Results for: Literature-19th Century
Jewett, Sarah Orne.
Boston: Houghton, Mifflin and Company, 1901.
Price: $65.00
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Whitney, Mrs. A[deline] D[utton] T[rain].
Boston: Houghton, Osgood, and Company, 1880.
Price: $75.00
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Dana, Katharine Floyd.
Boston and New York: Houghton, Mifflin and Company, 1889.
Price: $75.00
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[James, Henry] Leon Edel.
Paris: Jouve & Cie, 1931.
Price: $100.00
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[LOWELL OFFERING],
Lowell: Misses Curtis & Farley, 1844.
Price: $350.00
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{Jackson}, H[elen] H[unt].
New York: White, Stokes & Allen Publishers, (1884).
Price: $125.00
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![First edition. Presentation copy with slip tipped in at the front free endpaper inscribed, "To / G. Pomroy Kim / Compliments of the Author". 12mo, 347pp; smooth light brown cloth, decorated panel stamped in dark green at front cover with raised design of interlacing leaves, vines and blossoms in light brown edged in black, shield device within the panel displaying the title in dark green, all set off by two thin blind rules; at spine, title, author, publisher with decorative devices of interlacing vines as well as rules all stamped in green. Light purple ink stamp "James Fenimore Cooper/Albany, NY" at front pastedown and title page. Neat ownership signature also at title page; small spot of foxing at title page and opposite leaf. Minor touches of wear around spine; tear to cloth at foot of spine; lower foretips a little pigeon-toed. Overall a firm, attractive copy. Very good. A grand-niece of James Fenimore Cooper, Constance Fenimore Woolson (1840-1894) was born in New Hampshire and raised in Cleveland, Ohio. Her prosperous family summered at Mackinac Island which later the writer used as the setting for her first novel, ANNE and various short stories. She started to write in 1869—a few descriptive sketches, some travel pieces, and short stories and soon gained admittance into leading magazines such as HARPER'S and PUTNAM'S. Her first book CASTLE NOWHERE (1875) collected her travel pieces. Four years later she established herself with the reading public when her first novel and mystery-thriller, ANNE, became a bestseller. That same year, 1879, after her mother's death, Miss Woolson went abroad and thereafter lived in Europe where she met and became close friends with Henry James. Woolson wrote four novels while in Europe—JUPITER LIGHTS, being one and one of her last two books. The writer set the novel on a Georgia Island and on the shore of Lake Superior [NAW]; she overlaid her customary "meticulous, sensuous, even passionate sense of place" [Legacy] with a melodramatic plot, a characteristic Woolson blending of the real and the romantic. As Henry James observed of the writer herself, her books were "full of intelligence and sympathy". BAL 23468. "Emerging Voices," pp. 66-67. THE FEMINIST COMPANION, pp. 1187-1188. Kier, Kathleen E., in LEGACY, Spring, 1990, pp. 70-71. NAW III, pp. 670-672. WOMEN'S WRITING, p. 944. The first presentation of the writer we have handled.](/wharton/images/items/120x300/15394.jpg "First edition. Presentation copy with slip tipped in at the front free endpaper inscribed, \"To / G. Pomroy Kim / Compliments of the Author\". 12mo, 347pp; smooth light brown cloth, decorated panel stamped in dark green at front cover with raised design of interlacing leaves, vines and blossoms in light brown edged in black, shield device within the panel displaying the title in dark green, all set off by two thin blind rules; at spine, title, author, publisher with decorative devices of interlacing vines as well as rules all stamped in green. Light purple ink stamp \"James Fenimore Cooper/Albany, NY\" at front pastedown and title page. Neat ownership signature also at title page; small spot of foxing at title page and opposite leaf. Minor touches of wear around spine; tear to cloth at foot of spine; lower foretips a little pigeon-toed. Overall a firm, attractive copy. Very good. A grand-niece of James Fenimore Cooper, Constance Fenimore Woolson (1840-1894) was born in New Hampshire and raised in Cleveland, Ohio. Her prosperous family summered at Mackinac Island which later the writer used as the setting for her first novel, ANNE and various short stories. She started to write in 1869—a few descriptive sketches, some travel pieces, and short stories and soon gained admittance into leading magazines such as HARPER'S and PUTNAM'S. Her first book CASTLE NOWHERE (1875) collected her travel pieces. Four years later she established herself with the reading public when her first novel and mystery-thriller, ANNE, became a bestseller. That same year, 1879, after her mother's death, Miss Woolson went abroad and thereafter lived in Europe where she met and became close friends with Henry James. Woolson wrote four novels while in Europe—JUPITER LIGHTS, being one and one of her last two books. The writer set the novel on a Georgia Island and on the shore of Lake Superior [NAW]; she overlaid her customary \"meticulous, sensuous, even passionate sense of place\" [Legacy] with a melodramatic plot, a characteristic Woolson blending of the real and the romantic. As Henry James observed of the writer herself, her books were \"full of intelligence and sympathy\". BAL 23468. \"Emerging Voices,\" pp. 66-67. THE FEMINIST COMPANION, pp. 1187-1188. Kier, Kathleen E., in LEGACY, Spring, 1990, pp. 70-71. NAW III, pp. 670-672. WOMEN'S WRITING, p. 944. The first presentation of the writer we have handled.")
