Padded leather autograph album, 4.5 x 6 inches, 114 unnumbered pages, completely filled with autographs to "Helen" -- a student at Girls' High School in Boston and probably a member of the class 1925. Includes 20 original drawings, most of which are of young ladies in flapper attire, and a few of which are handsome young men. General wear from handling; very good. The inscriptions offer sentiments about friendship, boyfriends (present and future), shared classes, etc. Classmate Eleanor Brennan writes: "Ride and the girls ride with you, / Walk and you walk alone -- / For the "Flappers,' these days / Are set in their ways / and like boys with cars of their own." A charming representation of schoolgirl dreams of the 1920s.
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Commercial photograph album, 10 x 13.5 inches, containing 177 original photographs mounted to both sides of black paper leaves. An additional nine photographs are laid in, and also mounted to the pages are ca. 25 images clipped from publications and various newspaper clippings and items of ephemera. A few photos removed, front cover of album partially detached, otherwise very good. This charming album was compiled by Walter Harbaugh Dorrance (1872-1961) and includes his neatly written, narrative captions on nearly all photos, as well as occasional sentimental poetry of the period (by Susan Marr Spalding, Reynale Smith Pickering, Charles Hanford, Jr., and Robert Bridges, among others), copied out to mark important occasions. The first page of the album includes a dance card from the soCIAL event where he met his bride-to-be, Johanna Gertrude van de Goorberg, in 1904, and photos the beach and pavilion at Playe del Rey, where he proposed to her the following year. We then see images of the house at at 4541 Marmion Way where Walter lived when still a bachelor, Eastlake Park and other outdoor locations where the pair courted, and then the location where they were married and some of the wedding guests. The pair honeymooned in the San Diego area, and there are excellent images of Tijuana, the Coronado Beach Tent City (and a tent labeled "Our First Home"), and the Sweetwater Dam area. As the album progresses, we see several houses where they young couple lived in Los Angeles (apparently as renters), each identified by address, as well as shots of "the ranch in Tuna Canyon" where they vacationed. Trips to Pomona and Santa Barbara/Montecito in 1908 are also nicely documented. The couple's first child, George Theodore Dorrance (called Teddy) was born on September 3, 1908, and he receives the typically large amount of album space devoted to a first child. Each phase of his early life is shown, as are some of the family's travels in this period, to the Bay Area and to Catalina Island. The final pages are devoted to baby pictures of the couple's daughters (they had three between 1911 and 1915). In addition to the family narrative that runs through the album, there are several photos of historical interest, including shots of the Edison Electric Company Station #3 (where Walter worked), the wreck of the Coast Line Limited in May 1907, and the aftermath of the bombing of the Los Angeles Times building in 1910. Among the items of ephemera included are the couple's wedding invitation, a menu from the Tent City Restaurant at Coronado Beach, and an early Catalina Island travel brochure containing a three-foot folding panorama of Avalon and the bay.
Photograph album of Reverend John B. Panfil and his sister Elsie Panfil, containing just over 500 original photographs taken during their extensive travels in 1920s Iraq and other parts of the Middle East. The pair were based in Mosul, but visited many small and remote settlements populated by Assyrian Christians and ethnic-minority Yazidis. Some of these places were seldom seen by westerners, and the Panfils’ images—with captions identifying individuals and families by name—provide rare visual documentation of the people who lived there. Rev. Panfil was sent to Iraq as part of an Episcopal mission aimed at supporting and strengthening the ancient Assyrian Church of the East. In a letter written shortly after his arrival in Mosul, he wrote:: “I am working presently among the Assyrians; their church is the eldest one in Christendom. They have lost their country during the war and were massacred by the Turks and Kurds and are in need of the American help in order to exist. We are trying to revive their old church, their customs and their language.” In the course of this work, Panfil traveled to meet with local church leaders, with whom he could work to build schools that would maintain Assyrian culture and traditions, educate young men for the priesthood, and provide humanitarian assistance when possible. He and Elsie (who seems to have been his constant companion) visited the Assyrian village of Bebadi (Dohuk Province) and nearby Amadia fortress; the Yazidi temple at Lalish; Dair Mar Elia (Saint Elijah’s Monastery, believed to be the oldest Christian monastery in Iraq, destroyed by ISIS in 2014); Rabban Hormizd Monastery (Chaldean Catholic Church, located near Alqosh); the predominantly Yazidi town of Bashiqa; the Assyrian town of Karemlash, Semel (Simele, Dohuk Province), Erbil, Nimrud, and other locales in Northern Iraq. Photographs of Iraqi cities, villages, and people comprise the majority of images in this album, but the Panfils also appear to have traveled for pleasure, and there are images of Syria, Jordan, Lebanon, Persia, and Palestine as well. In the course of their work and social lives, they met with people from a wide range of vocations and social strata – refugee women and children, schoolteachers, fellow missionaries, soldiers, archaeologists, church Patriarchs and Archdeacons, and the consuls of France, Italy, and the United States, among others. There are dozens of people identified in the album. Many are Assyrian and Yezidi political and religious leaders whose names are given only with an honorific (e.g., “Mar,” “Kasha,”) and a single name, which has made them difficult for us to track down definitively. We suspect, however, that scholars with more familiarity with the people, places, and languages will find the captions in this album sufficient for identification. A sampling of people we were able to identify includes: Mar Eshai Shimun (Patriarch of the Assyrian Church of the East), William Ainger Wigram (renowned authority on the Assyrian Church, served with the Archbishop of Canterbury’s Mission to the Assyrian Church before World War I), Ismail Beg (Yazidi leader), Alice Griffith Carr (Red Cross nurse who worked in Syria in the 1920s); Reginald Campbell Thompson (British archaeologist