Results for: American Culture
[Bookplates] Stone, Wilbur Macey.
Boston: Alfred Bartlett, September, 1901.
Price: $35.00
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[Nat Turner] Higginson, T.W.
Boston: Ticknor and Fields, 1861.
Price: $100.00
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[O'Neill, Eugene] McCabe, Jennifer.
[Pittsburgh]: University of Pittsburgh Press, 1974.
Price: $30.00
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![First edition. 12mo (7-3/8 x 5"), iv, 107pp; + publisher's catalogue; brick cloth stamped in black at front cover and in blind at rear. Printed endpapers, with publisher offerings. Touch of wear to tips and ends; occasional pencil markings to text. Very good. No. IX of "The Handy-Book Series". The author discusses: "Outline History of Costume"; "What We Mean by Dressing Well"; "Things Indispensable"; "Color, Form and Suitability"; "Estimates of Cost"; "How and What to Buy"; and, "Hints on Dress". The author considers the fashions which men have worn, in some periods more elaborate and fantastical than those for women, with observations such as: "In France [the whimsies of Fashion] were often more ridiculous than in England; for in that country Fashion has ever been more fickle than elsewhere, and in her haste to adopt the new, she has more often accepted the hideous or the comic". Gale has a sharpish tongue which she enjoys exercising with the advice she dispenses: "The sylph who scarcely turns the scales at a hundred pounds, cannot carry the flowing mantles which have become necessary to obscure the too expansive outlines of the matron, whose position in a carriage is sufficiently indicated by the condition of the springs". However, she lays down clear, straightforward guidelines undoubtedly useful to her readers. "The Handy-Book Series" also includes "How to Educate Yourself", "Social Economy", "The Home", by Frank Stockton, "What to Eat", etc. . OCLC: 1289101.](/wharton/images/items/120x300/15411.jpg "First edition. 12mo (7-3/8 x 5\"), iv, 107pp; + publisher's catalogue; brick cloth stamped in black at front cover and in blind at rear. Printed endpapers, with publisher offerings. Touch of wear to tips and ends; occasional pencil markings to text. Very good. No. IX of \"The Handy-Book Series\". The author discusses: \"Outline History of Costume\"; \"What We Mean by Dressing Well\"; \"Things Indispensable\"; \"Color, Form and Suitability\"; \"Estimates of Cost\"; \"How and What to Buy\"; and, \"Hints on Dress\". The author considers the fashions which men have worn, in some periods more elaborate and fantastical than those for women, with observations such as: \"In France [the whimsies of Fashion] were often more ridiculous than in England; for in that country Fashion has ever been more fickle than elsewhere, and in her haste to adopt the new, she has more often accepted the hideous or the comic\". Gale has a sharpish tongue which she enjoys exercising with the advice she dispenses: \"The sylph who scarcely turns the scales at a hundred pounds, cannot carry the flowing mantles which have become necessary to obscure the too expansive outlines of the matron, whose position in a carriage is sufficiently indicated by the condition of the springs\". However, she lays down clear, straightforward guidelines undoubtedly useful to her readers. \"The Handy-Book Series\" also includes \"How to Educate Yourself\", \"Social Economy\", \"The Home\", by Frank Stockton, \"What to Eat\", etc. . OCLC: 1289101.")
[Advice Literature] Gale, Ethel C..
New York: G. P. Putnam & Sons, 1872.
Price: $175.00
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![First edition. First printing. 8vo, 368pp; green cloth stamped in gold front and spine; green dust jacket printed in white, yellow and black; top edge stained yellow. Touch of wear to foot of spine and slight rubbing to tips and spine. Jacket a somewhat worn (as usual) with two shallow chips (1/4") at head of spine, to closed tears at top edge and minor wear at heel. The book is firm and fresh. Very good. Carson's denunciation of the use of chemical pesticides was the wake-up call to U.S. environmentalists and resulted in passage of the first anti-pesticide bills here. At the time of its original publication it received eight awards. Its influence continues to be profound. The importance of the book is suggested by its inclusion in the New York Public Library's BOOKS OF THE CENTURY, The NEW YORK TIMES 100 and MASTERPIECES OF WOMEN'S LITERATURE. And in 1999 The New York University Journalism Department ranked the book #2 in "the best [100] works of 20th-century American journalism". BOOKS OF THE CENTURY, p. 42. MASTERPIECES OF WOMEN'S LITERATURE, pp. 458-460. 100 MOST INFLUENTIAL WOMEN OF ALL TIME, pp. 104-107. THE NEW YORK TIMES 100, No. 88.](/wharton/images/items/120x300/15393.jpg "First edition. First printing. 8vo, 368pp; green cloth stamped in gold front and spine; green dust jacket printed in white, yellow and black; top edge stained yellow. Touch of wear to foot of spine and slight rubbing to tips and spine. Jacket a somewhat worn (as usual) with two shallow chips (1/4\") at head of spine, to closed tears at top edge and minor wear at heel. The book is firm and fresh. Very good. Carson's denunciation of the use of chemical pesticides was the wake-up call to U.S. environmentalists and resulted in passage of the first anti-pesticide bills here. At the time of its original publication it received eight awards. Its influence continues to be profound. The importance of the book is suggested by its inclusion in the New York Public Library's BOOKS OF THE CENTURY, The NEW YORK TIMES 100 and MASTERPIECES OF WOMEN'S LITERATURE. And in 1999 The New York University Journalism Department ranked the book #2 in \"the best [100] works of 20th-century American journalism\". BOOKS OF THE CENTURY, p. 42. MASTERPIECES OF WOMEN'S LITERATURE, pp. 458-460. 100 MOST INFLUENTIAL WOMEN OF ALL TIME, pp. 104-107. THE NEW YORK TIMES 100, No. 88.")
