she became an activist in a variety of causes: the American Civic Association, the Women's Trade Union League, the General Federation of Women's Clubs, the Wisconsin Peace Society and the Wisconsin Woman Suffrage Association. As Walter Rideout summarized in his profile of the writer in NOTABLE AMERICAN WOMEN, "A conscientious author, she was equally a conscientious citizen of her nation and her state, both in her devotion to idealistic causes and in her willingness to assume public responsibilities". LIGHTS OUT is an excellent and unusual example of these qualities.](/wharton/images/items/120x300/14833.jpg "Only edition. Pamphlet: 5-1/4 x 3-7/8\", [12]pp; black wrappers (stapled) with silver lettering and decorations; halftone photographic portrait of the writer at the last page, with facsimile signature. Very good. An account of an aged couple who lose their home, despite having worked all of their lives. At the story's end appears a letter from [Bishop] Frances McConnell as President of the American Association for Old Age Security. He writes the enactment of a state \"Old Age Security Law\" could prevent stories such as that of Martin and Bertha. Obviously written prior to the passage of the Social Security Act, LIGHTS OUT is a sentimental, but effective argument for enabling those earnings have provided them a meager living to grow old in the comfort and dignity of their home. Jane Addams, who served as a vice president of the Association and was a good friend of Zona Gale, wrote an endorsement of the piece. The writer's first stories featured two elderly lovers, suggesting her empathy for the elderly throughout her life. It was after she met Senator Robert M. La Follette in 1913, however, that she became an activist in a variety of causes: the American Civic Association, the Women's Trade Union League, the General Federation of Women's Clubs, the Wisconsin Peace Society and the Wisconsin Woman Suffrage Association. As Walter Rideout summarized in his profile of the writer in NOTABLE AMERICAN WOMEN, \"A conscientious author, she was equally a conscientious citizen of her nation and her state, both in her devotion to idealistic causes and in her willingness to assume public responsibilities\". LIGHTS OUT is an excellent and unusual example of these qualities.")
Gale, Zona [and American Association for Social Security].
[New York City: American Association for Old Age Security, ca. 1927-1933?].
Price: $450.00
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MOONLIGHT SCHOOLS
Stewart, Cora Wilson.
New York: E. P. Dutton & Company, (1922).
Price: $350.00
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Stewart, Cora Wilson.
New York: E. P. Dutton & Company, (1922).
Price: $350.00
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THE BEHAVIOUR BOOK: A Manual for Ladies
Leslie, Miss [Eliza].
Philadelphia: Willis P. Hazard, 178 Chestnut Street, 1853.
Price: $275.00
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Leslie, Miss [Eliza].
Philadelphia: Willis P. Hazard, 178 Chestnut Street, 1853.
Price: $275.00
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![First edition. 16mo, v, 333pp; smooth dark green cloth stamped in gilt front and spine; beveled edges; light brown floral endpapers. T.e.g. Title page printed in red and black. Tips a trifle bumped and frayed. Near fine. Third in a series entitled "The Literary Life". In his Preface, the editor writes "These are not biographies..., but a series of sketches, anecdotes, and personal reminiscences relating to the more modern authors — that is authors who are now living, or who have died very recently and whose work belongs to the present half of the century". Represented are Thomas Carlyle, George Eliot, John Ruskin, John Henry Newman, Alfred Tennyson, Ralph Waldo Emerson, William Cullen Bryant, Longfellow and Whittier, Lowell and Holmes, Nathaniel Hawthorne, Walt Whitman, Bayard Taylor, Swinburne and Oscar Wilde, the Brownings, Charles Dickens, William Makepeace Thackeracy, and "Some Younger Writers" (William Morris, Matthew Arnold, Owen Meredith and Jean Ingelow). The editor drew upon a variety of magazine articles, his own interviews with various authors and reminiscences of others. Margaret Fuller, for instance, describes meeting Thomas Carlyle, a report originally printed by THE NEW YORK HERALD TRIBUNE and published in AT HOME AND ABROAD. Louisa May Alcott reports her introduction to Jean Ingelow, an account which THE QUEEN, an English periodical first published (this, the first book publication). The suggestion that Alcott a mushy sentimentalist evaporates when she writes of Ingelow: "[she] was plain, rather stout, hair touched with gray, [with] shy yet cordial manners, and a clear, straightforward glance, which I liked so much that I forgave her on the spot for writing those dull stories". A handsome copy. BAL 200. The publisher issued at least two subsequent printings of PEN PICTURES.](/wharton/images/items/120x300/14704.jpg "First edition. 