who excavated at Ninevah, Ur and other sites in Iraq); Edward Chiera (Italian-American archaeologist working at Tar Khelan, near Kirkuk); Rev. James Wallace Willoughby (Presbyterian attached to the American Mission in Mosul); John Randolph (American Consul in Baghdad 1924-1929); Wendell S. Howard (American Vice-Consul in Baghdad, 1926-1929); and Auguste Henri Ponsot (French High Commissioner in Syria and Lebanon, 1926-33). In sum, we believe this album—with its uncommon subject matter and many informative captions--has exceptional research potential for scholars of the post-World War I Middle East, particularly for those interested in displaced and minority peoples whose fates often lay in the hands of civil servants living thousands of miles away, and whose stories are rarely told and faces rarely seen. Physical description: Album measures 10.5 x 14 inches. All of the photographs are snapshot-sized, and the vast majority are in very good condition; a few have chips or creasing. The album itself is in need of conservation; pages are detached from the binding and the paper is brittle, with heavy chipping to the edges resulting in loss of some captions. A longer description and link to additional images is available upon request.
Four photograph albums containing a total of 558 mounted images documenting military training and service in Japan in 1920s and 30s, all in very good condition. Although we acquired these albums together, they appear to have belonged to different people. Most, if not all, were officers. One album has handwritten captions, the others do not, but do have some group photographs with captions in the negative. Two identity documents are tipped in to one album that, we are told, are for people with the family names Yokoo and Hayashi. During the interwar years, Japanese culture was pervaded by the conviction that a strong military was the solution to most problems, foreign and domestic. The Army enjoyed considerable independence from the civilian government, and various factions within the military played a major role in directing the country’s foreign policy. As described by historian David Hunter-Chester in The Culture of Military Organizations, (Cambridge, 2019) the Imperial Japanese Army’s “organizational culture produced tough, proficient, and courageous soldiers.” These albums reflect great pride in military service, with numerous images of their subjects in dress uniform (singly and in groups) and engaged in military exercises, including bayonet training, firing machine guns, field and parade drills, physical fitness (ropes course, gymnastics), equestrian training, cleaning and assembly of weapons, and more. There are also images of soldiers in the classroom, at leisure (sporting events, sumo, at a public bath, etc.), and at special events and celebrations—the latter characterized by an abundance of Japanese and Imperial Army flags. These albums reflect an ethos that was soon to vanish. The military culture of pride in excellence, according to Hunter-Chester, “left it unable to deal with military losses; it was a culture that prized reputation over public honesty, ritualized death and placed its own judgment above question. According to its own creed, the [Army] should have ‘done its utmost to protect the state.’ Instead its soldiers are remembered in Japan and much of the world as ‘beasts.’”.
Very good. Commercial photograph album (11” x 14”) containing 41 professional photographs of actor George W. Day in a variety of costumes, settings, and moods. All are ca. 7” x 9.25”, the majority credited to J.E. Watson or Watson & Post and dated 1900 or 1901. Photos are mounted rectos only, one to a page. The first page has a relatively conventional photo of Day in a suit and hat and bears the handwritten title “Character Sketches Posed for By Yours Truly Geo. W. Day,” and the credit line “Watson & Post Photographers, 51 W. 10 St, N.Y. City.” The photographs are platinum prints, done in a softly focused, pictorialist style. A few photos apparently missing from album, two loose and laid in; otherwise very good. George W. Day (b. 1864, New York) studied at the Art Students League and wrote humorous pieces for Puck, Truth, and Judge magazines before settling into a successful career in vaudeville. He wrote and performed his own humorous songs and monologues and appeared in minstrel shows, light operas, and farces. He was also a founding member of the first union of vaudeville artists, the White Rats. A newspaper clipping from the Pittsburgh Leader glued in at the back of this album supplies the tale of how this series of photographs came to exist. The article describes Day as “a many of many faces” whose makeup skills are unparalleled. He “loses his identity completely every time he goes to the grease paint box” and “under the lens of the camera all the lines which Mr. Day so deftly works upon his own baby-like countenance are brought out bold and life-like, and there is reproduced another personality. Mr. Day simulates any character with perfect fidelity.” Due to a minor, comical mix-up, the article explains, Day and photographer J.E. Watson (recently arrived in New York from Detroit) met and quickly became friends. Watson took a series of portraits of Day portraying “not less than one hundred different characters, no two alike,” and apparently sold them to the public. This album was likely assembled by Day either as a personal memento or to showcase his skills as a character actor. We have found no information about “Watson & Post,” other than a single directory listing that states the partnership is dissolved; it was likely very short-lived. But the Watson half of the partnership was Joseph Elliott Watson. Born in New York in 1852, he moved to Michigan with his parents when still a child and worked as a photographer in Detroit and Portland, Oregon, before moving back to New York around 1899. An article about Watson in Wilson’s Photographic Magazine (Volume 36, February 1899) quotes him thus: "I think photographers bother themselves altogether too much about other photographers and their work. No real advancement will be made until we leave our co-workers and go to the fountain-head – the study of portraits by the acknowledged masters in art. In chemistry everything is now done for us. Why, then, do we not take the simplest of the many means provided for producing negatives and prints, and give all our thought to the making of the portrait, the study of the essentials in our subjects, and the means of interpretation of character?" In George W. Day, Watson seems to have found the perfect subject upon which to practice his art. A link to additional images is available upon request.
