A Treasure House of Chinese Fables: Second Edition - Book Two

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And this bookstore deals principally in art books. Some of my favorites are: The brown monochrome designs are also fine. The book is in fine condition. It is perhaps the loveliest book I found in Tokyo! Limited edition of copies. This book is a wonderful prize! One of my very favorites. The shop owner spoke disparagingly of the book because it had lost its first volume.

I found this book in a few minutes I stole from lunch before further touring with family. There are about fifty-seven beautiful colored illustrations, including book titles, some half-page and some full. The very best of them are on 88, , , , and There are also many designs in brown ink around the titles of fables.

Not in Hobbs, Bassy, or Quinnam. This extra volume is beautifully bound. Will I ever find a first volume to accompany it? Le Livre du Bibliophile: I have the sense of having seen his work elsewhere too. These two volumes were a lucky find on eBay. The fables are ordered according to their date of appearance. Thus after the six books of fables -- and their epilogue -- that first appeared in , there is 's dedication and eight fables, followed by "The Sun and the Frogs" of and the whole collection of things involved in the publication of , including an "Avertissement," a dedication to Madame de Montespan, and a "First Book" containing sixteen fables.

Bodemann speaks of "colored drawings reproduction as a colored printing from several plates. These he calls "humorous sketches of figures with Jugendstil pedestal-like decorations. Men and animals are marionette-like in their 17th-century costumes. The full frontispiece CW is followed by many designs and illustrations. The first book, for example, has four part-page illustrations. The strongest are for GA 43 and WL Note the humor on 81 of the beetle using a mallet to break the eagle's eggs! The human-animal crossovers already strong in WL 55 are accentuated in WC Watch the mother lark run with her children on The T of C for the first volume on has a lovely design of the acorn and pumpkin.

Bodemann says that this limited edition of two volumes is part of an eleven-volume works of La Fontaine. The upper part of the spine of this first volume is cracked, disconnected, and taped. When the library gets to repairing books, this is one of the first in the collection to work on! The substance of this volume is apparently the "Livre Second" of The frontispiece is a strong rendition of "The Shoemaker and the Financier," echoed in the design of moneybag and musical notes on 5. The design for "Two Rats, a Fox, and an Egg" on 80 is likewise charming.

I do not think I have ever before seen this fable presented in human form. A fine example is "La Perdrix et les Coqs" on One of the appendices on presents variations in the fables' texts. The design for this appendix has a human -- La Fontaine? Here two human figures hold several letters of the alphabet each, while other letters are strewn about at their feet. The same "Acorn and Pumpkin" illustration here graces that graces in the first volume. This is a rather standard mid-sized 5" x 7" edition of La Fontaine's fables, but it adds several curious features.

The fables are gathered into twelve books and seem to be all here, but they are not numbered. However, they are listed individually and in order in the closing T of C. The biggest surprise is that starts a special section not announced on the title-page: With 32 illustrations by Percy Billinghurst.

Here is a complete edition of Krylov's fables. I trust the library's bibliographers who came up with the date of , which I cannot find in the book itself. Two questions jump out at me from this paperback book that has lasted some eighty years. First, was there a Moskba Publishing firm in Berlin and Paris in ? A Communist Bolshevist outfit in Paris? Secondly, I would love to track down the Billinghurst illustrations.

I am willing to be that they are simply stolen from his Aesop and La Fontaine books and then supplied with rather crude Russian titles. In that case, it would be a testimony to how much Krylov depended on those two for his fable stories. Is there an N. Olshansky somehow also involved in the production of this book? Edited by David Rubio and Henri C. I discover as I catalogue this book that I have it twice. The first irony in that discovery is one I have experienced often: Here is, I believe, the older of the two.

Inside we have fifty-one pages of fables, followed by exercises and a vocabulary. Samaniego and Iriarte have the largest shares of the fables. The illustration of MM on 51 deserves a prize for suggesting weird perspectives. Integrating this book into the collection has brought several ironic twists. I discovered as I first catalogued it that I have it twice.

This edition is, I believe, the more recent of the two. Why did I spend all that money when I could just have waited for the other copy?! This book has a red cover. The illustration of MM on 51 still deserves a prize for suggesting weird perspectives. Verses by Carolyn F. Drawings by Byron G. This is a delightfully illustrated oversize pamphlet of twelve pages.

Tiger Cat has to take care of her kittens before she goes out to find them some catnip. She hears counting, and it is Mr. Sly Fox counting his ninety-ninth and hundredth tricks for eluding pursuers. Even before the hounds appear, the cat asserts that her one trick might be better than his hundred. The centerfold may have the strongest illustration: When she gets back home afterwards, the kittens are disappointed that she has found so little catnip.

She takes them by the "hands" and brings them to the elm tree to teach them "one good trick. Elson and Lura E. Apparently illustrated by L. Kate Deal, not acknowedged. Scott, Foresman and Company. See my extended comment on the book of which this is a revision, The Elson Readers: This copy "Catholicizes" the book by adding Fr.

O'Brien, a frontispiece of "The Pope of the Little Children," Biblical stories, sacred pictures, and--so the preface--ennobling memory lessons. Since almost all of this material comes later in the book, the fables are here just where they were there. Title-page and decorations engraved on copper by Rudolph Ruzicka. The Limited Editions Club. I do not find them outstanding.

Also contains Fantastic Fables. Jonathan Cape and Harrison Smith. First issued in America in the Travellers' Library Both the book and the circumstances here are unusual. The book is unusual because it begins with a statement by an Alphonse de Castro that he was the author of the original The Monk and the Hangman's Daughter under the name of G. He recounts the story of its publication history, including Bierce's role.

Nothing is said about how Bierce's Fantastic Fables come to accompany this short work in this book. I found the book in a small used bookstore after the Skunk train had reached its terminus and before we drove back in a cab to the train's starting point. This collection seems to contain, at its end, a number of stories not included in the Dover reprint of the original. The earlier stories are in an order only roughly approximating Dover's order.

I suspect that some individual fables were dropped in either or both editions. Actually, both titles fit this good anecdote! No T of C for the fables, which are on Translated out of Frensshe in to Englysshe by william Caxton at Westmyrnstre in the yere of oure Lorde. Initials and decorations by Valenti Angelo. Signed by Edwin Grabhorn. What a wonderful find! Slight round stain on the cover. Of course I would have wanted more of this sort of work! The red initials are equally stunning, incorporating the animals of each fable. The Road to Reading Supplementary Series.

Except for the covers and end papers, this little paperbound volume is in good shape. Simple but strong two-color illustrations and good tellings. Fifty-three fables, "chiefly Aesop's. Are there more fable books in this series? Gates and Miriam Blanton Huber. Illustrated by George M. A school reader in very good condition.

MM 39 has an excellent illustration. Its point is the same as that of MM. Here is a good example of the limited but important role Aesop was given in readers sixty years ago. I have a copy of this school reader in its printing. Here is the printing, also in very good condition. Edited by George W. Five fables told in traditional fashion are mixed into this book. Only one has an illustration: Eight fables told in traditional fashion are mixed into this compact beginning story book. The illustrations are of indifferent quality; do not miss the fox and stork in the lower corner of There are thirty-three fables here from several fabulists, including Samaniego, Iriarte, Hartzembusch, La Fontaine, Florian, and two fabulists new to me: Baeza and Clovis Eimeric.

Each fable gets from one to three pages and two orange monochrome illustrations. The first illustration is a large quadrangle presenting a key moment in the fable, while the second is a frameless tailpiece, usually of one character in the story. The latter may show even more wit than the former, as when the tailpiece for "The Lion and the Man" shows a painter with his palette Another fine tailpiece used twice shows the ass trumpeting and the hare delivering messages 26 and verso of the title-page.

Do not overlook the fine first-illustration of Iriarte's naturalist scouring a book Many fables that originate with La Fontaine are here given in the versions of Samaniego. There are no fables attributed to Aesop. I find it curious that Hartzembusch gets mentioned on the title-page but has only one fable here, while several fabulists like Eimeric and Florian have more than one fable and are not mentioned on the title-page. Is that the grasshopper a vagrant with an umbrella and guitar and the ant a housewife with antennae on the cover?

