Seven scarce pamphlets collected by Horace Walpole. 8vo. Old calf. The volume contains Walpole's book-plate and a table of contents in his autograph. There are also many notes in his hand. Five of the publications were anonymous, and Walpole has written the author's name on each. He has also written in the names of persons referred to in the text by initials or pseudonyms, and has made comments upon the works and their authors. On the title-page of "Three Hours after Marriage" is the inscription: "The Author's Gift. June 23d, 1716-17." Walpole has made a note that this is in the hand of Robert Harley, Earl of Oxford. The last item in the volume, "A Pipe of Tobacco," is a series of imitations of poets who are not named by the author. Walpole has written, at the beginning of each, the name of the poet burlesqued: Cibber, A. Philips, Thompson, Young, Pope, and Swift. The "Apology for the Life of Mrs. Shamela Andrews" is rare. Richardson's "Pamela" was published in 1740. Its sentimentality was repugnant to Fielding, and this pamphlet was written to ridicule the novel. It was published anonymously, as the two authors were on friendly terms. Fielding's pamphlet gave him the idea for a satirical novel of which the hero was to be Pamela's brother, Joseph Andrews. Swift's "Art of Punning" is the second edition. The other pamphlets are first editions. THE MYSTERIOUS MOTHER. A Tragedy. London, Dodsley, 1781. 8vo. Half calf. With Horace Walpole's book-plate and an autograph letter of Walpole written from Strawberry Hill in 1789. The volume contains the signature and ex-libris of Cornelius Paine, and a long manuscript account, by John Dillon, of the origin of the tragedy and its bibliographical history. Sir Walter Scott calls this play "a terrible but disgusting drama." Although Walpole derived the plot from a French source, it is said to be of English origin and founded upon fact. Bishop Hall mentions the story in his “Cases of Conscience” (1650). WALTON, ISAAC. THE LIVES OF DR. JOHN DONNE, SIR HENRY WOTTON, MR. RICHARD HOOKER, MR. GEORGE HERBERT, written by Izaak Walton. To which are added some letters written by Mr. George Herbert, at his being in Cambridge: with others to his mother. Eccles. 44.7: "These were honourable men in their generation." London, 1670. 8vo. Old calf. First edition. Presentation copy to the Bishop of London (Bishop Hinchman). On the upper margin of the frontispiece portrait of Donne is Walton's autograph inscription: "for my ld. of London." There are also autograph corrections in Walton's hand. FRENCH AUTHORS BALZAC, HONORÉ DE. LES RESSOURCES DE QUINOLA. Comédie en Cinq Actes, en prose; et précedée d'un Prologue. Par M. de Balzac. Représentée sur le second Théâtre Français (Odéon) le Samedi, 19 Mars, 1842. Paris, 1842. 8vo. Cloth boards, with the original paper covers preserved. First edition, On the half-title is Balzac's autograph inscription, presenting the book to his mother: "A ma chere mère; ton fils qui t'aime. Of this play Balzac wrote to his mother in 1842: Honoré." "The money necessary to my existence is, as it were, wrung from what should go to pay my debts... The sort of life I lead is suitable for no one; it wears out relations and friends. All fly my dreary house. The failure of my play, as regards money, still further complicates my situation. When my furniture has been sold, I shall not have much left. I shall find myself alone in the world, with nothing but my pen and my attic." Balzac had set high hopes upon this play; but in the preface he states that only four people defended it: Hugo, Lamartine, Mme. de Girardin, and Gozlan. It is in regard to "Les Ressources de Quinola" that the anecdote is related of Balzac reading the complete manuscript to a manager, who on looking it over found no last act. The author had improvised the last act, after reading the others. In January, 1842, the novelist wrote to Mme. Hanska: "Since I last wrote you I have not slept more than two hours a night, and have written two plays." One of the two was "Les Ressources de Quinola." HISTOIRE DE L'EMPEREUR. Racontée dans une Grange par un Vieux Soldat. Préface de Henry Houssaye de l'Académie Française. Paris, 1904. With 15 etchings in color by Adolphe Lalauze, from original aquarelles by Alphonse Lalauze. 4to. Bound by David; red levant morocco; the back and sides decorated with Napoleonic devices; doublures of blue levant emblematically tooled; silk fly-leaves; the original covers bound in. In a case. This copy contains an extra set of the etchings printed in black, and an original water-color by Lalauze, representing Bonaparte at Toulon. BAUDELAIRE, CHARLES. LES FLEURS DU MAL. Paris, Poulet-Malassis et De Broise, 1857. Post 8vo. Bound by Ch. Meunier; slate-blue levant. On the front cover is a design of orchids and passion-flowers among which is a coiled serpent, all in a border of autumn leaves. On the back cover is a design of flowers growing from a skull; border of autumn leaves; inside borders of poppies and marguerites; silk fly-leaves; in a case. A specimen of mosaic binding appropriate to the character of the poems. First edition. On the fly-leaf is Baudelaire's autograph inscription: "A mon ami Nadar. Extra-illustrated by the insertion of an autograph letter from Baudelaire to the publisher, Poulet-Malassis, an allegorical frontispiece in water-colors, and a series of privately printed etchings by several French artists of the décadent school. "Les Fleurs du Mal" made an extraordinary sensation when the book first appeared. The government interfered and prosecuted both Baudelaire and the publisher. The latter was imprisoned, and the autograph letter inserted is addressed by the poet to his associate at Clichy prison, cell 131; the contents referring to the prosecution. The letter is on mourning paper. The circulation of the book was prohibited and all obtainable copies were destroyed. Six of the poems were suppressed and never appeared in later editions. Many of the poems were inspired by an octoroon girl whose color is variously described. One biographer says she was nearly white, but Baudelaire refers to her as ebony. Maxime Du Camp, in his "Recollections," relates some curious stories of Baudelaire. "One Sunday he came to see me with his hair painted green. I pretended not to notice it. He did his best to attract my attention. At last, unable to control himself, he said: 'Do you see nothing extraordinary in my appearance?' "No!' "But my hair is dyed green, and that is unusual.' "I answered: 'Everybody's hair is more or less green. Now if your hair were blue, I might be astonished, perhaps.'" MAL.. ŒUVRES DE CHARLES BAUDELAIRE. LES FLEURS DU |