London: A. Nattali, 1846. First Edition. Hardcover. Very good. 12mo, 78 pp, with frontis map, bound with out the final advertising leaf in later plain paper boards with leather spine label. Small tear to map along the gutter (affecting only the neatline), otherwise a lovely, clean copy of this scarce pamphlet. Both Howes and Streeter suggest that the anonymous author of this work was an employee of the Hudson's Bay Company. The book includes extensive description of the region's topography and also touches on flora and fauna, suitability for agriculture and colonization, British and American claims to the territory, and the history of the fur trade. Approximately one-third of the text is devoted to the character and customs of the indians of the upper Columbia River regions, particularly the Blackfeet and the Crow. Wagner Camp 122d; Smith 7709. Howes O-112; Streeter 3360.
Japan Hydrogen Industry Co, Ltd. [Onahama, Fukushima Prefecture, Japan], 1947. Cloth album, 12 x 8.5 inches, containing 33 silver gelatin photographs mounted to rectos only, with printed captions in English and Japanese on facing pages. Very good. In the aftermath of World War II, the Allied powers recognized the importance of stabilizing the Japanese economy as part of a larger effort to prevent Japan’s remilitarization and stave off the spread of communism. With the assistance of foreign aid, the Japanese government invested heavily in strengthening its industrial and manufacturing capacity. Economic development efforts in the coal-producing region of Fukushima Prefecture centered on the construction of chemical factories and related infrastructure. The Japan Hydrogen Industry Company (also known as Nihon Suiso Company), which had been founded in the port city of Onahama in 1937, became the core of the industrialization effort in the region after the war. This album, produced in 1947, was likely used in an effort to attract American investment. The company was involved in the gasification of pulverized coal (producing—depending on the exact process—coal gas, water gas, or syngas, all combustible gases used for municipal lighting and heating prior to the large-scale production of natural gas) as well as the production of ammonium sulfate and methanol. The album shows the plant’s coke room; gas generators, compressors, and storage tanks; carbon monoxide converters; pumps for moving chemicals in solution; centrifuges; acid cooling process; ammonium sulphate storage room; and several parts of the methyl alcohol plant (boiler, turbo generators, distiller, machine shop, storage drums). There is also a view of the entire seaside factory and one of the company’s business offices. Over the next few decades, Fukushima Prefecture underwent significant industrial development and became Japan’s largest energy-supplying region. Whether this album made a specific contribution to that growth by garnering investment we do not know. But it is an interesting artifact of the early stages of the recovery that would become known as the Japanese Economic Miracle.
Seattle Light City Boundary Project, . Boundary Dam, located on the Pend Oeille River in Northeastern Washington, supplies a substantial portion of the hydroelectric power used by Seattle residents. A concrete, double-curvature arch dam rising 340 feet from bedrock, it is 740 feet long at the top, 32 feet thick at the base, and eight feet thick at its crest. Boundary Powerhouse, located adjacent to the dam, is completely built inside of the rock that makes up the left abutment of the dam itself. Although the site was identified as early as 1953, controversies and legal battles delayed permitting until 1961 and pushed back construction until 1964. This interesting album shows the site in its untouched state in 1963, followed by work on the tailrace in 1964 and the first bucket of concrete for the dam being poured on November 12, 1965. There are aerial photos giving an overview of the project site at various phases, and shots of the dam under construction, the sluice maintenance gate, forebay and trashracks, machine hall (images at several stages), draft tube and penstock, stayring and spiral case, and turbine and generator. The first commercial electricity was produced by one turbine at the dam on September 1, 1967. By December, all four turbines were producing 600,000 kilowatts of electricity. Physical description: Commercial comb-bound album containing 30 original 8 x 10 black and white photographs, with the first bearing the title and crediting photographers Glen Saxe and Bert Holmes. Facing that title page is a plain sheet of paper on which 23 people who worked on the project signed their names and, in several cases, identified their role on the project (many were inspectors) or included well wishes for the recipient (who is not identified). All photos in clear sheet protectors; fine condition. Accompanied by five page printed report titled "Progress Report, February 18. 1967, Seattle City Light's Boundary Project, Pend Oreille River, Washington," and a 1964 issue of the Pend Oreille newspaper the Newport Miner devoted to the dam and its powerhouse.