Woolson, Constance Fenimore.
New York: Harper & Brothers, 1889.
Price: $125.00
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Hemans, Mrs. [Felicia].
[NP]: , [ND}.
Price: $100.00
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[Jackson], H[elen] H[unt].
[Cliftondale, Mass.: Coates Brothers Publishers, c. 1880].
Price: $150.00
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![First edition. Blanck's second state with no printer's imprint on the copyright page. Square 12mo, <1>-64pp; decorated brick cloth stamped in black and gilt at the front cover with a young girl's profile surrounded by a gilded nimbus against a black plaque, "Editha's" and "Burglar" in large black block letters framed by scroll devices above and below, the author's name in sans serif lettering and publisher's device beneath "Burglar"; original light brown dust jacket duplicating the front cover and with advertisements for other Jordan, Marsh publications at the back cover. Illustrated by Henry Sandham with frontispiece and 13 black-and-white drawings. The frontispiece was drawn from an original photograph of Elsie Leslie, the child-actress who played the part of Editha. Facsimile reproduction of a letter by the original "Editha". Ownership inscription in pencil at front free endpaper; mild offsetting to endpapers from jacket flaps; minor paper loss at front gutter (approx. 1/2"); abrasion along top edge (rear cover); two insect holes at rear, at the spine; lower tips bumped and a touch of wear to foot of spine. Jacket is darkened at the spine and lacks 1/2" at head with small chips to tips and overall dustiness. These flaws notes, the book is firm, bright and attractive. About very good. An 1888 dust jacket is a rarity, even more so with a pictorial cover. Frances Hodgson Burnett (1849-1924), born in Manchester, England, emigrated to the United States at the age of 16. Her first published work was a story in "Godey's Lady's Book" and it launched a literary career that would last almost 50 years. She enjoyed great popularity in this country and England with her stories of an "idealized version of childhood inhabited by nearly perfect children, whose goodness and good nature has transformative power". [NAW] The adaptation to the stage of Burnett's story certainly reflects her wide popularity. In fact, a one-act dramatization was published by Samuel French as late as 1932. WITH the 1890 printing of the story, in brown cloth, also in its original dust jacket, in lovely condition. Blanck suggests the two states represent two printings and the 1890 printing, which exactly duplicates the 'second state' appears to confirm his thinking. BAL 2071. NAW I, pp. 269-270. WOMEN'S WRITING, pp. 140-14.](/wharton/images/items/120x300/15342.jpg "First edition. Blanck's second state with no printer's imprint on the copyright page. Square 12mo, <1>-64pp; decorated brick cloth stamped in black and gilt at the front cover with a young girl's profile surrounded by a gilded nimbus against a black plaque, \"Editha's\" and \"Burglar\" in large black block letters framed by scroll devices above and below, the author's name in sans serif lettering and publisher's device beneath \"Burglar\"; original light brown dust jacket duplicating the front cover and with advertisements for other Jordan, Marsh publications at the back cover. Illustrated by Henry Sandham with frontispiece and 13 black-and-white drawings. The frontispiece was drawn from an original photograph of Elsie Leslie, the child-actress who played the part of Editha. Facsimile reproduction of a letter by the original \"Editha\". Ownership inscription in pencil at front free endpaper; mild offsetting to endpapers from jacket flaps; minor paper loss at front gutter (approx. 1/2\"); abrasion along top edge (rear cover); two insect holes at rear, at the spine; lower tips bumped and a touch of wear to foot of spine. Jacket is darkened at the spine and lacks 1/2\" at head with small chips to tips and overall dustiness. These flaws notes, the book is firm, bright and attractive. About very good. An 1888 dust jacket is a rarity, even more so with a pictorial cover. Frances Hodgson Burnett (1849-1924), born in Manchester, England, emigrated to the United States at the age of 16. Her first published work was a story in \"Godey's Lady's Book\" and it launched a literary career that would last almost 50 years. She enjoyed great popularity in this country and England with her stories of an \"idealized version of childhood inhabited by nearly perfect children, whose goodness and good nature has transformative power\". [NAW] The adaptation to the stage of Burnett's story certainly reflects her wide popularity. In fact, a one-act dramatization was published by Samuel French as late as 1932. WITH the 1890 printing of the story, in brown cloth, also in its original dust jacket, in lovely condition. Blanck suggests the two states represent two printings and the 1890 printing, which exactly duplicates the 'second state' appears to confirm his thinking. BAL 2071. NAW I, pp. 269-270. WOMEN'S WRITING, pp. 140-14.")
