53. BRETON (JULES). Jeanne. Poème. FIRST EDITION. 12mo, original wrappers, uncut. Paris, 1880

Presentation copy from the Author, with inscription on the half-title. 54. [BROADHEAD (JAMES).] America and the Americans. Illustrated. 8vo, half brown levant morocco, gilt top, uncut. London, 1833 EXTRA-ILLUSTRATED by the insertion of 65 well-selected portraits and views, including portraits of well-known Americans, views of New York and other cities, bank-note vignettes, etc., etc.

55. BROWNELL (HENRY HOWARD). FIRST EDITION. 12mo, original boards. In a half levant morocco slip-case. New York, 1847 WITH PRESENTATION INSCRIPTION BY THE AUTHOR. "Alfred Tennyson, with the sincerest respects of the Author." Brownell was considered by Aldrich, Holmes, and Stedman as the greatest American writter of war lyrics.

56. BROWNING (ELIZABETH BARRETT). Original autograph manuscript: "Medea of Euripides." 5 pp. 4to, unsigned.

An unpublished and incomplete translation, written while the young poetess was studying the classics, about 1830.

57. BROWNING (ELIZABETH BARRETT). Original autograph manuscript: "The Epitaph of Moschus on Bion." 4 pp. 8vo, unsigned.

An unpublished translation written by the poetess, about 1830, during the period of her classical studies with the famous blind scholar, Hugh Stuart Boyd.

58. [BROWNING (ROBERT).] Il Principe di Niccolo Michiavelli. Portrait. 12mo, full black levant morocco, gilt back, gilt top, by Stikeman. Cosmopoli, 1769

ROBERT BROWNING'S COPY, with his signature on the fly-leaf. During Browning's stay in Italy, both he and Elizabeth Browning became much interested in Italian politics and history, in the records of which Machiavelli's famous book, "The Prince, still holds a most significant place, from the viewpoint of literature. This edition of 1769 is scarce. 59. BROWNING (ROBERT). The Ring and the Book. 4 vols. 12mo, full red calf, gilt backs.

London: Smith, Elder and Co., 1868-69 FIRST EDITION. With bookplate of George Aitchison.

60. BROWNING (ROBERT). In a Balcony. A Drama in Verse. Title within ornamental border. 12mo, cloth, gilt, uncut. The Laurentian Press, 1902

One of 265 copies on Van Gelder paper. 61. BROWNING (ROBERT). A. L. S., 11⁄2 pp. 4to. Venice, June, 1850. (Small hole.)

An interesting letter to his brother Reuben, in which he explains at length his financial difficulties while travelling due to lack of a credit. "I further explained the necessity of using Rothschild's credit-not being known at Venice-and begged you to apologize to him if it was necessary," etc.

62. BROWNING (ROBERT). Four Colored Caricature Heads, each on a separate sheet of paper, with several lines beneath in the handwriting of the artist.

These amusing little sketches are the work of Robert Browning, the father of the poet, who was quite talented with the pencil and brush.

63. [BROWNING (ROBERT AND ELIZABETH).] Italian Classics: including Dante, 3 vols.; Tasso, 4 vols.; Alfieri, 3 vols. Publicate da A. Buttura. Together 10 vols. 32mo, original half calf. Each volume in a half levant cover, and the set in a full levant morocco box. Parigi: Presso Lefevre, 1820-22

All but three of the volumes are inscribed by Elizabeth Barrett Browning, most of the inscriptions reading R. & E. Barrett Browning. Some are dated "Rome, 1861.''

These little volumes the two poets would carry around with them; and this is one of the most delightful association sets from the library of these two lovers.

64. BROWNING (ROBERT AND ELIZABETH).

tion of Original Manuscript Material relating to the Brownings. Bound with original photographs, portraits, transcripts, and a published article by Mr. Hellman on these papers. Inlaid to quarto. full brown levant morocco, gilt fillets, gilt edges, by Stikeman. Among the items of this most interesting collection are:

A. L. S. from Elizabeth's brother, making corrections as to the published date of her birth and other matters, with his mother's list of the birthdays of her children.

Letters and notes from Fanny Kemble to Elizabeth Browning, intimate and fine.

Autograph Poem to Elizabeth Browning, by G. P. R. James.

Autograph Poem by Walter Savage Landor, in memory of Mrs. Browning. Memorandum by Hugh Stuart Boyd regarding Elizabeth Browning's study of Aeschylus.

Photograph of the tomb of Elizabeth Browning, preserved among her husband's papers, and other items of equal interest.

ENGLISH ROYAL ASSOCIATION MANUSCRIPT WITH

CAXTON INTEREST

65. BRUT CHRONICLE. Manuscript belonging to Queen Elizabeth, wife of Edward IV, and possibly used by William Caxton. 110 leaves, of folio size, stitched. In a full green levant morocco solander case, by Sangorski & Sutcliffe. Sæc. XV.

A contemporary manuscript of the First English History written in English, and the earliest English book in existence coming from a Royal library and having a Royal autograph.

A fifteeenth century manuscript on paper written in English in characters similar to the type used by Caxton in the first printed edition of the work; long lines, 32 to a full page, red rubrics and numerous ornamental initials in red and blue. 110 leaves only, commencing with the end of chapter 6, and ending with King Edward I., sewed together wrongly, some chapters being misplaced, part of five leaves torn away and front margin throughout damaged by mice.

