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THE BAYTE [AND] SNARE OF FORTUNE. WHERIN MAY BE SEEN THAT MONEY IS NOT THE ONLY CAUSE OF MISCHEFE AND VNFORTUNAT ENDES: BUT A NECESSARY MEAN TO MAYNTAYNE A VERTUOUS QUIET LYFE. TREATED IN A DIALOGE BETWENE MAN AND MONEY by BIESTON, ROGER

2 to 7 days for delivery

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$11,440.00

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Seller: Phillip J. Pirages Fine Books and Medieval Manuscripts

Title: THE BAYTE [AND] SNARE OF FORTUNE. WHERIN MAY BE SEEN THAT MONEY IS NOT THE ONLY CAUSE OF MISCHEFE AND VNFORTUNAT ENDES: BUT A NECESSARY MEAN TO MAYNTAYNE A VERTUOUS QUIET LYFE. TREATED IN A DIALOGE BETWENE MAN AND MONEY
Author: BIESTON, ROGER
Seller: Phillip J. Pirages Fine Books and Medieval Manuscripts (United States)
Description: London: Imprinted at London by Iohn Wayland, at the signe of the Sunne ouer against the Conduite in Fletestrete, [1556?]. FIRST EDITION, with "Baite" in headline on A2 recto. 335 x 222 mm. (13 1/8 x 8 3/4"). [10] leaves. Period-style 19th century limp vellum by Maltby's of Oxford, flat spine with ink lettering, remnants of leather ties. Title page with ornate woodcut architectural frame (McKerrow and Ferguson 76). Printed in black letter type. Front free endpaper with ex-libris of Kenneth Rapoport. STC 3055.5; ESTC S91099. ◆Vellum faintly soiled, one corner creased, covers tending to splay, but the binding entirely sound and inoffensive; text with a score or so small, round wormholes to the (spacious) fore margin, trivial stains or smudges at edges, but a very pleasing copy--quite fresh and generally clean. Derived from the French translation of an anonymous Italian poem, "Contrasto del denaro e dell' uomo," Bieston's dialogue between Man and Money examines the power cash has over humans. It is prefaced with a prose discussion of greed, noting the warnings against avarice advanced by St. Paul, St. Jerome, and the Roman poet Horace, and lamenting the covetousness of man, which makes money his master. The dispute between man and money, in eight-line stanzas, which ends with man conceding his need to have ready funds, is followed by a 14-line poem setting forth the name of the otherwise-unknown author--Rogerus Bieston--as an acrostic. The work concludes with the poet's "Good Counsayle": "Get thy goods truly, Spende them precisely. / Set thy goods duly, Lende thou them wisely." Printer John Wayland (ca. 1508 - between 1571-73) could have profited from that advice. He printed several books between 1537 and 1539, then abandoned this pursuit in 1540, perhaps due to lack of capital, and worked as a scrivener for the next 13 years, at the same time he was selling books. Returning to printing in 1553, he obtained a royal patent to produce the "Sarum Primer" devotional books, the contents of which were attacked in the second edition of John Foxe's "Actes and Monumentes." Though his printing work should have been lucrative, Wayland was constantly plagued by debts, often arising from his unsuccessful lawsuits. Our volume is the final work to bear Wayland's imprint; DNB notes that "from 1556 onwards the additional phrase 'by the assigns of' occurs throughout Wayland's publications." Even though our book has just 10 leaves, its dimensions as a tall folio make it more substantial than it might otherwise seem. It very rarely appears in the marketplace..

LETTRES À ÉMILIE SUR LA MYTHOLOGIE by (FRENCH ILLUSTRATED BOOKS). (BINDINGS - CANAPE). DEMOUSTIER, CHARLES-ALBERT

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$4,160.00

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Seller: Phillip J. Pirages Fine Books and Medieval Manuscripts