There is a T of C at the end. Here is the third edition of a book I had already in its second edition from The monochrome illustrations here are not orange, as there, but rather black. Each fable gets from one to three pages and two monochrome illustrations. Complete, with text based upon Croxall, La Fontaine, and L'Estrange, with copious additions from other modern authors. Illustrations from Percy Billinghurst, unacknowledged. This book is absolutely identical with the Homewood edition ? The text here is thus the "JBR" text but without the preface or its writer's initials.

See Burt's The Fables of Aesop ? Many of the "Later Fables" beginning on are in verse. The author, unacknowledged here, is J. With the latter book this one shares a division point here , after which come "Later Fables. Illustrated by Harry Rountree. This is a curious little landscape pamphlet with paper wraps and twelve very thin interior pages. On both covers a dapper cigar-smoking mouse faces a country hick mouse with a shepherd's crook. These texts may set records for brevity! Might this pamphlet have been a promotional premium, found inside a breakfast cereal?

Of course, the collector in me wonders what else is in the series if this is "Number 1. Aesop's Fables Retold for Children. Printed in Great Britain. Sixty-two fables with four colored full-page illustrations and numerous black-and-white illustrations. The best of the black-and-white illustrations along the way include OF 16 with a weeping frog near a tombstone proclaiming "Here lies the frog who would be as big as an ox. I have seen before the colored picture of the fox weeping while the stork eats from the vase The last black-and-white image accompanying "The end" is of a broken egg, while the last story is that of "Mercury and the Woodman.

T of C at the beginning. This book is internally identical with another in the collection of the same size with the same title, publisher, and approximate date of publication. The difference is that this copy includes an additional colored picture pasted onto its white cloth cover. This picture shows the miller and son riding on their ass; it is consistent with the illustration of these two meeting a traveller mentioned below. The other copy has seven children dancing in silhouette across its green rag hard cover.

Otherwise I will copy my remarks here from that copy. Fables de la Fontaine. This is a remarkable--as Robin writes of it, "unusual"--pamphlet of some 24 pages. It offers, in French and Spanish, MSA in six lithographed colored scenes, each taking up a full page and each presenting a phase of this delightful fable. Facing each nicely colored lithograph on the left-page is a black-and-white version that takes up the full right page. It is there to be colored in. True to La Fontaine, this fable starts with the miller and his son carrying the ass.

This medium is perfect for presenting the miller's dogged simplicity. Intervening pairs of pages present La Fontaine's text in Spanish verse left and the original French right. What a lovely little treasure! There are bright colored pages: All other pages are black-and-white! Each page has six or eight panels. In BW, little Ivan from the snow-covered territory rousts people falsely from their beds twice in one night. The wolves kill all his sheep and him that very night. In TH, the tortoise is already asleep in the city when the hare finally gets there!

The mice in TMCM taste even the table cloth! The panels of DS are nicely matched to give side-by-side glimpses of parts of the same scene. Thanks to Ebay for making a book like this available. I may well not have come across it otherwise. La Fontaine en Images. I have eleven of these as separate broadsides elsewhere in the collection https: The seller notes that there may have been manual coloring on the first fable.

Gift of Giuliano Gasca, S. This is a rare little LaFontaine volume in several ways. First, it contains no notes. Second, it contains letters. Third, the sometime owner left many inserts in the book, particularly handwritten fables and fables by other authors. The book was originally sold in Turin and has a stamp of the book-dealer inside the front cover. This may be one of the most international volumes I have: I refer to the selling in Turin of a book of French literature published by an English firm that produced it in Scotland.

Is that Oudry's tapestry of Aesop paying homage to LaFontaine in the frontispiece? This attractive pamphlet of eight pages has three fables: The first fable teaches, somewhat heavy-handedly, that bad companions spoil the good.

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The second proclaims loud and clear "Take care of your parents! Perhaps the best has the regretful daughter admitting to her mother that she took some sugar meant for the bird who has just died. She has moved away from offering children's literature but then found this old treasure. DM 20 from Zentralantiquariat Leipzig, July, ' Blumberger was a teacher and school principal. This book contains a mix of literary genres. Perhaps eleven of the thirty offerings are fables. The remaining nineteen are parables and other narratives, often involving animals and offering a moral at their end.

The fables criticize human weaknesses like vanity, stupidity, thoughtlessness, and laziness. The fables address everyday life of individual human beings; they do not address social and political issues. In "Das Licht" 1 , a cat hates light and is proud to raise a dust-cloud around herself against the light of the sun. In answer to her boast of victory, a finch sitting on a nearby branch declares "You are in the wrong. The rest of us can see as clearly as before. Your dust affects you, not the sun whom you oppose.

It makes my choice easier. The biggest geese make the most noise. Nursery Rhymes and Funny Fables cover: Nursery Rhymes and Fables. Nursery rhymes chosen by Louey Chisholm; fables retold for children by Lena Dalkeith. With Pictures by F. Blaikie and Frank Adams. Thomas Nelson and Sons Ltd. This book is a curious replica of a volume with the same title and publisher, which I have listed under "?

Check my comments there. Let me note here the differences and add several more comments on the fables portion of the book. This volume is half the thickness of the other. It lacks the colored frontispiece of Little Jack Horner, but there may well have been a frontispiece here at one time. This copy's title-page is distinct in several ways. First, it seems to be a title-page only for the early portion of the book, i. The other edition adds Paris, Melbourne, and Toronto and puts "Crest Series" onto the title page, which is adorned with a black-and-white illustration of a crowing rooster.

The present edition's title-page is adored with an illustration of a child pointing up at a crow in a tree. The colored illustration for "Little Jack Horner" comes not as frontispiece but between 12 and The placement and presence of the colored illustrations in the "nursery rhymes" section is different.

As in the other edition, there are here no colored illustrations in the fable section. On there is the same T of C listing twenty-seven fables. These texts are faithful to those, even including the gender confusion in TH , where the tortoise is twice referred to as male and once as female! Each fable is given one or two pages and one simple black-and-white rectangular illustration.

Perhaps the best among these is that for FG with the fox holding his nose high in the air. The astrologer's well is very shallow! I would add on this viewing that the milkmaid has a "milk-pan" and a little girl with her I find the illustration for DW curious. It puts one animal behind a half-door. The scene thus does not fit well with the narrative, in which the wolf sees how fat the dog is.

The illustration might be more appropriate for the story of the wolf and the young goat in the house. The overall condition of the book is somewhat better than fair. Nach der Niederdeutschen Ausgabe des "Reinke de vos" von Loewes Verlag Ferdinand Carl. Fronemann signs his Nachwort in I cannot find another date in the book. If the publication date is that early, it is rare, I think, to find so colorful a cover and to find a dust-jacket at all. The book's prose text is in Gothic script. This fact would tend to date it before , I believe.

The title-page tries to give a very exact accounting of the illustrations here, and there is a rich array of them. The best of the four many-colored illustrations may be those picturing the king, queen, and monkey in conversation and the final duel between Reynard and Isegrim One of the full-page sepia "Ton"? One of the partial-page black-and-white engravings "Textbilder"?



The wolf's frozen-tail story is pictured in sepia on , while his story with the fox in the well is on The picture of a laughing Reynard on the dust-jacket's front-cover catches just the right tone, I think. Stories for the Children's Hour. No author, illustrator, or date.

All sorts of pious stories, including the evils of tobacco, what we want little girls and little boys to be, the gingercake man, the Last Supper, and Gethsemane. In the middle 34 of it all comes "The Bundle of Sticks" with a middling engraving. This is a rare, ephemeral find! Each of fables is printed in English on the left side and in Chinese characters on the right side.

I cannot identify the English version of the fables, but the total of fables should give a good clue. There are charming errors here, like "Teh" for "The" on the spine and "chriping" for "chirping" on 4. The first two pages have some Chinese and English writing on them, respectively.

The back cover is detached. I am somewhat amazed to have found this book! The Children's Treasury of Classics. No author or illustrator acknowledged; illustrator for Aesop: Rountree's illustrations for the six fables included are excellent, including a color plate for TH which is found in three different editions done by The Children's Press and Collins' Clear-Type Press ? The book is in good shape. The Fables of Aesop. Based on the Texts of L'Estrange and Croxall. The World's Popular Classics. This straightforward volume has several claims.

