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[O'Neill, Eugene] McCabe, Jennifer.
[Pittsburgh]: University of Pittsburgh Press, 1974.
Price: $30.00
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[Political Cookbooks],
[Barrington, Ill]: The Brownstone Press, Inc., (1969).
Price: $95.00
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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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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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![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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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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[Tennis] (Gorey, Edward).
[NP]: , [ND].
Price: $75.00
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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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[Women's] Juster, Norton.
New York: The Viking Press, (1979).
Price: $45.00
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