Burnett, Frances Hodgson.
Boston: Jordan, Marsh & Company, 1888.
Price: $450.00
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MEMORIAL DAY HYMNS, POEMS AND PATRIOTIC SELECTIONS COMPILED FOR USE IN THE PUBLIC SCHOOLS
[Thaxter, Celia} Matthews, Harriet L[ouise]. and Elizabeth E[lkins] Rule (compilers).
Lynn, Mass.: The Nichols Press — Thos. P. Nichols, 1893.
Price: $125.00
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[Thaxter, Celia} Matthews, Harriet L[ouise]. and Elizabeth E[lkins] Rule (compilers).
Lynn, Mass.: The Nichols Press — Thos. P. Nichols, 1893.
Price: $125.00
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Dickinson, Emily.
New York: Walker and Company, 1968.
Price: $150.00
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Osgood, Mrs. [Frances Sargeant Locke] (Lyrics).
New York: F. Riley & Co. 297 Broadway, 1848.
Price: $175.00
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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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[Barber, Harriet Boomer] Templeton, Faith [pseud].
New York: Bliss Publishing Co. 235 Greenwich St., (1888).
Price: $125.00
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DOLLARS AND CENTS. [2 volumes]
[Warner, Anna Bartlett] Lothrop, Amy [pseud].
New York: George P. Putnam, 1852.
Price: $175.00
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[Warner, Anna Bartlett] Lothrop, Amy [pseud].
New York: George P. Putnam, 1852.
Price: $175.00
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Pool, Maria Louise.
New York: Harper & Brothers Franklin Square, 1892.
Price: $75.00
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![Only edition. Reprint from THE NEW ENGLAND QUARTERLY, Volume V, Number 2, 1932. 9-1/2 x 6-1/4", <1>, 217-220pp; green self-wrappers (stapled) printed in black at the front cover. Slight suggestion of fading at edges. Near fine. With a brief introduction by the editors in which they note the poems are among those presented by Thomas Higginson to the Boston Public Library. They comment: "The cause of their not having been published before is not far to seek. The poems are unsuccessful in so far as formal perfection is concerned. But the very quality of their imperfection reveals something of the method of Emily Dickinson, the poet. They fail, not through lack of inspiration, but through lack of art ... What is needed is a new assaying, a new refining". The .poems: "To undertake is to achieve" [Franklin 991B]; "Dominion lasts until obtain" [Franklin 1299]; "The days that we can spare" [Franklin 1229B]; "The mind lives on the heart" Franklin 1384E]; "'Faithful to the end' amended" [Franklin 1386D]; and, "After all birds have been investigated and laid aside" [Franklin 1383F]. Franklin, R.W. (ed.), THE POEMS OF EMILY DICKINSON Variorum Edition. See BAL Volume 2, p. 453. See Myerson D42 for the NEW ENGLAND QUARTERLY appearance. OCLC notes five institutional holdings: Harvard College and Houghton Libraries at Harvard University; the University of Virginia; the University of Wisconsin, Madison and Oxford.](/wharton/images/items/120x300/15240.jpg "Only edition. Reprint from THE NEW ENGLAND QUARTERLY, Volume V, Number 2, 1932. 9-1/2 x 6-1/4\", <1>, 217-220pp; green self-wrappers (stapled) printed in black at the front cover. Slight suggestion of fading at edges. Near fine. With a brief introduction by the editors in which they note the poems are among those presented by Thomas Higginson to the Boston Public Library. They comment: \"The cause of their not having been published before is not far to seek. The poems are unsuccessful in so far as formal perfection is concerned. But the very quality of their imperfection reveals something of the method of Emily Dickinson, the poet. They fail, not through lack of inspiration, but through lack of art ... What is needed is a new assaying, a new refining\". The .poems: \"To undertake is to achieve\" [Franklin 991B]; \"Dominion lasts until obtain\" [Franklin 1299]; \"The days that we can spare\" [Franklin 1229B]; \"The mind lives on the heart\" Franklin 1384E]; \"'Faithful to the end' amended\" [Franklin 1386D]; and, \"After all birds have been investigated and laid aside\" [Franklin 1383F]. Franklin, R.W. (ed.), THE POEMS OF EMILY DICKINSON Variorum Edition. See BAL Volume 2, p. 453. See Myerson D42 for the NEW ENGLAND QUARTERLY appearance. OCLC notes five institutional holdings: Harvard College and Houghton Libraries at Harvard University; the University of Virginia; the University of Wisconsin, Madison and Oxford.")