It contains a large number of fables, perhaps , listed alphabetically on xi. In the introduction, J. It departs at some points apparently from the Lupton-Arlington-Homewood tradition of versions taken from the two authors and LaFontaine. Compare with my ? Here is a book interiorly very close to another "Art-Type" version for which I have also guessed a date of This copy has a green cloth cover instead of the brown-and-blue faux grain of the first copy.

It has no pre-title-page acknowledging La Fontaine and Croxall. Otherwise my comments made there hold true for this book. Gift of Veronica Pruhs, June, ' Here is a third form of an "Art-Type" version published by Books, Inc. This copy is larger in format that the interiorly identical green-covered book. This copy adds a printer's design on its purple cloth front-cover but has a simpler spine with only the title and "Books, Inc.

The book is thinner, though it has the same pages. As I wrote of the other two versions, this book contains a large number of fables, perhaps , listed alphabetically on xi. I include this typical Rabier set of three stories--the third is LM--because the latter refers back to Aesop's fable when Leo the lion lets the mouse come forward to answer his question "Why am I great?

Here we watch Daisy the Goose make very deft use of a scissors. The Old Man and His Donkey. The rusty staples suggest that it is not. The front cover features a close-up of the old man and his son together on the donkey. The back cover shows the tortoise passing the hare. Inside there are four more full-page colored pictures and four part-page black-and-white illustrations for MSA. The final colored picture shows the donkey partially under water and comments "The Ducks were most amused. TH has two more of the former and one of the latter. The back cover's hare wears not only an athletic uniform with an "H" on the shirt but also blue shoes!

The best illustrations may be the first two, including walking the donkey to market. I wish I could find more information about this very nice pamphlet! The Original Fables of La Fontaine. Rendered into English Prose. Illustrated by the author. The Tales of Sir Apolo: Uganda Folklore and Proverbs. With an Introduction by the Translator, The Rev. Illustrated by Savile Lumley. The Religious Tract Society. This book is by and about Sir Apolo Kagwa, who rose from humble origins in Uganda to be prime minister and died in Early chapters describe his youth and life.

The tales appear on and are followed by several pages of Luganda proverbs. The early tales tend to be etiological. There are one or two simple small illustrations for each story, besides the frontispiece of Kagwa holding a huge ivory tusk. Most of the stories qualify as fables. Good new material for me includes "The Stolen Pledge" Many of the stories climax in a proverb, which Kagwa then explains.

I do not think that I have ever seen thicker paper used in a book! This book seems the size of a regular book but is less than pages long. Charles and Son, Ltd. Scott, British Columbia, through eBay, June, ' Twenty-four one-page fables are presented in dramatic form, with polysyllabic words hyphenated. Some versions become unusual, perhaps under the pressure to keep them short and to express them in dialogue form. Thus the milkmaid dreams only of eggs, chickens, and then what she can buy with the profits from them 5. The old woman starts waking up the maids one line after they have killed the cock Similarly the fox at the finish-line speaks one line after the tortoise says he must pass the fox quietly The same pattern appears in DLS Aesop, who lived about six hundred years before Christ, so far as we can reach the reality of his life, was an orator who wielded the apologue with remarkable skill.

From a servile condition, he rose, by the force of his genius, to be the counsellor of kings and states. His wisdom was in demand far and wide, and on the most important occasions. The pithy apologues which fell from his lips, which, like the rules of arithmetic, solved the difficult problems of human conduct constantly presented to him, were remembered when the speeches that contained them were forgotten.

He seems to have written nothing himself; but it was not long before the gems which he scattered began to be gathered up in collections, as a distinct species of literature. The great and good Socrates employed himself, while in prison, in turning the fables of Aesop into verse. Though but a few fragments of his composition have come down to us, he may, perhaps, be regarded as the father of fable, considered as a distinct art. Induced by his example, many Greek poets and philosophers tried their hands in it. Collections of fables bearing the name of Aesop became current in the Greek language.

It was not, however, till the year that the large collection which now bears his name was put forth in Greek prose by Planudes, a monk of Constantinople. This man turned the life of Aesop itself into a fable; and La Fontaine did it the honour to translate it as a preface to his own collection. Though burdened with insufferable puerilities, it is not without the moral that a rude and deformed exterior may conceal both wit and worth. The collection of fables in Greek verse by Babrias was exceedingly popular among the Romans.

It was the favourite book of the Emperor Julian. Only six of these fables, and a few fragments, remain; but they are sufficient to show that their author possessed all the graces of style which befit the apologue. Some critics place him in the Augustan age; others make him contemporary with Moschus. His work was versified in Latin, at the instance of Seneca; and Quinctilian refers to it as a reading-book for boys. Thus, at all times, these playful fictions have been considered fit lessons for children, as well as for men, who are often but grown-up children.

So popular were the fables of Babrias and their Latin translation, during the Roman empire, that the work of Phaedrus was hardly noticed. The latter was a freedman of Augustus, and wrote in the reign of Tiberius. His verse stands almost unrivalled for its exquisite elegance and compactness; and posterity has abundantly avenged him for the neglect of contemporaries.

La Fontaine is perhaps more indebted to Phaedrus than to any other of his predecessors; and, especially in the first six books, his style has much of the same curious condensation. When the seat of the empire was transferred to Byzantium, the Greek language took precedence of the Latin; and the rhetorician Aphthonius wrote forty fables in Greek prose, which became popular.

Besides these collections among the Romans, we find apologues scattered through the writings of their best poets and historians, and embalmed in those specimens of their oratory which have come down to us. The apologues of the Greeks and Romans were brief, pithy, and epigrammatic, and their collections were without any principle of connection.

But, at the same time, though probably unknown to them, the same species of literature was flourishing elsewhere under a somewhat different form. It is made a question, whether Aesop, through the Assyrians, with whom the Phrygians had commercial relations, did not either borrow his art from the Orientals, or lend it to them. This disputed subject must be left to those who have a taste for such inquiries.

Certain it is, however, that fable flourished very anciently with the people whose faith embraces the doctrine of metempsychosis. Among the Hindoos, there are two very ancient collections of fables, which differ from those which we have already mentioned, in having a principle of connection throughout.

They are, in fact, extended romances, or dramas, in which all sorts of creatures are introduced as actors, and in which there is a development of sentiment and passion as well as of moral truth, the whole being wrought into a system of morals particularly adapted to the use of those called to govern.

It is written in prose. Both are in the ancient Sanscrit language, and bear the name of a Brahmin, Vishnoo Sarmah, 1 as the author. Sir William Jones, who is inclined to make this author the true Aesop of the world, and to doubt the existence of the Phrygian, gives him the preference to all other fabulists, both in regard to matter and manner.

He has left a prose translation of the Hitopadesa , which, though it may not fully sustain his enthusiastic preference, shows it not to be entirely groundless. We give a sample of it, and select a fable which La Fontaine has served up as the twenty-seventh of his eighth book. It should be understood that the fable, with the moral reflections which accompany it, is taken from the speech of one animal to another. One day he went, in search of game, into a forest on the mountains Vindhya; when, having slain a fawn, and taken it up, he perceived a boar of tremendous size; he therefore threw the fawn on the ground, and wounded the boar with an arrow; the beast, horribly roaring, rushed upon him, and wounded him desperately, so that he fell, like a tree stricken with an axe.

Works of Sir William Jones , vol. Of the Persian book a translation was made in the time of the Calif Mansour, in the eighth century, into Arabic. Sir William Jones says that the word Bidpaii signifies beloved, or favourite, physician. And he adds that the word Pilpay , which has taken the place of Bidpaii in some editions of these fables, is the result simply of a blunder in copying the word Bidpaii from the original. La Fontaine himself uses the word Pilpay twice in his Fables, viz. This remarkable book was turned into verse by several of the Arabic poets, was translated into Greek, Hebrew, Latin, modern Persian, and, in the course of a few centuries, either directly or indirectly, into most of the languages of modern Europe.

The Hitopadesa , the fountain of poetic fables, with its innumerable translations and modifications, seems to have had the greatest charms for the Orientals. Fable slept, with other things, in the dark ages of Europe. Abridgments took the place of the large collections, and probably occasioned the entire loss of some of them. As literature revived, fable was resuscitated. The crusades had brought European mind in contact with the Indian works which we have already described, in their Arabic dress. Translations and imitations in the European tongues were speedily multiplied.

