CONDITIONS OF SALE All bids to be PER LOT as numbered in the Catalogue. The highest bidder to be the buyer. In all cases of disputed bids the lot shall be resold, but the Auctioneer will use his judgment as to the good faith of all claims and his decision shall be final. Buyers to give their names and addresses and to make such cash payments on account as may be required, in default of which the lots purchased to be immediately resold. Goods bought to be removed at the close of each sale. If not so removed they will be at the sole risk of the purchaser, and subject to storage charges, and The Anderson Galleries, Incorporated, will not be responsible if such goods are lost, stolen, damaged or destroyed. TERMS CASH. If accounts are not paid at the conclusion of each sale, or, in the case of absent buyers, when bills are rendered, this Company reserves the right to recatalogue the goods for immediate sale without notice to the defaulting buyer, and all costs of such resale will be charged to the defaulter. This condition is without prejudice to the rights of the Company to enforce the sale contract and collect the amount due without such resale at its own option. Unsettled accounts are subject to interest at the rate of six per cent. per annum. All books are sold as catalogued, and are assumed to be in good SECOND-HAND condition. If material defects are found, not mentioned in the catalogue, the lot may be returned. Notice of such defects must be given promptly and the goods returned within ten days from the date of the sale. No exceptions will be made to this rule. Magazines and other periodicals, and all miscellaneous books arranged in parcels, are sold as they are, without recourse. Autograph Letters, Documents, Manuscripts and Bindings are sold as they are, without recourse. The utmost care is taken to authenticate and correctly describe items of this character, but this Company will not be responsible for errors, omissions, or defects of any kind. BIDS. We make no charge for executing orders for our customers and use all bids competitively, buying at the lowest price permitted by other bids. Priced Copy of this Catalogue may be secured for fifty cents for each session of the sale. A COLLECTION OF HIGH DISTINCTION SAMUEL PUTNAM AVERY had pre-eminently the gift of collecting. That, in its fullest sense, must, of course, imply the discriminating taste of the connoisseur joined to the flair of the collector. Those qualities were richly his. And they were his not only for himself but for all others. His was a personality that imposed itself despite his unobtrusive manner, and influenced the artistic life of his city. And as a collector he shared. "Ranging far outside the boundaries of pictorial art," said the New York Tribune, in an editorial of August 14th, 1904, "he swelled the list of his acquisitions with beautiful bindings, porcelains, and divers objects of artistic craftsmanship. Those treasures . . . he bestowed upon different institutions, so that while at the time of his death. he left his home still full of beautiful things, he had made in one direction or another a remarkable number of important gifts.' His acquisitions were not based on the facile persuasiveness of the plethoric pocketbook. In fact, he was apt to be ahead of the game, as when he was one of the first to collect Whistler's prints, or when he was picking up Daubigny's etchings on the quays of Paris at a couple of francs apiece. To his enlightened taste, and his collector's scent for the unique or rare or curious piece, he added the virtues of patience and perseverance. In the field of prints, for example, he was ever alert for an opportunity to pick up plates wanted to complete the work of certain artists, or to acquire some particularly desirable or rare state. There is, too, a note of the personal souvenir in all this, through his acquaintance or friendship with many artists. There resulted a large amount of illustrative and illuminative material (letters, penciled notes on prints, portraits, clippings,-"minor accessories," as Russell Sturgis once called them), quite a little of it through Avery's old friend in Paris, George A. Lucas, and all with a flavor quite its own. One side of this activity-a highly interesting autograph album illustrated with sketches by noted artists-is described in William A. Coffin's "Souvenirs of a Veteran Collector," published in The Century. His distinction as a collector was apparent whether he turned to prints, medals, bronzes, porcelains, spoons, or books. Appreciation of that fact, and of his public-spiritedness, is the dominant note in the articles and editorials which appeared at the time of his death. Theodore L. DeVinne, master printer, said, in the New York Genealogical and Biographical Record of January, 1905: "One of Mr. Avery's hobbies was the collection of fine books in fine bindings. Friendships that he had formed abroad in artistic and literary circles had made him acquainted with foragers of keener discrimination than are usually found among dealers in old books, and they have helped to add to his collection. To go through his library is an education in bindings. One will find there specimens of the oldest Italian and the most modern French, German and English binders. From the stamped missal of vellum, with silver clasps, and the carved ivory covers of medieval craftsmen, down to the carved leather and brilliant mosaic inlays of Pagnant, one may find excellent examples of the handicraft of able decorators of books for more than seven centuries." From this rich collection of superb bindings examples went to the exhibition held in 1903 in the Library of Columbia University, fully described in the catalogue published at the time.' Mr. Avery's fine connoisseurship showed itself in this collection of books as in his other activities, and it is precisely in this fact that the high importance of the present exhibition and sale is to be sought. FRANK WEITENKAMPF THE LIBRARY OF THE LATE SAMUEL P. AVERY FIRST SESSION LOTS 1-202 LYONNESE BINDING OF THE SIXTEENTH CENTURY 1. ABRAVANEL (LEON). Philosophie d'Amour de M. Leon Hebreu, Traduicte d'Italien en Francoys, par le Seigneur du Parc Champenois [Denis Sauvage]. Ornamental title-page, pages ruled in red. 8vo, full olive morocco, a central lozenge-shaped panel outlined by a two-line irregular curve springs from the middle of sides and ends. In the centre is an arabesque ornament of interlaced bands outlined in gold, with interstices filled with gold dots: azured ornaments at ends and sides of centrepiece; corner compartments filled with interlaced bands and gold dots. The rest of the panel is tooled with a semis of small gold lozenges. On the back is an arabesque pattern on a gold-dotted ground, gilt edges, gauffred and painted. A Lyon: Chez Guil. Rouille, 1551 LYONNESE BINDING OF THE SIXTEENTH CENTURY, UNPAINTED. Inside the cover is a circular bookplate, grapes and vines in gold and white, with the motto: "Inter folia fructus.' 2. ABUSES OF PRINTING. Expresse Commands From both the Honorable Houses of Parliaments containing . . . I. To all Justices . . . . that shall have Authority to administer the Oath of Allegiance and Supremacy, etc. II. That those abuses concerning the defence of His Majesties Forts not accomplished, be perfectly looked into. III. That the abuses of Printing be likewise Reformed. Title within ornamental border (cut close at foot). Small 4to, boards, morocco back. RARE. London: Printed for Robert Cotton, 1641 3. ACORN CLUB. The Hiding of the Charter. By Charles J. Hoadly. 8vo, boards, blue morocco back, gilt top, uncut. One of 100 copies. 4. ACORN CLUB. The Warwick Patent. Hoadly. 8vo, original wrappers, uncut. One of 102 copies. [Hartford] 1900 By Charles J. Acorn Club, 1902 |