Dickinson, Emily.
[Portland, Maine]: The Southworth Press, 1932.
Price: $300.00
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Phelps, Elizabeth Stuart.
Boston: James R. Osgood and Company. Late Ticknor & Fields, and Fields, Osgood & Co. London: Sampson Low & Co., 1871.
Price: $175.00
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![First edition. Blanck's printing 2 with "Mammy Tittleback" the running head at p. 55. 16mo (7-3/8 x 6"), <1>-101pp; dark green silk cloth with author and title stamped in black, below a vignette of a young girl leaning over a group of kittens in gold, at the front cover; title stamped in gold at the spine; green leafy endpapers. Pages decorated with think black ruled frame; charming headpieces introduce each chapter. Frontispiece and seven full page illustrations by Adelaide Ledyard. Pencil ownership name at preliminary leaf; small dark stain at fore-edge a little affecting pp. 51-57; binding somewhat strained. Binding worn along bottom edge with tips exposed; minor wear to head of spine. About very good. Generally an attractive copy. The writer thoughtfully provides a "Genealogical Tree of Mammy Tittleback's Family". Each of Mammy's five litters is the subject of a chapter. Mammy Tittleback herself is "a splendid great tortoise-shell cat" and the object of great affection to Rosy and Johnny Chapman. The preface appears after the story, for as Jackson says at the Preface page, "nobody must read it till after reading the book. It will spoil all the fun to read it first". Scholar Helen Bannan remarks in her profile of the writer in AMERICAN WOMEN WRITERS: "J[ackson]'s love of children, undiminished by the deaths of her own, emerges in her children's books. Her cat stories....remain entertaining". Her children's books enjoyed a quiet popularity which has meant they survive in scarcer numbers in collectible condition than one might hope. BAL 10446. AMERICAN WOMEN WRITERS, Vol. 2, pp. 373-376.](/wharton/images/items/120x300/15225.jpg "First edition. Blanck's printing 2 with \"Mammy Tittleback\" the running head at p. 55. 16mo (7-3/8 x 6\"), <1>-101pp; dark green silk cloth with author and title stamped in black, below a vignette of a young girl leaning over a group of kittens in gold, at the front cover; title stamped in gold at the spine; green leafy endpapers. Pages decorated with think black ruled frame; charming headpieces introduce each chapter. Frontispiece and seven full page illustrations by Adelaide Ledyard. Pencil ownership name at preliminary leaf; small dark stain at fore-edge a little affecting pp. 51-57; binding somewhat strained. Binding worn along bottom edge with tips exposed; minor wear to head of spine. About very good. Generally an attractive copy. The writer thoughtfully provides a \"Genealogical Tree of Mammy Tittleback's Family\". Each of Mammy's five litters is the subject of a chapter. Mammy Tittleback herself is \"a splendid great tortoise-shell cat\" and the object of great affection to Rosy and Johnny Chapman. The preface appears after the story, for as Jackson says at the Preface page, \"nobody must read it till after reading the book. It will spoil all the fun to read it first\". Scholar Helen Bannan remarks in her profile of the writer in AMERICAN WOMEN WRITERS: \"J[ackson]'s love of children, undiminished by the deaths of her own, emerges in her children's books. Her cat stories....remain entertaining\". Her children's books enjoyed a quiet popularity which has meant they survive in scarcer numbers in collectible condition than one might hope. BAL 10446. AMERICAN WOMEN WRITERS, Vol. 2, pp. 373-376.")
[Jackson, H[elen] H[unt].
Boston: Roberts Brothers, 1881.
Price: $175.00
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