16mo, v, 333pp; smooth dark green cloth stamped in gilt front and spine; beveled edges; light brown floral endpapers. T.e.g. Title page printed in red and black. Tips a trifle bumped and frayed. Near fine. Third in a series entitled \"The Literary Life\". In his Preface, the editor writes \"These are not biographies..., but a series of sketches, anecdotes, and personal reminiscences relating to the more modern authors — that is authors who are now living, or who have died very recently and whose work belongs to the present half of the century\". Represented are Thomas Carlyle, George Eliot, John Ruskin, John Henry Newman, Alfred Tennyson, Ralph Waldo Emerson, William Cullen Bryant, Longfellow and Whittier, Lowell and Holmes, Nathaniel Hawthorne, Walt Whitman, Bayard Taylor, Swinburne and Oscar Wilde, the Brownings, Charles Dickens, William Makepeace Thackeracy, and \"Some Younger Writers\" (William Morris, Matthew Arnold, Owen Meredith and Jean Ingelow). The editor drew upon a variety of magazine articles, his own interviews with various authors and reminiscences of others. Margaret Fuller, for instance, describes meeting Thomas Carlyle, a report originally printed by THE NEW YORK HERALD TRIBUNE and published in AT HOME AND ABROAD. Louisa May Alcott reports her introduction to Jean Ingelow, an account which THE QUEEN, an English periodical first published (this, the first book publication). The suggestion that Alcott a mushy sentimentalist evaporates when she writes of Ingelow: \"[she] was plain, rather stout, hair touched with gray, [with] shy yet cordial manners, and a clear, straightforward glance, which I liked so much that I forgave her on the spot for writing those dull stories\". A handsome copy. BAL 200. The publisher issued at least two subsequent printings of PEN PICTURES.")
(Alcott, Louisa May) [Walsh] Shepard, William (ed).
New York: G.P. Putnam, 1882.
Price: $250.00
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Sheet Music: A SONG OF LOVE (Chanson d'Amour)" (Words by Victor Hugo)
[Sheet Music] Beach, Mrs. H.H.A. [Amy Marcy Cheney Beach].
Boston: Arthur P. Schmidt, [ca. 1893].
Price: $250.00
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[Sheet Music] Beach, Mrs. H.H.A. [Amy Marcy Cheney Beach].
Boston: Arthur P. Schmidt, [ca. 1893].
Price: $250.00
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[Women & Politics], Republican National Committee.
Washington, D.C.: Republican National Committee, [ND, but ca. 1932].
Price: $200.00
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[Feminism], S[an] F[rancisco] NOW.
[San Francisco, CA: S.F. NOW, c. 1981].
Price: $150.00
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[Jewett, Sarah Orne].
Philadelphia: Curtis Publishing Co., [1891].
Price: $150.00
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Meyerowitz, Joel.
(New York): TIMES BOOKS, published in association with Floyd A. Yearout, (1985).
Price: $150.00
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WOMAN'S WORK IN MUNICIPALITIES National Municipal League Series
Beard, Mary Ritter.
New York and London: D. Appleton and Company, 1915.
Price: $125.00
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Beard, Mary Ritter.
New York and London: D. Appleton and Company, 1915.
Price: $125.00
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[Nat Turner] Higginson, T.W.
Boston: Ticknor and Fields, 1861.
Price: $100.00
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Rayne, Mrs. M[artha] L[ouise].
Detroit, Mich. Cincinnati, O. St. Louis, Mo.: F.B. Dickerson & Co., 1885.
Price: $100.00
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Armstrong, Sara Garden.
New York: Willis, Locker & Owens, (1990).
Price: $95.00
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[Political Cookbooks],
[Barrington, Ill]: The Brownstone Press, Inc., (1969).
Price: $95.00
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Chicago, Judy with Susan Hill.
Garden City, New York: Anchor Books, 1980.
Price: $75.00
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