Seventy-eight (78) 7.5 x 9.5-inch photographs mounted back-to-back on cloth hinges in partial original leather post binder. Front cover of binder lacking, the result of which is that the first photograph is heavily chipped and somewhat soiled. A few others have some damage, and all show general handling wear, but still very good overall. Following the photos are 27 leaves printed on rectos only, containing instructions and informational and motivational materials for salesmen. Also bound in are two original promotional brochures for the Forest Park housing development (one lacking a panel) and a 1924 timetable for the Sacramento-San Francisco Railroad. All photos are credited to the Cheney Photo Advertising Company. Wickham Havens was a the son of Frank C. Havens (1848-1917), a man well known both for developing thousands of acres of of land in Alameda County and for planting hundreds of thousands of eucalyptus trees in the hills above Oakland and Berkeley. His son carried on buying and building, developing the Oakland neighborhoods of East Piedmont Heights and Crocker Heights, among others. In 1924, Wickham Havens Incorporated was finishing up the infrastructure for a new neighborhood called Forest Park (now part of Montclair). This album was created as a tool for the salesmen tasked with convincing prospective buyers to buy up lots as as an investment or build a dream home. There are images of the undeveloped land, construction and road-building in progress, and the magnificent views from many individual lots. The album also includes photos of homes in neighborhoods developed by the Havens' over the previous two decades, presumably to help the buyer envision what their lot could become. Among the neighborhoods represented are East Piedmont Heights, Crocker Highlands, Crocker Oaks, Claremont Heights, and Thousand Oaks (Berkeley). The text at the end tells salesmen exactly what to wear, how to behave, and what to say when taking "prospects" (who were brought to the neighborhood in a special bus) on a tour. There are talking points on the value of real estate generally and the merits of Forest Park specifically, as well as sample costs for various aspects of home construction. A fascinating album, for both the documentation of the area before it was fully built up, as well the insight it offers into the busy world of real estate in a market that remains just as hot nearly a hundred years later. No other examples located in OCLC.
Approximately 920 photographs hinge-mounted in eight three-ring binders, and another ca. 100-150 loose photographs, including some duplicates. All are snapshot-sized, with the vast majority measuring 3.75 x 4.5 inches. Of the photographs in albums, ca. 480 are of Burma, 220 are of Kashmir, and 220 are of India. Among the loose photographs, there are 37 (a mix of India and Kashmir) housed with their original negatives. In the spring of 1923, legendary fossil collector Barnum Brown—the paleontologist who had discovered and excavated the first documented Tyrannosaurus Rex—was sent by the American Museum of Natural History to search for evidence of early prehistoric man in northwestern Burma and central and northern India. He was accompanied by his new wife, Lilian, for whom the expedition served as a honeymoon. As she later wrote in her popular book, I Married a Dinosaur, much of her time was spent in camp or small villages while Barnum was out digging, or else traveling on her own. We strongly suspect that photos in this collection were taken by Lilian. They are clearly not “official” expedition photographs and, while there are a few images of Barnum, we noted only three directly relating to fossil hunting. Additionally, we know from her book that Lilian went to Kashmir without Barnum, and also that she carried a camera and liked to use it. A typed note at the front of one of the binders reads: “The photographs of India, Kashmir, and Burma concern a trip described by Mrs. Lilian Brown in I Married a Dinosaur,” but does not explicitly identify the photographer.Most of the images are not captioned, but are coded “B,” “I,” or “K” to indicate the country in which they were taken, and for India and Kashmir there is a further numerical key identifying cities, villages, or regions. In India, there are photos of Bombay, Elephant Isle, Jubbulpur, Calcutta, Asansol, Benares, Fatehpur-Sikri, Agra, Delhi, Old Delhi, Lahore, Rawalpindi, Taxilla, Dhok Pathan, Jacobahad, Simla, Kalka, Patiala, Chandigargh, Morni, and Siswan. Lilian’s shots from Kashmir are categorized as Jhelum River, Along Road, Rampur, Baramula, Srinagar, Dal Lake, Shalimar Bagh, Nishat Bagh, Avantipur-Martand, Jammu, and Udhampur. The Burma photographs are not sub-categorized by location, but some do have captions written on the back. Included with the archive is a handwritten list of the Burma images by number, with a note on the content added when there is a caption or if compiler (someone who apparently worked with the photos at an unknown later date) was able to identify the specific subject or location. Although there are certainly images of cityscapes, temples, shrines, and other cultural sites—many of which are quite interesting—the collection is more focused on rural landscapes and small villages and their people. There are abundant scenes of daily life, capturing times of celebration and worship, transportation by camel, boat, and ox-cart; local markets; men at work, smoking, meditating, and playing musical instruments; and children at school and play. There are women in a wide range of dress carrying baskets on their heads, spinning cotton, grinding grain, and selling goods on the streets. Several fascinating shots show the Palaung and Kayan people of Burma—the latter wearing neck rings. Another interesting sequence shows people at work in the oil fields of Yenangyaung in central Burma. Seven images show the isolated, snowbound settlement of Minimarg, located at nearly 10,000 feet in what is now Pakistan. In all, this is a fascinating and valuable collection of images of places little seen and photographed by westerners, with additional research for potential study of the lives and travels of Lilian and Barnum Brown.Provenance: Purchased by a dealer known to us from the estate of Walter A. Fairservis (1921-1994), an archaeologist and author who worked for the Museum of Natural History beginning in 1941 and led the Museum’s First and Second Afghan Expeditions between 1949 and 1951. The two men would have known each other from the Museum, but we do not know how Fairservis came to possess these photographs.