It found its way into most of the northern languages, and became a household book. It undoubtedly had great influence over the taste of succeeding ages, shedding upon the severe and satirical wit of the Greek and Roman literature the rich, mellow light of Asiatic poetry. The poets of that age were not confined, however, to fables from the Hindoo source. Marie de France, also, in the thirteenth century, versified one hundred of the fables of Aesop, translating from an English collection, which does not now appear to be extant.

It was in that Planudes, already referred to, wrote in Greek prose a collection of fables, prefacing it with a life of Aesop, which, for a long time, passed for the veritable work of that ancient.

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In the next century, Abstemius wrote two hundred fables in Latin prose, partly of modern, but chiefly of ancient invention. At this time, the vulgar languages had undergone so great changes, that works in them of two or three centuries old could not be understood, and, consequently, the Latin became the favourite language of authors. Many collections of fables were written in it, both in prose and verse.

By the art of printing these works were greatly multiplied; and again the poets undertook the task of translating them into the language of the people. The French led the way in this species of literature, their language seeming to present some great advantages for it. One hundred years before La Fontaine, Corrozet, Guillaume Gueroult, and Philibert Hegemon, had written beautiful fables in verse, which it is supposed La Fontaine must have read and profited by, although they had become nearly obsolete in his time.

It is a remarkable fact, that these poetical fables should so soon have been forgotten. It was soon after their appearance that the languages of Europe attained their full development; and, at this epoch, prose seems to have been universally preferred to poetry. So strong was this preference, that Ogilby, the Scotch fabulist, who had written a collection of fables in English verse, reduced them to prose on the occasion of publishing a more splendid edition in It seems to have been the settled opinion of the critics of that age, as it has, indeed, been stoutly maintained since, that the ornaments of poetry only impair the force of the fable — that the Muses, by becoming the handmaids of old Aesop, part with their own dignity without conferring any on him.

La Fontaine has made such an opinion almost heretical. In his manner there is a perfect originality, and an immortality every way equal to that of the matter which he gathered up from all parts of the great storehouse of human experience. His fables are like pure gold enveloped in solid rock-crystal.

In English, a few of the fables of Gay, of Moore, and of Cowper, may be compared with them in some respects, but we have nothing resembling them as a whole. Gay, who has done more than any other, though he has displayed great power of invention, and has given his verse a flow worthy of his master, Pope, has yet fallen far behind La Fontaine in the general management of his materials.

His fables are all beautiful poems, but few of them are beautiful fables. His animal speakers do not sufficiently preserve their animal characters. It is quite otherwise with La Fontaine. His beasts are made most nicely to observe all the proprieties not only of the scene in which they are called to speak, but of the great drama into which they are from time to time introduced.

His work constitutes an harmonious whole. To those who read it in the original, it is one of the few which never cloy the appetite. As in the poetry of Burns, you are apt to think the last verse you read of him the best. But the main object of this Preface was to give a few traces of the life and literary career of our poet. A remarkable poet cannot but have been a remarkable man.

Suppose we take a man with native benevolence amounting almost to folly; but little cunning, caution, or veneration; good perceptive, but better reflective faculties; and a dominant love of the beautiful; — and toss him into the focus of civilization in the age of Louis XIV. It is an interesting problem to find out what will become of him. His father, a man of some substance and station, committed two blunders in disposing of his son. First, he encouraged him to seek an education for ecclesiastical life, which was evidently unsuited to his disposition.

Second, he brought about his marriage with a woman who was unfitted to secure his affections, or to manage his domestic affairs. In one other point he was not so much mistaken: Jean was a backward boy, and showed not the least spark of poetical genius till his twenty-second year. His poetical genius did not ripen till long after that time. But his father lived to see him all, and more than all, that he had ever hoped. The truth is, without exception, that every poet is born such; and many are born such of whose poetry the world knows nothing. Every known poet is also somewhat an orator; and as to this part of his character, he is made.

And many are known as poets who are altogether made; they are mere second-hand, or orator poets, and are quite intolerable unless exceedingly well made, which is, unfortunately, seldom the case. It would be wise in them to busy themselves as mere translators. Every one who is born with propensities to love and wonder too strong and deep to be worn off by repetition or continuance, — in other words, who is born to be always young, — is born a poet. The other requisites he has of course. Upon him the making will never be lost.

The richest gems do most honour to their polishing. But they are gems without any. So there are men who pass through the world with their souls full of poetry, who would not believe you if you were to tell them so. Happy for them is their ignorance, perhaps. La Fontaine came near being one of them. All that is artificial in poetry to him came late and with difficulty.

Yet it resulted from his keen relish of nature, that he was never satisfied with his art of verse till he had brought it to the confines of perfection. He did not philosophize over the animals; he sympathized with them. A philosopher would not have lost a fashionable dinner in his admiration of a common ant-hill. La Fontaine did so once, because the well-known little community was engaged in what he took to be a funeral.

He could not in decency leave them till it was over. Verse-making out of the question, this was to be a genuine poet, though, with commonplace mortals, it was also to be a fool. But we will first, in few words, despatch the worst — for there is a very bad part — of his life. It was not specially his life; it was the life of the age in which he lived. The man of strong amorous propensities, in that age and country, who was, nevertheless, faithful to vows of either marriage or celibacy, — the latter vows then proved sadly dangerous to the former, — may be regarded as a miracle.

La Fontaine, without any agency of his own affections, found himself married at the age of twenty-six, while yet as immature as most men are at sixteen. The upshot was, that his patrimony dwindled; and, though he lived many years with his wife, and had a son, he neglected her more and more, till at last he forgot that he had been married, though he unfortunately did not forget that there were other women in the world besides his wife.

His genius and benevolence gained him friends everywhere with both sexes, who never suffered him to want, and who had never cause to complain of his ingratitude. But he was always the special favourite of the Aspasias who ruled France and her kings. To please them, he wrote a great deal of fine poetry, much of which deserves to be everlastingly forgotten. It must be said for him, that his vice became conspicuous only in the light of one of his virtues. His frankness would never allow concealment. He scandalized his friends Boileau and Racine; still, it is matter of doubt whether they did not excel him rather in prudence than in purity.

But, whatever may be said in palliation, it is lamentable to think that a heaven-lighted genius should have been made, in any way, to minister to a hell-envenomed vice, which has caused unutterable woes to France and the world. Some time before he died, he repented bitterly of this part of his course, and laboured, no doubt sincerely, to repair the mischiefs he had done.

As we have already said, Jean was a backward boy. But, under a dull exterior, the mental machinery was working splendidly within. He lacked all that outside care and prudence, — that constant looking out for breakers, — which obstruct the growth and ripening of the reflective faculties. The vulgar, by a queer mistake, call a man absent-minded , when his mind shuts the door, pulls in the latch-string, and is wholly at home.

It was nowhere but at home when, riding from Paris to Chateau-Thierry, a bundle of papers fell from his saddle-bow without his perceiving it. The mail-carrier, coming behind him, picked it up, and overtaking La Fontaine, asked him if he had lost anything. On another occasion he was equally at home. Stopping on a journey, he ordered dinner at an hotel, and then took a ramble about the town. On his return, he entered another hotel, and, passing through into the garden, took from his pocket a copy of Livy, in which he quietly set himself to read till his dinner should be ready.

The book made him forget his appetite, till a servant informed him of his mistake, and he returned to his hotel just in time to pay his bill and proceed on his journey. It will be perceived that he took the world quietly, and his doing so undoubtedly had important bearings on his style. We give another anecdote, which illustrates this peculiarity of his mind as well as the superlative folly of duelling. Not long after his marriage, with all his indifference to his wife, he was persuaded into a fit of singular jealousy.

He was intimate with an ex-captain of dragoons, by name Poignant, who had retired to Chateau-Thierry; a frank, open-hearted man, but of extremely little gallantry. Some person took it in his head to ask La Fontaine why he suffered these constant visits. He is my best friend.

It was not, as we have said, till his twenty-second year, that La Fontaine showed any taste for poetry. The occasion was this: La Fontaine listened with involuntary transports of joy, admiration, and astonishment, as if a man born with a genius for music, but brought up in a desert, had for the first time heard a well-played instrument.

