Secure Checkout

Website Secured with 256-bit TLS Encryption

Cart Totals

Promo Code:	– $0.00
Subtotal:	$28,600.00
Shipping:	$52.00
	$0.00
Donation Amount:	$0.00
Total:	$28,652.00
Change Currency:

Contact

Email Address

Re-type Email Address

Shipping

Expedited shipping $84.99 2 - 6 days

Standard Shipping $52.00 3 - 14 days

All fields are required unless marked optional.

Add Shipping Note

Payment

Verified and Secured. Guaranteed.

Website Secured with 256-bit TLS Encryption

Please select your payment method from the following list:

PayPal
Credit or Debit Card
Express Wallet

Click the button to checkout with PayPal.

You will be charged $28,652.00 when completing this purchase.

Cart Totals

Subtotal:	$28,600.00
Shipping:	$52.00
:	$0.00
Donation Amount:	$0.00
Total:	$28,652.00
Change Currency:

You are about to purchase:

Taikai [or] Daie 大會 [libretto for the Noh play] by KŌETSU UTAI BON 光悦謡本 from the Saga Press

7 to 14 days for delivery

Standard Shipping: $20.00

Details

$25,000.00

( US$)

Seller: Jonathan A. Hill, Bookseller, Inc.

Title: Taikai [or] Daie 大會 [libretto for the Noh play]
Author: KŌETSU UTAI BON 光悦謡本 from the Saga Press
Seller: Jonathan A. Hill, Bookseller, Inc. (United States)
Description: 14 pages of text & two pages forming paste-downs of varying shades of pale pink & cream gofun biki torinoko (mica-printed) paper, all printed with mica patterns, endpapers printed with mica patterns of plum flowers on branches & autumnal weeds, bound in two “quires” & sewn together. Small 4to (240 x 180 mm.), orig. pale gray semi-stiff wrappers with mica woodblock-printed designs of hydrangea leaves, orig. printed label on upper cover. [Saga, near Kyoto: about 1608 or shortly thereafter]. An ultimate luxury copy (tokusei bon 特製本), in very fine condition, with mica-printed text leaves and covers, using paper of shades of pale pink, cream, and gray. This is the second time we have handled a copy of a Kōetsu utai bon in the most luxurious state (of three). This is one of the series of 100 Noh plays produced at the famous private press in Saga, just north of Kyoto. These sumptuous luxury editions were printed for the wealthy and enlightened merchant Suminokura Soan (1571-1632), in collaboration with his calligraphy teacher Kōetsu, a leading cultural figure of his day, famous as an artist, potter, lacquerer, and connoisseur. These books are amongst the most remarkable printed works created in Japan or anywhere else; their design is far in advance of anything produced in the West. Issued in limited numbers, they were intended for private distribution to an elite audience, friends and acquaintances of the creators, who formed the patrons of the Saga artistic community. Printed with movable type on luxurious thick paper, the books have, according to Hillier, a modernity in design matched only by the works of William Blake and the French artists’ books of the late 19th and early 20th centuries. They reveal the beauty of native Japanese calligraphy. The movable type is based on the calligraphy of Kōetsu. This series of mostly chants from Noh plays comprises “small, pamphlet-size books, each of about twelve or thirteen sheets, whose outstanding feature is the decoration, invariably of mica-printed patterns on stained or dyed paper, which is of a distinction that immediately links them with the collaborative scroll works by Kōetsu and Sōtatsu and which has led to their being called Kōetsu-bon…These designs, resulting from a sophisticated adaptation or distortion of natural forms, are notable examples of one of the unique contributions of Japan to world art… “But, decoration apart, these No booklets are remarkable in other ways. An unusually thick and opaque kind of paper was used, no doubt made specially for these editions, and, contrary to normal practice, it was printed on both sides of the sheet. This ruled out the normal construction of a book whereby the sheets, printed on one side only, were folded in two and bound at the loose edges. The majority of the Kōetsu-bon were made up by an entirely different method. A number of sheets, usually six [in this copy, three in the first “quire” and two in the second, the outer leaves used as paste-downs], were placed flat, one above the other, and the batch was then folded in two; two such sections would form a complete book. The binding again was unusual. The outer covers, though printed first as a single sheet, invariably with a mica-printed design, were cut in two and each given a folded turnover along one edge, in which one batch of the folded sheets was lodged. The two halves were then sewn together through the turn-overs of the two halves of the cover, brought together at the inner edge. This is a binding method unique to Japan and is known as Yamato-toji [or recchōsō]… “These Kōetsu-bon represent an astonishing leap forward to something entirely unprecedented in the history of the illustrated or decorated book. This was the first time a book had been conceived as a single unified work of printed decorative art…not until we come to William Blake’s Prophetic Books, do we encounter anything remotely comparable, and the creation in the West on any appreciable scale of books composed as homogeneously decorated printed works of art did not occur until the appearance of the French livres d’artiste in the late nineteenth and early twentieth centuries.”–Hillier, The Art of the Japanese Book, pp. 51-54. The Kōetsu utai bon were produced in three levels of luxury. The finest (such as our example) has mica patterns or images printed on the text leaves and covers before the text was printed with movable type. The next level also had mica-printed covers but employed papers of different colors with no mica printing on the text pages. The least luxurious version used only cream-colored text paper and had mica patterns printed on the covers. The covers of our copy are mica-printed with images of bamboo and with backgrounds of sprinkled mica. Each of the five sheets with text exhibits different mica-printed images, including grass adorned with dew in the field, Japanese pampas grass, plum blossoms on branches, and waves. The movable type characters are based on the calligraphy of Hon’Ami Kōetsu (1558-1637); this type is called hiragana majiri, a combination of kanji and kana accompanied by dashes next to each syllable. These dashes are the notations for the pitches to be sung. The notes are not written as specifically as they are in Western sheet music. If the dash goes up, the pitch is raised; if it is straight, the same pitch is continued; and if it goes down, the pitch is lowered. A very fine and fresh copy, preserved in a wooden box. These Kōetsu utai bon are very rare on the market, especially when in excellent condition like our example. Covers a bit dusty, and a few unimportant marks. ❧ Fischer et al., The Art of Hon’Ami Koetsu, Japanese Renaissance Master, pp. 174-75–“The deluxe editions of utai-bon that were printed at the Saga presses, where Koetsu and Suminokura Soan collaborated to produce classics of earlier Japanese literature, were intended for amateur connoisseurs like themselves. The thick paper, mica-printed motifs, and carved wood type were all part of an artistic whole, meant to complement the aesthetic pleasure of the utai vocal performance.” Murase, Tales of Japan. Scrolls and Prints from the New York Public Library, pp. 157-59.