Title: LETTRES À ÉMILIE SUR LA MYTHOLOGIE
Author: (FRENCH ILLUSTRATED BOOKS). (BINDINGS - CANAPE). DEMOUSTIER, CHARLES-ALBERT
Seller: Phillip J. Pirages Fine Books and Medieval Manuscripts (United States)
Description: Paris: Printed by P. Didot l'aîné for Ant. Aug. Renouard, 1809. 215 x 130 mm. (8 1/2 x 5 1/4"). Three volumes.. VERY ELEGANT DARK BLUE STRAIGHT-GRAIN MOROCCO, GILT, BY CANAPE, covers framed by Neoclassical roll featuring swans and an urn, gilt supralibros of Isidoro Fernandez at center, raised bands, spine compartments gilt in the Bozerian style, with flowers radiating from a central circle, gilt lettering, turn-ins gilt with fan roll, marbled endpapers, all edges gilt. With frontispiece portrait of the author in two states, and 70 ENGRAVED PLATES BY MOREAU LE JEUNE, consisting of the 36 called for and a second state (before letters) of 34 of the plates. A Large Paper Copy. Cohen-de Ricci 283; Ray, "French," p. 88; Brunet II, 593; Vicaire III, 174. ◆Spines vaguely darkened (but the leather and gilt still very lustrous), joints of volume I with just a hint of wear, very soft offsetting from engravings, but AN EXTREMELY FINE COPY nevertheless--clean, fresh, and bright internally, with wonderful impressions of the plates, and in sparkling bindings that look most attractive on the shelf. This epistolary retelling of classical myths was published by one of the greatest French bibliophiles, illustrated by the man Ray calls "the greatest name among French illustrators of the 18th century," and bound by the celebrated Georges Canape for an important Spanish collector in the style of the period. Antoine Augustin Renouard's publications were renowned for their accuracy and beauty, and according to Cohen-de Ricci, the publisher particularly distinguished this work, declaring it impossible to conceive of a more elegant book with more profuse and pleasant illustrations. The animated and intricately detailed engravings here are the work of Jean-Michel Moreau, known as Moreau le jeune (1741-1814), deemed by Gordon Ray to be "the greatest name among French illustrators of the 18th century." He provided illustrations for Diderot's encyclopedia and engraved works for François Boucher, in addition to illustrating the works of Rousseau and Voltaire. According to the Getty Museum, "publishers sought him out for his powers of observation and ability to capture nuances of gesture, pose, and light." Ray considers the plates here some of the most successful of Moreau's later career. In them, the artist brings to life the Olympians, demi-gods, myriad nymphs, and human lovers from Desmoustier's "Letters to Emily," in which the author recounts tales from Ovid and other classical sources to a young lady pupil. First published in a series from 1786-98, it is the highlight of the brief career of Charles-Albert Desmoustier (1760-1801), a lawyer-turned-writer who also produced comedies and operas. Our copy was bound for Spanish bibliophile Isidoro Fernandez (1878-1963) by Georges Canape (1864-1940), one of the great French binders of his day. He produced consistently high-quality finishing in a distinguished career that lasted nearly 50 years. After taking over his father's workshop in 1894, he created both the Art Nouveau-style bindings popularized by Marius-Michel and classical revival bindings like ours, putting out volumes that, in the words of Duncan & DeBartha, were consistently "executed with superb technical precision." Here, he has employed Neoclassical elements in the distinctive roll framing the covers, and has tooled the spine compartments in the style of Bozerian, with fleurons created by a central circle radiating lancets and floral tools, against a stippled background. It is a binding of the highest quality and artistry, and in splendid condition..

Marc Chagall by Aronson, B. (Boris); Ben Baruch (trans.)

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$295.00

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Seller: Eric Chaim Kline - Bookseller

Title: Marc Chagall
Author: Aronson, B. (Boris); Ben Baruch (trans.)
Seller: Eric Chaim Kline - Bookseller (United States)
Condition: fair
Description: Berlin: Yiddish Literature Publishing, 1924. Hardcover. fair. 4to. 3pp. Original green quarter cloth over grayish powder blue paper covered boards with printed cover plate. Printers symbol on title page. Contains 21 prints of early Chagall paintings and drawings. Text in Yiddish. Pencil marks and child's drawings on inside front and back covers, not affecting text. Sunning, age wear and scuffing on boards. Boards slightly bowed and starting. Corners bumped. A number of torn pages. Overall in fair condition. Boris Aronson was a Russian-American set designer, who worked both in Yiddish theater and Broadway, where he won numerous Tony Awards. Writing on the cover; possibly “Moshe” (the name of the owner of the book?) Inside page: “Sarah Beckerman.”.

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