Carson, Rachel.
Boston: Houghton Mifflin Company, 1961.
Price: $300.00
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[Suffrage],
[NP]: , [ca. 1915].
Price: $195.00
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![Only printing. Broadsheet: 13 x 8", <2>pp; printed on off-white stock — extract of the minutes at the recto and the docket title and publisher at the verso. From the placement of the latter, the broadsheet was designed to be folded up in quarters and filed with the docket title to the front. Creases and mild browning where folded; minor wear to edges; overall age-toning with light discoloration to small area at first paragraph. Generally very good. The broadsheet reviews the issues which were the focus of the 1820 annual meeting of Quaker women. It touches briefly on the difficulty of some in keeping awake during meetings: "The continuance of a drowsy spirit in our solemn assemblies is truly affecting". More significantly the broadsheet notes the need for educating children must be balanced against "an exposure that would place their innocence at risk" and urges mothers "to spare time from thy domestic engagements to give them the rudiments of learning, to lay a foundation that may be improved when a more favorable opportunity presents". (Note the task of educating the young appears to be the domain of the mother rather than the father.) The emphasis of the broadsheet, however, is on the "subject of company keeping and joining in marriage with those not of our Society". It urges the young to seek the advice of parents and admonishes mothers "be alive to whatever may promote the best interests of their beloved children as not to be influenced by improper motives, nor suffer the prospect of an advantageous settlement in life, to bias their judgment". The extract then continues that although a "delicate subject", yet "[we] are constrained to press it both on mothers and daughters to do away that unbecoming practice of sitting up after the usual hours for families to retire to rest, believing it inconsistent with that propriety of conduct which ought to mark all our proceedings". This scarce broadsheet offers suggestive comments on Quaker courtship and marriage, as well as the role of mothers in the education of their children. Abigail Evernghim [Thurston] (ca.1784-1851) acted as the clerk for the annual meeting of Quaker women from 1818 to 1823 and then again from 1825-1828. OCLC records the broadsheet is available as part of the Newsbank on-line data base of American broadsides and ephemera. It notes just two institutional holdings of the broadsheet proper: AAS and the University of Michigan.](/wharton/images/items/120x300/15369.jpg "Only printing. Broadsheet: 13 x 8\", <2>pp; printed on off-white stock — extract of the minutes at the recto and the docket title and publisher at the verso. From the placement of the latter, the broadsheet was designed to be folded up in quarters and filed with the docket title to the front. Creases and mild browning where folded; minor wear to edges; overall age-toning with light discoloration to small area at first paragraph. Generally very good. The broadsheet reviews the issues which were the focus of the 1820 annual meeting of Quaker women. It touches briefly on the difficulty of some in keeping awake during meetings: \"The continuance of a drowsy spirit in our solemn assemblies is truly affecting\". More significantly the broadsheet notes the need for educating children must be balanced against \"an exposure that would place their innocence at risk\" and urges mothers \"to spare time from thy domestic engagements to give them the rudiments of learning, to lay a foundation that may be improved when a more favorable opportunity presents\". (Note the task of educating the young appears to be the domain of the mother rather than the father.) The emphasis of the broadsheet, however, is on the \"subject of company keeping and joining in marriage with those not of our Society\". It urges the young to seek the advice of parents and admonishes mothers \"be alive to whatever may promote the best interests of their beloved children as not to be influenced by improper motives, nor suffer the prospect of an advantageous settlement in life, to bias their judgment\". The extract then continues that although a \"delicate subject\", yet \"[we] are constrained to press it both on mothers and daughters to do away that unbecoming practice of sitting up after the usual hours for families to retire to rest, believing it inconsistent with that propriety of conduct which ought to mark all our proceedings\". This scarce broadsheet offers suggestive comments on Quaker courtship and marriage, as well as the role of mothers in the education of their children. Abigail Evernghim [Thurston] (ca.1784-1851) acted as the clerk for the annual meeting of Quaker women from 1818 to 1823 and then again from 1825-1828. OCLC records the broadsheet is available as part of the Newsbank on-line data base of American broadsides and ephemera. It notes just two institutional holdings of the broadsheet proper: AAS and the University of Michigan.")
Evernghim, Abigail.
[New York: Printed by James & John Harper, 189 Pearl Street, 1820].
Price: $650.00
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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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![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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Campbell, Helen [Stuart].
Boston: Roberts Brothers, 1893.
Price: $65.00
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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: $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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[ERA], [League of Women Voters].
(Washington, D.C.): League of Women Voters of the United States, (ca. 1973).
Price: $75.00
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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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[Women & Politics], Republican National Committee.
Washington, D.C.: Republican National Committee, [ND, but ca. 1932].
Price: $200.00
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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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![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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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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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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[Political Cookbooks],
[Barrington, Ill]: The Brownstone Press, Inc., (1969).
Price: $95.00
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