He set himself immediately to reading Malherbe, passed his nights in learning his verses by heart, and his days in declaiming them in solitary places. He also read Voiture, and began to write verses in imitation. Happily, at this period, a relative named Pintrel directed his attention to ancient literature, and advised him to make himself familiar with Horace, Homer, Virgil, Terence, and Quinctilian. He accepted this counsel. His great delight, however, was to read Plato and Plutarch, which he did only through translations.

The copies which he used are said to bear his manuscript notes on almost every page, and these notes are the maxims which are to be found in his fables. Returning from this study of the ancients, he read the moderns with more discrimination. His favourites, besides Malherbe, were Corneille, Rabelais, and Marot. In Italian, he read Ariosto, Boccaccio, and Machiavel. In he published his first work, a translation of the Eunuch of Terence. It met with no success. But this does not seem at all to have disturbed its author.

He cultivated verse-making with as much ardour and good-humour as ever; and his verses soon began to be admired in the circle of his friends. No man had ever more devoted friends. Verses that have cost thought are not relished without thought. When a genius appears, it takes some little time for the world to educate itself to a knowledge of the fact. By one of his friends, La Fontaine was introduced to Fouquet, the minister of finance, a man of great power, and who rivalled his sovereign in wealth and luxury. It was his pride to be the patron of literary men, and he was pleased to make La Fontaine his poet, settling on him a pension of one thousand francs per annum, on condition that he should produce a piece in verse each quarter, — a condition which was exactly complied with till the fall of the minister.

Fouquet was a most splendid villain, and positively, though perhaps not comparatively, deserved to fall. But it was enough for La Fontaine that Fouquet had done him a kindness. He took the part of the disgraced minister, without counting the cost. The good-hearted poet rejoiced exceedingly in its success.

Bon-homme was the appellation which his friends pleasantly gave him, and by which he became known everywhere; — and never did a man better deserve it in its best sense. He was good by nature — not by the calculation of consequences. Indeed it does not seem ever to have occurred to him that kindness, gratitude, and truth, could have any other than good consequences. He was truly a Frenchman without guile, and possessed to perfection that comfortable trait, — in which French character is commonly allowed to excel the English, — good-humour with the whole world.

Boileau hired a small chamber in the Faubourg Saint Germain, where they all met several times a week; for La Fontaine, at the age of forty-four, had left Chateau-Thierry, and become a citizen of Paris. Here they discussed all sorts of topics, admitting to their society Chapelle, a man of less genius, but of greater conversational powers, than either of them — a sort of connecting link between them and the world. Four poets, or four men, could hardly have been more unlike. These meetings, which no doubt had a great influence upon French literature, La Fontaine, in one of his prefaces, thus describes: The first thing which they did was to banish from among them all rules of conversation, and everything which savours of the academic conference.

When they met, and had sufficiently discussed their amusements, if chance threw them upon any point of science or belles-lettres, they profited by the occasion; it was, however, without dwelling too long on the same subject, flitting from one thing to another like the bees that meet divers sorts of flowers on their way. Neither envy, malice, nor cabal, had any voice among them. They adored the works of the ancients, never refused due praise to those of the moderns, spoke modestly of their own, and gave each other sincere counsel, when any one of them — which rarely happened — fell into the malady of the age, and published a book.

The absent-mindedness of our fabulist not unfrequently created much amusement on these occasions, and made him the object of mirthful conspiracies. Once, after having done so, he privately told a stranger, who was present with them, the wits would have worried themselves in vain; they could not have obliterated the bon-homme. La Fontaine, as we have said, was an admirer of Rabelais; — to what a pitch, the following anecdote may show. The latter took it upon him to set forth the merits of St. Augustin in a pompous eulogium. La Fontaine, plunged in one of his habitual reveries, listened without hearing.

At last, rousing himself as if from a profound sleep, to prove that the conversation had not been lost upon him, he asked the doctor, with a very serious air, whether he thought St. Augustin had as much wit as Rabelais. It was in that La Fontaine published his first collection of fables, under the modest title Fables Choisies, mises en Vers , in a quarto volume, with figures designed and engraved by Chauveau.

It contained six books, and was dedicated to the Dauphin. Many of the fables had already been published in a separate form. The success of this collection was so great, that it was reprinted the same year in a smaller size. Fables had come to be regarded as beneath poetry; La Fontaine established them at once on the top of Parnassus.

The ablest poets of his age did not think it beneath them to enter the lists with him; and it is needless to say they came off second best. To her he wrote verses abundantly, as he did to all who made him the object of their kind regard. Indeed, notwithstanding his avowed indolence, or rather passion for quiet and sleep, his pen was very productive. The prose is said to be better than the verse; but this can hardly be true in respect to the following lines, in which the poet under the apt name of Polyphile, in a hymn addressed to Pleasure, undoubtedly sketches himself: The characteristic grace and playfulness of this seem to defy translation.

To the mere English reader, the sense may be roughly given thus: The same Polyphile, in recounting his adventures on a visit to the infernal regions, tells us that he saw, in the hands of the cruel Eumenides,. We were charmed with them the other day at M. And the Pumpkin — and the Nightingale — they are worthy of the first volume! He seemed himself not insensible where his strength lay, and seldom ventured upon any other ground, except at the instance of his friends. With all his lightness, he felt a deep veneration for religion — the most spiritual and rigid which came within the circle of his immediate acquaintance.

He admired Jansenius and the Port Royalists, and heartily loved Racine, who was of their faith. To this work he pressed La Fontaine, whom he called his particular friend, to lend his name and contributions. He was born in , and died a voluntary exile in Belgium, Boileau wrote his epitaph. His chief work in moral theology was published in seven vols. He died in Thus does the Bon-homme treat the subtle Escobar, the prince and prototype of the moralists of expediency. To translate his artless and delicate irony is hardly possible.

The writer of this hasty Preface offers the following only as an attempted imitation: The verses of La Fontaine did more for his reputation than for his purse. His paternal estate wasted away under his carelessness; for, when the ends of the year refused to meet, he sold a piece of land sufficient to make them do so. His wife, no better qualified to manage worldly gear than himself, probably lived on her family friends, who were able to support her, and who seem to have done so without blaming him. But his purpose strangely vanished. He called at his own house, learned from the domestic, who did not know him, that Madame La Fontaine was in good health, and passed on to the house of a friend, where he tarried two days, and then returned to Paris without having seen his wife.

Racine, not hearing from him, sent to know what he was about, when La Fontaine wrote as follows: All this is no more than half true: This confession, the immortality of which was so little foreseen by its author, liberally rendered, amounts to the following: It is clear that a man who provided so little for himself needed good friends to do it; and Heaven kindly furnished them. He did all honour to the sincerity of his amiable hostess; and, if he ever showed a want of independence, he certainly did not of gratitude.

Compliments of more touching tenderness we nowhere meet than those which La Fontaine has paid to his benefactress. He published nothing which was not first submitted to her eye, and entered into her affairs and friendships with all his heart. He was then seventy-two years of age, had turned his attention to personal religion, and received the seal of conversion at the hands of the Roman Catholic church. In his conversion, as in the rest of his life, his frankness left no room to doubt his sincerity.

The writings which had justly given offence to the good were made the subject of a public confession, and everything in his power was done to prevent their circulation. The death of one who had done so much for him, and whose last days, devoted with the most self-denying benevolence to the welfare of her species, had taught him a most salutary lesson, could not but be deeply felt.

He had just left the house of his deceased benefactress, never again to enter it, when he met M. A reply could not have more characteristic. The fabulist had not in him sufficient hypocrisy of which to manufacture the commonplace politeness of society. His was the politeness of a warm and unsuspecting heart. He never concealed his confidence in the fear that it might turn out to be misplaced. His second collection of fables, containing five books, La Fontaine published in , with a dedication to Madame de Montespan; the previous six books were republished at the same time, revised, and enlarged.

The twelfth book was not added till many years after, and proved, in fact, the song of the dying swan. The eleven books now published sealed the reputation of La Fontaine, and were received with distinguished regard by the king, who appended to the ordinary protocol or imprimatur for publication the following reasons: For this purpose he repaired to Versailles, and after having well delivered himself of his compliment to royalty, perceived that he had forgotten to bring the book which he was to present; he was, nevertheless, favourably received, and loaded with presents.