1943. Hardcover. Very good. Canvas covered ledger, 8.5 x 14 inches, containing unnumbered lined pages with alphabetical tabs, title printed with a label-maker affixed to spine. Boards somewhat soiled, internally very clean and sound, though with evidence that at least one page has been torn out. Two pages contain brief notes in English relating to military business, presumably written when the ledger was in use for its original purpose. Thirty-four full-page watercolor and ink sketches (rectos only) are spaced relatively evenly throughout the book, generally with a few blank leaves in between. There is also a title page done in ink and watercolor, as well as a single loose watercolor laid in. Each watercolor is signed “Jean Elada ’43.” All but one of the watercolors illustrate the colorful uniforms of soldiers serving in French Army in Algeria – including zouaves, tirailleurs (light infantry recruited from the indigenous populations of Algeria, Tunisia and Morocco), chasseurs d' Afrique (light cavalry), douairs (an Algerian Arab tribe), goumiers (indigenous Moroccan soldiers), tabors marocains (Moroccan auxiliary forces), spahis (indigenous light cavalry), méharistes (indigenous camel cavalry), chantiers de jeunesse (a French youth paramilitary organization), legionnaires, and regular army. The final image is of the entrance to the French Foreign Legion compound. Although the watercolors are credited to Elada (about whom we have found no information) and there is no text, the title page lists A.M. Craighead as the author. Based on our research, we suspect Craighead commissioned Elada to do the sketches and may have intended to fill the blank pages with accompanying text. Alexander McCook Craighead (1893-1967) was a native of Dayton, Ohio, who served in both World Wars and, according to the title page, was commander of the Military Police for the U.S. Army at Oran, Algeria, when this book was made. The grandson of Union General Alexander M. McCook, Craighead was a successful businessman and major collector of military art. He bequeathed his extensive collection of paintings to the United States Military Academy at West Point, which also holds an item described as journal containing “watercolor sketches describing the military police of the allied armies, the Cairo civilian and military police, and the soldiers of the allied armies in Cairo, 1942-1943,” with authorship credited to Craighead and a different artist. The French Army in Africa included indigenous Arab or Berber volunteers; (spahis, goumiers and tirailleurs); regiments largely made up of French settlers (zouaves and chasseurs d'Afrique); and non-French volunteers (French Foreign Legion). According to Wikipedia, “the uniforms of the various branches making up the Army of Africa ranged from the spectacular "tenue orientale" of the spahis, tirailleurs and zouaves to the ordinary French military dress of the chasseurs d'Afrique, Foreign Legion, Artillerie d'Afrique and Infanterie Légère d'Afrique. Even the latter units were, however, distinguished by details such as sashes, white kepi covers and (for the chasseurs) fezzes which made them stand out from the remainder of the French Army. All of these variations are beautifully captured in this album. A link to additional scans is available on request.
New York: Wm. C. Martin, 1840. First Edition. Hardcover. Good. 6 x 4 inches, pp viii, , 10-71,  (errata), in publisher's green cloth stamped in blind and gilt. Moderate foxing throughout, frontis portrait of the author lacking, but still a good of a scarce book. The Appendix is titled "Times of Refreshing; or, A Narrative of a Revival of Religion at Patchogue, L.I. in 1834 & 1835." This account of a pious woman whose selfless devotion to the spiritual nurturing of others led to spiritual renewal in her community reflects common sentiments about the social role of women in nineteenth century America generally, and particularly during the period of revival and reform known as the Second Great Awakening. Women were seen as critical to maintaining social order by providing moral guidance to their families and serving as role models of Christian piety. Thus Gammage writes that while Louisa Liscum "endeavored to to utmost of her ability to promote the present comfort and happiness of her children, she regarded their spiritual and eternal interests as supremely important, and as demanding her first and chief attention." Moreover, as she prayed for the spiritual well-being of her own family, "her tears were witnessed in the house of God" and "many of the careless became deeply anxious about their own eternal interests, and came forward in the prayer meetings to request an interest in the prayers of God's people." American Imprints 40-2547. Three copies located in OCLC.