President Woodrow Wilson Asks the Acting Chairman of the American Red Cross to Serve on the National War Finance Committee, Which Raised the Most Money For a Philanthropic Cause Up to That Time by Woodrow Wilson

3 to 5 days for delivery

Standard Shipping: $25.00

Details

$3,500.00

( US$)

Seller: The Raab Collection

Title: President Woodrow Wilson Asks the Acting Chairman of the American Red Cross to Serve on the National War Finance Committee, Which Raised the Most Money For a Philanthropic Cause Up to That Time
Author: Woodrow Wilson
Seller: The Raab Collection (United States)
Description: 6/3/18. “The experience of eight months, of the demands made upon the generous patriotism of the American people, merely emphasizes the necessity of concentrating the work of relief in one main organization which can respond effectively and universally to the needs of humanity under the stress of war. I have designated you to serve as a member of the National War Finance Committee and I hope you can and will accept.”On March 19, 1913, President Woodrow Wilson was named the first honorary president of the American Red Cross, establishing a precedent for all chief executives who have followed. His quotation “I summon you to comradeship in the Red Cross” became a rallying cry, and decorated one of the most famous Red Cross posters - a young woman clutching an American flag with the Red Cross symbol and U.S. Capitol in the background.When the United States officially entered World War I on April 6, 1917, it had been raging in Europe since the summer of 1914. Bound by its government charter to support the U.S. military, the American Red Cross was championed by Wilson as he called upon the American people to back the organization in its support of millions of young men heading to the battlefields of Europe. On May 10, 1917, Wilson appointed a 13-man War Council to guide operations of the Red Cross during the conflict. The Red Cross held its first War Fund drive that year. As part of the war effort, the Red Cross began service to blinded war veterans, started its Canteen Service to provide refreshments to the military, introduced medical social work in servicemen’s hospitals, and began the Nurses’ Aide program to make up for nurse shortages during wartime.Since 1914 the Red Cross had been providing relief to worn-torn European countries, first with doctors, nurses, and medical supplies on the SS Red Cross or Mercy Ship, and later with hospital garments, surgical bandages, and refugee clothing, sent to sister Red Cross societies, and produced by Americans recruited through the Women’s Bureau of the Red Cross. After the U.S. declaration of war, the Army and Navy regularly requested thousands of surgical dressings and what were referred to as “comfort” items for their men. Comfort items included hand-knitted socks, sweaters, soap, razors and the like. Between 1917 and 1919, over 8 million American women, along with many Junior Red Cross members, produced over 370 million relief articles for the Allied armed forces and civilians in Europe.Cornelius N. Bliss, Jr., whose father was a member of President McKinley’s Cabinet, was a philanthropist who was also active politically. He participated in the successful presidential campaign of Theodore Roosevelt in 1904. In July 1916, he was named treasurer of the Republican National Committee, and also served as president of the Association for Improving the Condition of the Poor. When the United States entered World War I in 1917, President Wilson named Bliss as one of the 13 members of his Red Cross War Council. The next year he became its acting chairman. When it came time to raise funds for the Red Cross in 1918, Wilson formed the National War Finance Committee. With his experience in finance and as treasurer, it was natural that Wilson would want Bliss to serve on it.Typed letter signed, on American Red Cross letterhead, Washington, March 6, 1918, to Bliss, asking him to accept appointment to the National War Finance Committee. “The Chairman of the War Council informs me that the American Red Cross will shortly appeal to the American people for additional funds to carry on its work. The close co-operation of the American National Red Cross with the military branch of the Government has suggested many new avenues of helpfulness in the immediate business of our organization for war, but in the present situation there are unlimited opportunities of broad humanitarian service, and the effective performance of the service is necessary in itself and in its relation to our master purpose of winning the war.