But it is added, that, on his return, he also lost, by his absence of mind, the purse full of gold which the king had given him, which was happily found under a cushion of the carriage in which he rode. In his advertisement to the second part of his Fables, La Fontaine informs the reader that he had treated his subjects in a somewhat different style. In fact, in his first collection, he had timidly confined himself to the brevity of Aesop and Phaedrus; but, having observed that those fables were most popular in which he had given most scope to his own genius, he threw off the trammels in the second collection, and, in the opinion of the writer, much for the better.

His subjects, too, in the second part, are frequently derived from the Indian fabulists, and bring with them the richness and dramatic interest of the Hitopadesa. Of all his fables, the Oak and the Reed is said to have been the favourite of La Fontaine. But his critics have almost unanimously given the palm of excellence to the Animals sick of the Plague, the first of the seventh book. Its exquisite poetry, the perfection of its dialogue, and the weight of its moral, well entitle it to the place. That must have been a soul replete with honesty, which could read such a lesson in the ears of a proud and oppressive court.

Indeed, we may look in vain through this encyclopaedia of fable for a sentiment which goes to justify the strong in their oppression of the weak. Even in the midst of the fulsome compliments which it was the fashion of his age to pay to royalty, La Fontaine maintains a reserve and decency peculiar to himself. By an examination of his fables, we think, we might fairly establish for him the character of an honest and disinterested lover and respecter of his species. But it is not the purpose of this brief Preface to criticize the Fables.

It is sufficient to say, that the work occupies a position in French literature, which, after all has been said that can be for Gay, Moore, and other English versifiers of fables, is left quite vacant in ours. Our author was elected a member of the French Academy in , and received with the honour of a public session. In that distinguished body of men he was a universal favourite, and none, perhaps, did more to promote its prime object — the improvement of the French language.

The Fables of La Fontaine / Jean de La Fontaine

We have already seen how he was regarded by some of the greatest minds of his age. I believe that, of all authors, La Fontaine is the most universally read. He is for all minds and all ages. He instructs while he sports, persuades men to virtue by means of beasts, and exalts trifling subjects to the sublime; a man unique in his species of composition, always original, whether he invents or translates, — who has gone beyond his models, himself a model hard to imitate.

La Fontaine, as we have said, devoted his latter days to religion. In this he was sustained and cheered by his old friends Racine and De Maucroix. Death overtook him while applying his poetical powers to the hymns of the church. For these two months I have not gone abroad, except occasionally to attend the Academy, for a little amusement. Yesterday, as I was returning from it, in the middle of the Rue du Chantre, I was taken with such a faintness that I really thought myself dying. O, my friend, to die is nothing: You know how I have lived.

Before you receive this billet, the gates of eternity will perhaps have been opened upon me! If, however, you have not strength to write, beg M. Racine to do me that kindness, the greatest he can ever do for me. Adieu, my good, my old, and my true friend. May God, in his infinite, goodness, take care of the health of your body, and that of your soul. Gilles Corrozet was one of the French fabulists immediately preceding La Fontaine. He was a Parisian bookseller-author who lived between and One, oats; the other, silver of the tax.

Martin of Tours wore mirrors on their shoes, even while officiating in church. He is said to have applied the fable to the Great Mogul and his innumerable dependent potentates. Lokman is said to have flourished about B. Rabelais also has a version of the story of this fable, vide Gargantua , Book I. Flavius Avianus lived in the fifth century. His Aesopian Fables were written in Latin verse. The plants and trees, 2 with smiling features,. This is in reply to certain of his critics who pronounced his work puerile, and pretended to wish him to adopt the higher forms of poetry.

Some of the fables of the first six Books were originally published in a semi-private way before See the Translators Preface. Gabriel Faerno was an Italian writer who published fables in Latin. Perrault translated these into French verse, and published them at Paris in Faerno was also a famous editor of Terence. Laurentius Abstemius, or Astemio, was an Italian fabulist of the fifteenth century.

After their first publication his fables often appeared in editions of Aesop. No other than a villain could be fined. The wisdom of each decision lies in taking advantage of a doubtful case to convict two well-known rogues of — previous bad character. Diogenes Laertius tells the story of this fable of Thales of Miletus. Which graced the chin of Polyphemus; The peacock 25 to the queen of heaven. It is said to have been called Areiopagos the Hill of Mars because, according to tradition, the first trial there was that of Mars for the murder of Halirrhotius. Malherbe was born in , and died in As a poet he was a pupil of Malherbe.

His works were praised by Boileau, and he was one of the earliest members of the French Academy. Faire le fault, sans delay, ou mourir. Perhaps the fable finds a more appropriate application in the relation of employer to employed. I leave the fabulists and the political economists to settle the question between them. Progne was Queen of Thrace, and was changed into a swallow. Her sister was changed into a nightingale; vide Ovid, Metamorphoses.

According to Herodotus, I. He asked to be allowed to play a tune; and as soon as he had finished he threw himself into the sea. It was then found that the music had attracted a number of dolphins round the ship, and one of these took the bard on its back and conveyed him safely to Taenarus. At his death Juno either transformed him into the peacock, or transferred his hundred eyes to the tail of that, her favourite, bird.

Saith Merlin, 16 who bamboozled are. For this I quote the Phrygian slave. Which Titans waged against the Thunder-king. Old Dindenaut, 25 in sheep who dealt,. Its owner has not ceased to wear. The character in Rabelais is a sheep-stealer as well as a sheep-dealer. This is Babrias, the Greek fabulist, to whom La Fontaine gives the older form of his name.

It was not till a century after La Fontaine wrote, that the fame of Babrias was cleared by Bentley and Tyrwhitt, who brought his Fables to light in their original form. The last line refers the reader to the following fable for comparison. See note to preceding fable. Thence till the kalends of the Greeks, This fable in its earlier form will be found in Phaedrus, I. Thence lodged the goddess to her mind.

This collection was published in , ten years after the publication of the foregoing six Books. Of wedding thorns from wooing roses. The intention of the fable is to recommend prudence and good nature, not celibacy. So the peerless Granville understands it, for his pencil tells us that the hero of the fable did finally recall his wife, notwithstanding his fearful imprecation. It seems that even she was better than none.

The two last lines refer the reader to the next fable. See note to next fable. Boufflers has killed a man since his death: He was the eldest brother of the Duke de Boufflers. There was something very extraordinary in the affair itself: I do not understand the Milk-pot. And found her sitting at his door. Also in the Lokman Collection. Another 28 swears, in plainest terms,. Thus when the water crooks a stick, Sir Paul Neal, whose lapsus suggested this fable, thought he had discovered an animal in the moon. The European powers then found themselves exhausted by wars, and desirous of peace.

England, the only neutral, became, of course, the arbiter of the negotiations which ensued at Nimeguen. All the belligerent parties invoked her mediation. Can soften hearts, and lull this war to sleep, 5. De Barillon was a great friend of La Fontaine, and also of other literary lights of the time. When pointing at the object dear. League Press [], Montgomery, Alabama Binding: The authors name is not on the book and the only printing info is as follows: S for the Southern District of New York.

There is a photo of Hampton Court covered by tissue paper in the front of the book. Can you please tell me if this is worth anything. These books are not something we would handle at auction. Hello, My mother has a full set of Funk and Wagnalls Encyclopedias from the s in perfect condition. They seem to be leather bound or some sort of very durable binding and have gold leaf on them.

I also have 5 boxes of vintage books that my senior in-laws want me to sell. Also, do Christian Bibles ever accumulate much value? Bibles need to be very special to be valuable. Also, collectors are interested in first editions of different Bible translations, and other landmarks in Bible scholarship.

It was published by the John W. It does not give a year when they where published. These books appear to be quite old. I was wondering if you can determine what year they where published and the value of them. Thankyou for your time. I have a copy of Narratives and Adventures of Travellers in Africa. The book is in poor shape, with fading on the cover,spine and back, and the binding inside has separated. I could not find a date anywhere, though the cover says Alta Edition.

What does make this book interesting is that it was bound backward. Does this make a book any more valuable? Philip gives the book Martin Luther year, luther on its last page make notes about it in Latin. Apparently the book was in the City Library in Subotica — Serbia at that time Kingdom of yogoslavia until when Subotica was occupied by Hungarians. After that this and number of other valuable books has gone missing!