Philadelphia: 1861[?]. Softcover. Very good. Bifolium (4 pp) song sheet, 9.75 x 7.75 in., printed on first page only in red and blue ink, illustrated with a portrait of Ellsworth. The song (to be sung to the tune of Auld Lang Syne) is printed in two columns, below which is printed "Ellsworth's Last Letter," written from 'Head Quarters, First Zouaves, Camp Lincoln, Washington, May 23 , to his parents. Old folding creases, light handling wear, one small spot at bottom margin, penciled name (Mrs. Caroline Schierbrand) on back. Ellsworth was the first Union officer to be killed in the American Civil War and a personal friend of Abraham Lincoln, for whom he had worked as a law clerk in Springfield before following him to Washington. "Remember Ellsworth" quickly became a rallying cry for recruiting Union soldiers, and many songs, stationery, and other items bearing his portrait were printed over the course of the war. James D. Gay was the author of several other Civil War songs, including "Abe Lincoln' Battle Cry," and "Gettysburg," and "Death of President Lincoln!" No physical copies of this item located in OCLC. Wolf (American Song Sheets) #455b.
Los Angeles: Printed by Santos Printing Shop for Ing. Luis R,. Goldbaum, 1924. Softcover. Very good. 7 x 4.5 inches, 213 pp, side-stapled wrappers, with map of Mexican mining centers on rear wrapper. Dampstain to first three leaves, staples rusted, otherwise very good. The author, Luis (also Louis) R. Goldbaum, was born in Mexico ca. 1871 to a Prussian-Jewish father and a Mexican mother. His older brother, David Goldbaum (1858), was a surveyor who explored much of Baja California and from 1927-30 served as the Mayor of Ensenada. Luis worked as a mining engineer in Mexico and in border towns in Texas and Arizona before settling in the Los Angeles area around 1923. In a one-page introduction to this book he explains: "I have endeavored to give in full to the mining men, prospector, and explorer while in Old-Mexico, a complete, detailed, and general information on the procedures, steps to take, Offices, Government-Departments and Officials to occur and to see, and costs and expenses until acquiring the desired object; illustrating to him complete Mexican-Mining Law of the Republic of the United States of Mexico; and in many other valuable and most needed general information." The book includes both an overview and a more extended digest of Mexican mining law; a list of procedures for obtaining a claim (with specifics for foreigners); information on taxes, assay fees, and other expenses; information on minerals, assay tests, and methods of processing ore; a glossary of mining terms in Spanish and English, and more. A page at the beginning notes that the buyer of this book is entitled to free membership in the "Mail-Consulting Department" of the "Mexican General Advisory Co.," giving said buyer the right to consultation on changes in Mexican mining law "and any other dependable information on Old Mexico matters" for a period of one year.
Philadelphia: A.M.E. Book Concern, . First Edition. Softcover. Very good. "Supplement to Statement issued by Bishops' Council to the General Conference, Kansas City, Mo., May, 1912." 9 x 6 inches, 19 pp, including nine half-tone photographic plates, in original stapled wrappers. Some soiling to first page, moderate general handling wear. William Henry Heard (1850-1937) was born into slavery in Georgia. After emancipation he worked as a farm laborer, but pursued every opportunity for education during his free time, eventually enabling him to attend the University of South Carolina and secure a teaching certification. He served briefly in the South Carolina State legislature, and in 1878 he joined and became an active member of the African Methodist Episcopal (A.M.E.) Church. In 1895, Grover Cleveland appointed him Consul General to Liberia, where he also served as Superintendent of the Liberia Annual Conference of the A.M.E. Church and spearheaded construction of the first A.M.E. church in Monrovia. In this scarce pamphlet, Heard provides the A.M.E. General Conference with an assessment of the state of missionary work in Liberia and Sierra Leone. He reports favorably on the situation in Sierra Leone, but says that the work in Liberia is "more in name than in fact," due to insufficient funding and poor sanitary conditions, which result in sick missionaries returning to the United States every few years and "disorganizes and hinders the progress of our work." He makes several recommendations for change (increased salaries and travel allowances, purchase of a boat to replace the canoes currently used for river travel) and provides lists of receipts and expenditures for 1908-1912 and missionary appointments for 1912. Not in OCLC or in Blockson.