“When I appointed the War Council, I wrote: ""The Best way in which to impart the greatest efficiency and energy to the relief work which this war will entail will be to concentrate it in the hands of a single experienced organization which has been recognized by law and by international convention as the public instrumentality for such purposes. Indeed, such a concentration of administrative action in this matter seems to me absolutely necessary.“The experience of eight months, of the demands made upon the generous patriotism of the American people, merely emphasizes the necessity of concentrating the work of relief in one main organization which can respond effectively and universally to the needs of humanity under the stress of war. I have designated you to serve as a member of the National War Finance Committee and I hope you can and will accept.”National War Finance Committee asked the American people for $100 million, which was then by far the greatest philanthropic effort in U.S. history. That sum was exceeded. To achieve this they issued some of the iconic World War I posters that are collectors items today.After the war, Bliss returned to business and philanthropy on a large scale, operating as a trustee, board member, or president of several organizations, including the National Foundation for Infantile Paralysis, the Metropolitan Opera, and the Metropolitan Museum of Art. In the Depression, he was one of six men named by New York City Mayor Walker to operate a relief fund, two others being J.P. Morgan and former governor Al Smith. During World War II, he was a chairman of the American Red Cross committee on war activities, and was for a time chairman of the Red Cross.

Of Love and Shadows - 1st US Edition/1st Printing by Allende, Isabel

5 to 14 days for delivery

Standard Shipping: $7.00

Details

$60.00

( EU VAT US$0)

Seller: Books Tell You Why, Inc.

Title: Of Love and Shadows - 1st US Edition/1st Printing
Author: Allende, Isabel
Seller: Books Tell You Why, Inc. (United States)
ISBN: 9780394549620
Condition: Fine in Fine dust jacket
Description: New York: Alfred A. Knopf. Fine in Fine dust jacket. 1987. 1st US Edition; First Printing. Hardcover. 0394549627 . A handsome first US edition/first printing in unread Fine condition in about Fine dust-jacket. Publisher's promotional card laid in. Translated from the Spanish by Margaret Sayers Peden. From the collection of Betty Anderson, legendary art director of publisher Knopf in the late 20th century as evidenced by her (small and unobtrusive) inventory number on front paste down; At the center of Allende's second novel are upper class daughter Irene Beltrán and photographer Francisco Leal, fated, under the most desperate circumstances to fall totally in love. Basis for the motion picture starring Antonio Banderas; 8vo; [viii], 274, [6] pages .

THE OTHER SIDE OF THE CLOCK: Stories Out of Time, Out of Place by Stern, Philip Van Doren

5 to 10 days for delivery

Standard Shipping: FREE

Details

$40.00

( EU VAT US$0)

Seller: Type Punch Matrix

Title: THE OTHER SIDE OF THE CLOCK: Stories Out of Time, Out of Place
Author: Stern, Philip Van Doren
Seller: Type Punch Matrix (United States)
Condition: Fine in very good plus jacket.
Description: New York: Van Nostrand Reinhold Company, 1969. First printing. Fine in very good plus jacket.. First edition of this anthology of eerie and supernatural speculative short fiction by John Wyndham, J.B. Priestley, Robert Heinlein, and others, including the editor, whose "The Greatest Gift" was the basis for the classic film "It's a Wonderful Life." 9'' x 6''. Original charcoal grey cloth with metallic red spine lettering. In original pictorial dust jacket. 192 pages. Minor edgewear and scuffing to jacket, with a 1'' closed tear to upper edge of front panel.

Secure Checkout