Any information about this book will be greatly appreciated. Also do you know how would one go about searching for such book? Thanks to Google Books I have complete pdf file of the Austrian book. I have a red letter new testament bible Lic. Lay of the bell. I have a book titled: This is what is engraved on the front cover. It is published by Charles Schribner, copyright What are your thoughts? Can you tell be approximate value range of and or direct me perhaps to a Biblical specialty site for:.

Adam Clarke published for: Methodist Episcopal Church, Mulberry-Street. This website should help you out: Edited and prefaced by R. This is from the private library of E. Randall of Baker University signed and dated November 24, Please tell me a value. This Charles Lamb book is not something we would handle at auction. The cover is not in great shape, and the binding is very loose. While there are a few pages that are soiled by time, the illustrations show very little signs of fading and are in overall great shape.

The book was a gift from the first dean of the Duke Law School, and has an inscription from him not sure if this hurts the value or not.

I have an antique book Love-songs of childhood by eugene field copyright and one hundred narrative poems by scott, foresome and company copyright and some other antique books in very good condition im curious of the worth. All pages intact with no tears. Any ideas on it? All Blue with gold print Sinclair Lewis imprint on front with sig. Hi Phyllis, To find out what your Sinclair Lewis and Robert Louis Stevenson books may be worth at auction, please submit photos and an auction evaluation form on our website: I have a copy of Madame Bovary, Gustave Flaubert…dated by Bibliotheque-charpentier printed in french.

Book is bound in brown leather and marbled colored front and back. Is this a book of any value? Valerie — Thanks for the comment. The publishing date is sept. I have not been able to find a copy for sale anywhere. Is this book worth anything? I am not a book collector but I enjoy antiques. I currently have a book that I believe is an original print as in printed in the year indicated from titled Tasker Jevons; The Real Story.

I currently have this book for sale on eBay. The pictures of the book can be viewed on my ad at http: Good luck with the sale. One of the oldest books I have is titled: Front and back cover OK. The spine is in bad shape. Chris, To find out what your book may be worth at auction, please submit photos and an auction evaluation form on our website: I have a agamemnon of aedchylus translated by robert browning, with half of the pages uncut at the top.

The pages are yellow how much is this worth? This Charles Dickens book is not something we would handle at auction. It is in excellent like new condition with a dust cover. It has never been checked out. Ville Du Havre November 23, from Mrs. Adams of Augusta, Georgia. Written at Sea November 28, I have been trying to look up a book now for a long time.

I can not find it any where. I would like to find the value to know how safe of an area I should keep it in. Thank you for your help! The person I got it from received it in Is there any value to this book. This Hans Christian Andersen book is not something we would handle at auction. Robey Is it worth anything? Marge, This real estate book is not something we would handle at auction.

The value of this H. I have 6 paperback books from the Riverside Literature series. Dates range from Do these books have any value? Thank you so much for your help. This Riverside Literature series is not of high value and is not something we would offer at auction. Thank you for sharing your knowledge and expertise.

My sister has three books she would like some information on please. She said it was published by the Worthington Company. She says it is in fair condition. Thompson, fair condition, published date by Lovell and Corele Group? I believe he served in in Chile. The copyright has first then It was first published by Phillips Mulbrey? It is in worn condition. I have a not great condition book some of the binding at the bottom is torn off and pages very yellowed Arlington Edition of David Copperfield.

Cover is hard and intact but a 1 cm gash and edges worn. Published New York; Hurst and Co. Inside Back cover has an ad for Sohmer and Co. Hi Kelly, This David Copperfield book is not of high value and is not something we would offer at auction. I have a few old books that I am wondering if your auction would be interested in. Websters Handy Dictionary illustrated. Merriam then under it says by Eloise W. Abbie Wood Steward and under that has a W. I see nothing of dates. It is a Bible that my grandmother had. There is no date anywhere other than handwritten is Harley Pursley born Apr 23, Hi Lisa, These old books are not of high value and are not something we would offer at auction.

I have a copy of Henry Noel Humphries, ed. One page is free from the binding but it is otherwise very good condition. Can you please give an idea of the value? Kathryn, This book is not something we would handle at auction. Most were not bought as collector items, I think. Lomax was a real character, or perhaps a fictitious name inscribed by an ambitious book dealer. Nothing against any book dealers, by the way. Book is in excellent shape. However, it has a fake dust jacket marked Facsimile Dust Jackets L. Should I try to sell it with or without the fake cover?

What is an estimated value either way? Green cover with gold emboss. Copyright by Houghton, Mifflin and Co. Boston and New York Riverside press Cambridge. It has been stored in a musty basement for years. Two of the volumes appear to be signed. I plan to donate these to the Poetical Society, but would like to know what their value might be? The pages appear to be all there and I can see only one handwritten pencil note on the inside—in German.

This copy of Das Kapital is not of high value and is not something we would offer at auction. I have the following books: Robert Schuller 18 Volume Collectible set. The works of zane grey volume hardcover set. Also, is there a place where I can sell these books? Should I approach an auction house with the books and ask for valuation? These sets of books are not something we would handle at auction. I have the following book: Signature and date of on owners page.

Second story in book is Agnes Grey. Good condition with some worn edges. Anne — This copy of Wuthering Heights is not of high value and is not something we would offer at auction. This book has been donated to the Newseum but have always been curious about its potential among collectors. Kennedy with a personal greeting to my uncle who was a friend of the family.

This was given as a gift at the time of its publishing. Joseph — This book is not something we would handle at auction. I have a first edition copy of Midnight Weddings by Mrs. Meeke, which I hear is very rare, published London, by T. It has the publisher stamp in the front of the book, the pages are readable, the cover is a bit old and worn. James — This book is not something we would offer at auction. The older books are signed I followed her around book fairs in the 70s and 80s. I am interested in an evaluation of my collection for estate purposes.

I am also interested in selling the duplicates I have and possibly the entire collection. Can you help me or refer me to a source that can? All have their dust jackets which are protected with sleeves and the books have been in climate comtrolled storage for some years. I have been out of that loop for some time and have lost touch with my contacts. Hi Sam, This collection is not something we would offer at auction.

You may wish to contact the Appraisers Association of America for assistance with an assessment: Revell Company, copyright Judy — This book is not of high value and is not something we would offer at auction. Kelly — This book is not of high value and is not something we would offer at auction. I have 12 books published in of Shakespeare. They are leatherbound I think, and in very good condition considering the age. Are these worth anything more than sentimental value?

Hi Kim — No, these book are not of high value and are not something we would offer at auction. Covers are a dark tan with black printing. I do plan to sell it but have no idea of value. Thank you so much for your helpful response to my question about the book I have. I have the bible designed to be read as living literature the old and new testaments in the king James version Arranged and edited by Ernest Sutherland Bates.

Copyright by Simon and Schuster, inc. Conley Company, Publishers, Gregory — Your bible and copy of Poems of Passion are both not of high value and are not something we would offer at auction. These old books are not of high value and are not something we would offer at auction. Before posting a comment here, please look for your book on a used book website: To get an idea of the types of books Skinner offers at auction, browse our past auction catalogs.

New Edition and illustrated. Translated from French to English in Two Volumes in one. Translated from the french of M. Thank you for your time. Colleen — This book is not something we would handle at auction. I have a number of late 19th century books that are in excellent condition with decoratively etched covers, most with gilded bars for the title. Is there a market for these books and how would I learn more about them? Hi Sally, These 19th century books are not of high value and are not something we would offer at auction. You may be able to find out more about your books on the following websites: In the bibliography for it said that there were limited edition copies made, how can I tell its that one?

The only images I can find on the web are the exact same only 2 but do not specify. William, This book is not of high value and is not something we would offer at auction. Please give me some idea of it s value. Doug, This book is not of high value and is not something we would offer at auction. Are any of these worth a substantial figure? They are in fabulous condition with slim leather covers. These books and encyclopedias are not of high value and are not something we would offer at auction.

Josh, These two books are not of high value. Could you tell me the possible value of the following book: Blanche, This book is not something we would handle at auction. Hello, I have found an old Dickens Oliver Twist that does not have a date but has Lupton Publishing Co New York as the publisher—It has a green hard back cover and has Federal book co on the bottom outside on binding.