New York: E.P. Dutton, 1954. Hardcover. Very good in a near fine dust jacket. First American edition, signed on the front free endpaper by expedition members Edmund Hillary, George Lowe, and Charles Evans, and the London Times correspondent James Morris (now Jan Morris), who accompanied the party. xx, 300 pp, with index, photographic illustrations. Two-tone cloth boards have some old (inert) mildew spotting, internally clean and sound. Original owner's name at top of front free endpaper, well above the signatures. Dust jacket has minor creasing to top of front panel and one 1/4 inch closed tear. Original $6.00 price present. Account of the 1953 British Mount Everest Expedition, which, when Edmund Hillary and Tenzing Norgay reached the summit on May 29, was the first confirmed complete ascent. Hunt led the expedition, with physician Charles Evans as his deputy. Evans was the leader of the first expedition to summit Kangchenjunga, the world's third highest peak, in 1955. George Lowe directed an Academy Award-nomnated documentary during the Everest expedition and went on to join the Commonwealth Trans-Antarctic Expedition--the first to reach the South Pole by land since Amundsen (1911) and Scott (1912)--and to participate in many other notable mountaineering expeditions. Neate H135.
New York: The Limited Editions Club, 1935. First Edition. Hardcover. Near fine. The first illustrated edition of Joyce's masterpiece, one of only 250 copies signed by both Joyce and Matisse. Large quarto in original brown cloth boards stamped in gilt, pp. xv, , 363, , with 26 plates by Matisse, consisting of six soft-ground etchings printed by hand and twenty lithographic drawings, made as studies for the etchings, printed on thin colored papers. Evidence of bookplate removal from front pastedown, else a fine copy, housed in a custom half-morocco clamshell box (without original slipcase). Possibly because he never read Ulysses, Matisse chose to base his illustrations on six episodes of Homer's Odyssey. Joyce's reaction to this choice remains a matter of scholarly debate. But most critics seem to agree that the two men had a comparable approach to transforming the traditions they drew upon. As one recent appraisal (Dimovska, "Ulysses: A Meeting Place Between Joyce and Matisse," 2019) puts it, "While Joyce’s Ulysses ironically reinterprets the Odyssey, through fragmented narratives and the dissolution of subjectivity, Matisse’s drawings with their simple and experimental forms step away from realistic painting. Realized in two different artistic fields, their works are marked by some of the most significant modernist features: sudden breaks with traditional ways of representing the world and human interaction, experimental narratives, disrupted language, sexual ambiguity, fragmented subjectivity......Whatever the story of Joyce’s reaction to the Matisse-illustrated edition, or their personal interactions, this edition is, to say the very least, a rather rare example of a beautiful piece of modernist art, both visually and narratively."
Six original black and white photographs measuring slightly over 4.5 x 6.5 inches. Residue on backs from removal from an album, one photo with a crease reinforced on the back with tape, one with a small chip to one corner, otherwise very good. All are credited to well known Hawaiian photographer Tai Sing Loo (1866-1971). Baseball was played in Hawaii as early as the 1840s and was flourishing by the 1860s, when Alexander Cartwright (one of the inventors of the modern game) lived there and . Not long after U.S. Naval Station was established at Pearl Harbor in 1908, American military teams began forming leagues and competing among themselves and against the locals. In the summer of 1921, the Pearl Harbor naval district received $10,000 for recreational purposes, and the project deemed most worthy of the funds was construction of a new baseball field and bleachers. These scarce images, which date from some time in the first half of 1922, show a game being played on the newly constructed field between the teams of the U.S.S. Burns and the U.S.S. Stribling (both stationed at Pearl Harbor). There are two group photos of the Burns team and four shots of the game in action, with the new bleachers visible in the background.
Softcover. Very good. Menu and program, 8.5 x 12 inches,  pp, in wrappers illustrated with a photo of a bust of Thompson. Light soiling to back cover, light handling wear; very good. Dorothy Thompson (1893-1961) was a prominent American journalist we was early to recognize the dangers posed by Nazism. In 1931, she interviewed Adolf Hitler, who later had her thrown out of Germany for her critical take on his politics and character. Throughout the 1930s, she dedicated herself to vocal opposition to Nazism via her print journalism and regular radio broadcasts. The text of this tribute to Thompson includes: 1) a three-page salute to her by Albert Einstein, who concludes "Out of the mist of gunpowder, smoke, and fire that obscures our vision, Dorothy Thompson emerges as a beacon of hope and courage for millions who believe that a better world is possible only if democratic freedom will prevail." 2) A "Roll-Call for Democracy" - a highly distinguished list of speakers including, among others, Fiorello La Guardia, Chaim Weizmann, and Sigrid Undset, Messages were also sent by FDR and Churchill. 3) Dinner menu 4) Four-page list of hundreds of people on the "Sponsoring Committee."
Canvas-covered post binder containing 78 leaves of standard typing paper with 171 original photographs mounted rectos only, each with a typed caption. Fifteen photos measure 6” x 8” or larger, the rest average about 3” x 4”. Title page reads “THIRD ASIATIC EXPEDITION of the American Museum of Natural History into Mongolia, April 15 to Sept 15, 1925.” “Nelson’s Copy” is written in pencil at the head of this page, and “Gobi Desert Trip” appears as a header on each of the following pages. A few pages partially loose from binding and chipped at edges, but overall very good. Between 1921 and 1930, the American Museum of Natural History [AMNH] sent a series of expeditions to Mongolia to explore the Gobi Desert, studying its geological and natural history and seeking new information on the origins and evolution of the human race. Led by legendary explorer Roy Chapman Andrews, the expeditions were motivated in part Andrews’ (primarily zoological) interest in the region, but also from the belief of AMNH director Henry F. Osborn that Central Asia was the cradle of human evolution. Andrews also supported this theory, and the search for early human remains was the primary objective of the expedition. No human remains were found, but the explorers returned with a tremendous body of records, measurements, photographs, films, artifacts, and plant and animal specimens. Among their most important discoveries were nests of dinosaur eggs, new species of dinosaurs, and the fossils of early mammals that co-existed with dinosaurs—all of which remain the subject of exhibition and study at the AMNH today (Howgego, A19). This album belonged to expedition archaeologist Nels Christian Nelson (1875-1964), who is recognized as a major figure in American archaeology, primarily for his development of the technique of stratigraphic excavation.HIs workon this expedition led to the identification of more than 180 sites occupied by stone age humans and tens of thousands of stone age tools and other artifacts. The album includes images of desert travel by camel and automobile; numerous camps and excavation sites; artifacts (both collected and in situ); pictographs; Mongolian people and settlements; temples and monasteries; and candid shots of members of the expedition at work and leisure. To the best of our knowledge, fewer than 10 of these photos have ever been published. A significant item that offers new insight into one of the most important scientific expeditions of the early twentieth century. A longer description and link to additional photographs are available upon request.
1942-1945. Bourke J. Sweeney (1919-1997) was a New York native who had briefly attended art school before he enlisted in the Army in 1942, becoming a sergeant in the 307th Infantry Regiment, 77th Infantry Division. His urge to produce art remained strong even as his life was consumed by the demands of the war, and he began to draw his fellow soldiers—first capturing vivid scenes of life in the training camps, then the monotony of endless hours on trains and transport ships, and finally both the horrific and the humorous aspects of combat. Sweeney took part in the Battle of Guam—during which he was wounded by a Japanese hand grenade—and in the Philippines Campaign. Of the assault on Guam he later wrote: “I shall never forget those three weeks, for they were the most miserable of my life…. I was tortured a thousand deaths in that darkness, only to be re-born again at daybreak.” During the war, Sweeney’s cartoons of life in the Pacific were published in the Midpacifican (a newspaper for enlisted men in the Pacific) and occasionally reprinted in the Honolulu Advertiser. On November 11, 1944, the Midpacifican ran a short feature on their cartoonist, which described the difficulties of being both artist and soldier. “Exciting scenes occurred on all sides of Sgt. Sweeney on Guam, and he was able, despite an almost total lack of suitable materials, to catch vividly some of the action and put it down on paper.” Sweeney told them that he made hasty sketches while duty called and then refined them when he found the time. Conditions on Guam were so humid that in some cases he found his sketches reduced to a soggy mess before he had the chance to complete them. Not surprisingly, many of his cartoons make reference to the constant rain. Some of Sweeney’s work was also published during the war in The G.I. Sketch Book (Penguin, 1944) and Art in the Armed Forces, Pictured by Men in Action (Hyperion, 1944). When he returned to civilian life, Sweeny continued to publish cartoons (and clippings of some are included with this archive) and became a professional commercial artist, working as a packaging designer for Nabisco for his entire career. His combat art is now almost entirely unknown. During his Midpacifican interview, he was asked about his goals for the future. He said he wanted “to turn out just one drawing that will have an everlasting effect on the minds of those who see it. One that will show the awful thing that is called war. And in that way contribute a little to permanent peace.” The best paintings in this archive, if made available for public view, should help to achieve that goal. Brief Physical Description: The archive includes seven full-color completed paintings and drawings, some done in watercolor, some in crayon or colored pencil. There are 10 larger (ca. 12.5” x 15”) completed drawings (9 pencil, 1 pen & ink; several with captions or brief explanatory comments on the back) and 14 completed pen & ink cartoons (average size ca. 8.5” x 11”), some of which have markings on the back related to their publication. Of these, six are drawn on V-Mail letter sheets. Finally, there are 11 smaller pieces (ca. 5” x 7”), done in a variety of media (pencil, ink, watercolor), some of which are unfinished sketches. In total, 42 original works of art. A few pieces have some light soiling and a few have some chipping to the edges, but overall condition is very good. The archive also includes a binder with some of Sweeney’s published cartoons (both military and later) clipped from newspapers, a few short articles about him (including one about a mural of Christopher Columbus he painted in 1963), a few items from his Nabisco career, and copies of the two books that include his work. A link to additional photographs is available upon request.