I cannot find a copy on Abe books or Amazon. Meri, Thanks for the comment. I have 3 books that are dated back mid s mark Twain Christian science it was copyrighted in from Harpers and brothers publishers with a signature from T. The second book is the pioneers and patriots or America by John S. Abbott it has a signature and date on it from it was published by Dodd and mead in and the sparrowgrass papers by Frederic S. Cozzens dated back to and has signature and date on it all from the old feather and ink on it looking to see what they are worth. David, These books are not of high value.

Hello, your dictionary is not of high value and is not something we would offer at auction. I am having trouble with a book that I was hoping you could help with. The book has no date but says it is the complete and unabridged edition and has pages. On the cover Cristo is spelled Christo. It does have a couple of problems, the cloth on the top and bottom of the spine is a little worn and the binding is coming apart to the point that the first few pages are almost falling out. Any help you can give me is much appreciated, Thanks. Charles — This book is not of high value and is not something we would offer at auction.

Adia, To find out what your Zane Grey books may be worth at auction, please submit photos and an auction evaluation form on our website: I have 3 books handed down from great grandma: Hi Joanne, These old books are not of high value and are not something we would offer at auction. Published by Canton Press in just after the factory was built. It is signed buy the original owner of the book in the first book not on title page. All tissue paper in front of photos are intact. They are in pretty good shape, with one page folded in half down the center.

They there are old fingerprint throughout the books, but all pages seam intact and together. Slight wear on cover. There are obvious ink fades, missing letters and smears as well. What can you tell me about these books and what are they worth? I understand this is his previously unprinted biographical accounts from prison. Printed in Paris France. Funk and Wagnalls New York and London. I have carefully reviewed the list of books you sent. Thank you for taking the time to compile this information.

Many of us select and accumulate books, fewer collect like a bibliomaniac. The best course of action is probably to call in a generalist, who buys houses full of books just like yours. Fenimore Cooper books are not of high value and are not something we would offer at auction. You may be able to find out more about their value on a used book website: I have a 2nd edition of Marlowe.

Boston and New York: Houghton, Mifflin and Company. A All pages are intact, no tears, little wear on cover. Real good condition for age. I have a collection of Shakespeare books 38 of them , copyright date of by the University Society. Am wondering if they are worth anything. I have several books Old Yeller hardback library of congress Robin Hood hardback.

Dee, These books are not of high value and are not something we would offer at auction. I have a book called historical register containing An Impartial Relation of all Transactions, Foreing and Domestic with a Chronological Diary and this is the original volume 3 for the year and is printed by H. M and fold by T. Norris and it is really old book and hard to read.

I just wanted to know if it worth anything. Flora, To find out what your antique book may be worth at auction, please submit photos and an auction evaluation form on our website: I have found a book from my Great grandfathers collection which I find interesting. Each page has a red, thin lined border around it.

It also has gold Guilded page edges. It also lists this information: Frederick A Stokes Company… Can you tell me if this book has any value. Steven, This book of Robert Burns poems is not something we would handle at auction. I have a brown leather book by Irving Knickerbocker. Titled History of New York from the Beginning of the world to the end of the dutch dynasty authors revised edition.

It says only copys made. Can you please tell me what its worth? Two series on on, with illustrations in photography from pictures by T. Herrick, and Steel Portrates from I would also like to know what its worth please. Natalie, Thanks for the comment. Blackmore with Illustrations by Frank T. Merrill written in Both books are in good shape.

Thank you for any information you might be able to give me. It says lenox july 15, The book does not have a dust sleeve but is in very good shape. Is it worth anything? Mandy, This is a later edition, circa Published by The Commonwealth Fund, This book is red withgold embossing on the spine and a gold circle with a elephant and swastika on the cover. Feniomre cooper, NY , no cover Speeking pieces for little scholars and older pupils, Ellin peck, Boston , no cover ford v-8 car and trucks, By victor page NY , no cover where the red fern grows, By willson rawls, NY, , co cover bethlehem structural shapes, a week by themselves, By emilia norris, ny, no date, no cover Maine beautiful, wallace nutting, Massachusetts, , no cover the history of the town of bowdoinham , By silac adams, Maine , no cover dangerous days, by mary rineharnt, ny, , no cover the girlscouts rally, By kathryn gult, , no cover heart of the sunset, by rex beach, ny, , no cover the ramrodders, holman day, ny, , no cover the pride of palomar, by peter kyne, ny, , no cover the valley of the giants, by peter kyne, ny, , no cover the rider of golden bar, by william patterson white, boston, , no cover the thundering herd, zayne grey, ny, 1st adition.

Cammie, These books are not valuable, just the regular old books that people have to read. Please note that books with no covers from the 19th and 20th centuries are of little to no value, even if they may have some value in good condition. For an idea about what kinds of books end up in a rare book auction, check out our most recent catalog , from the June first auction. I have a book that I would like to sell but have no idea of value. Hardcover dark brown with black printing and design on front cover.. I have a couple sets I am wondering about the worth of: Crowell Company, New York, copyright Holly, These books are not of high value and are not something we would offer at auction.

I recently picked up a manuscript titled Autobiography of Erastus Johnson later published in Autobiography of Erastus Johnson a chronicle of pioneer life on the east coast and the west coast. The manuscript is in great condition and has pencil corrections throughout and author notes typed making reference to a second manuscript printed for the authors daughter however after contacting a descendant and learning what she had found in her genealogy research and the interest herself and members of the society bearing the families name had for obtaining the editions I need to seek a professional opinion.

The author mentions his last visit to his family in St. Where many of his immediate family are laid to rest. The University of Berkeley in California has the manuscript from and Edward Copenhagen of Harvard special collections showed some interest in obtaining it. I know that it is probably only valuable to a descendant however there is definitely an interest.

Here is a partial list of what we found:. Familiar Quotations, Bartlett, H. Caldwell, Publishers New York and Boston, unknown publishing date. Sumptibus Et Typis B. Bell and Sons, Ltd, Thank you for the comment. These are not books we would offer at auction. The books that are parts of sets volume VIII only, etc. There are a few others that may be of value but these struck me as the most likely. In most cases, books without imprint dates are later reprints. Rollo on the Rhine is a five volume set, and as a complete set has some value in the first edition Boston: Reynolds, , in good condition.

After seeking many avenues, I have only found a few red leather books by the same publisher, however they have different covers in the fact that the gold lettering and design on the binding exterior edge of the book has more design and lettering varies. All are published by Award Books Inc. I have been unable to find any documentation on the publisher or dates of printing. All pages are present and in great shape, the bindings of both books however have let go for the most part. It was published by Thomas Y.

Auctioneers and Appraisers

It is leather bound and in very good condition. Please let me know where i can find out the value of these and other books that i have. These books are likely not of high value. Hello, I have come across a book from Lithuania — and in Lithuanian text It is: And on the cover page is an inscription, which either seems to be a love poem or poem with the authors signature- it is handwritten in the Lithuanian language and is very difficult to interpret.

I am Very Curious and intrigued. Thank you in advance for any help Laurie.

Selling Antique Books, Part II: Eight Ways to Determine Your Books’ Value

Laurie, Thanks for the comment. All of the volumes are a burgundy color -and are in very good condition They were my grandparents — can you give me an idea of their value? Kathy, These Harvard Classics are not of high value and are not something we would offer at auction. Your insight would be appreciated. Paula, This copy of Alice in Wonderland is not of high value and is not something we would offer at auction.

It has a broken spine single split but all the pages are there. What might this book be worth? Should I get the spine repaired or leave it as is? Thank you very much. This book is not of high value and is not something we would offer at auction. I came across an antique leather bound Jane Eyre C.

Bront book but it is in French. I am unable to locate a copyright anywhere on it. Kelly, Thanks for the comment. Do you have any comment? Thank you in advance. Please submit photos and an auction evaluation form on our website: Published by Charles L. Just wondering if it is of any value. Lance, This edition of Huckleberry Finn is not something we would handle at auction.

Third Edition, revised and enlarged. Saunders, Walnut Street. There are ALSO inside it, two 4-page publications: Edited by John M. Also, can you recommend a good book restorer?