A very interesting example of the first English history written in the English language. Translated from the French. Usually called Caxton's Chronicle from having been continued by him from the year 1461 and first printed by him in 1480.

The date of the present manuscript would appear to be about 14741476 as the water-mark of the paper is of that period, and it is very interesting to note the similarity of the handwriting to Caxton's printed type.

There exist in the museums of England various versions of this chroniele in manuscript; in spite of the fact that the Caxton printed version shows variations from the text of this manuscript, there are many interesting points tending to confirm the theory that this manuscript passed through Caxton's hands. The only Caxton manuscript which is generally assumed to be authentic belongs to Cambridge University and there is much similarity between the handwriting of the manuscript there and this present one, but we would not venture to assert that it is in his autograph. Very noticeable, however, is the manner in which the top margins are used in both cases for flourishes and heightened letters. Caxton was a scribe and a translator before he became a printer and his work of translating from the French lasted to the very day of his death. Somewhere about 1469 Caxton's business position and manner of life appears to have undergone a considerable change. He entered the service of the Duchess of Burgundy, the sister of King Edward IV. The greater leisure that he then had gave him more opportunity to pursue his literary tastes and he began the translation of the book that was destined to be the first he printed. We know that he gave the manuscript of his book, "Le Recueil des Histoires de Troyes," to the Duchess of Burgundy, who was much interested in Caxton's literary work. It was in 1471 that he finished and presented this volume to his patroness. Now it is also a

matter of record that one of the finest copies still extant, of this, his first printed book (the Devonshire copy bought at the Roxburghe Sale), belonged to Elizabeth, the wife of Edward IV. and the sister-in-law of Caxton's patroness. It is a matter of prime interest that our present manuscript has at the top of the page which relates the encounter between King Arthur and Mordred the autograph of this same Queen Elizabeth. We find it there in the following curious form: "Elizabeth madre E. W." And why did the Queen exultingly write her name upon this particular page? Because Mordred the traitor symbolized in her mind Richard III who had betrayed Edward IV (her noble "King Arthur''). Richard III was now dead, while she once more enjoyed the prerogatives of a Queen. The initials E. W. are in the form of a monogram. Explanation of this signature becomes easy on consultation of the history of that period and then of the formed royal signature. The word 'madre" (mother) is accounted for by the fact that this Elizabeth was the queen-mother, her daughter, also Elizabeth, having become de jure Queen of England at the death of Edward IV. in 1483, and Queen de facto after her marriage had united the York and Lancaster lines. The monogram becomes clear when we recall that the name of Elizabeth, the wife of Edward IV., was Elizabeth Woodville, and the monogram becomes all the more interesting on knowing that Edward IV. was one of those comparatively few English monarchs who, after coming to the throne, signed his name in the form of a monogram. Caxton's first printed edition of the Chronicles appeared in 1480, and the present manuscript is of just about the same date. Another important point worthy of note is that a study of the papers used by Caxton in his books reveals some 15 or 20 different water-marks which frequently appear. The present manuscript shows two different water-marks, one being the pot with a cross on top and the other the unicorn, both of them being water-marks shown by the papers of Caxton. The fac-simile of the Caxton_manuscript at Cambridge is a portion of the translation from the French of the Metamorphoses of Ovid, and is reproduced in E. G. Duff's book on Caxton, published by the Caxton Society. A list of the existing original 15th century manuscripts of the Brut Chronicle may be found in Dr. F. W. Brie's work, published by the Early English Text Society, and scholarly information concerning the types of paper and water-marks of Caxton may be found in W. Blades' Life of Caxton.

Caxton's types varied and are classified by Blades into six important classes. It is rather the second division that the present manuscript most resembles.

Extravagant claims generally defeat their own purposes and there is no way of proving conclusively that the manuscript is Caxton's, or even that he used it in the preparation of his book. But the facts that it is just about the period that his book was printed, that the paper shows his water-marks, that it bears the autograph signature of the sister-inlaw of his patroness and the queen to whom he is known to have owed his first printed book, coupled with the fact that it was then the custom of scribes and translators to present their manuscripts to noble personages, combine to add to the interest of this manuscript, in itself of rare importance as a 15th century example written in English, forming a part of the first history of England, and coming from the library of an English Queen. [SEE ILLUSTRATION]

66. BRYANT (WILLIAM CULLEN). Original Manuscript of his poem entitled: "A Rain Dream.' Written on 7 pages of 18mo size, accompanied with an A. L. S. dated Dec. 4th, 1854, with which the manuscript was sent to the artist and author, William J. Stillman. Inlaid to 4to size and bound with a portrait of Bryant and a typewritten transcription of the MS. in full crimson levant morocco, the covers decorated with deep filleted borders, corner ornaments and the title, in gilt, doublures and ends of watered silk, gilt edges, by Stikeman.

Exceedingly Rare. The longest Bryant poetical manuscript that has been offered at auction in very many years. In the letter to Stillman the poet asks him to suggest a name for the poem. Stillman gave it the title "A Rain Dream," and wrote it at the beginning of the MS.

67. BRYANT (WILLIAM CULLEN). Hymns. 12mo, original SALMON COLORED cloth. [New York, 1864]

THE VERY RARE PRIVATELY PRINTED FIRST ISSUE, with the second line in the fourth stanza on page 9, reading "Dwells on Thy works in deep delight." Only a very small number of copies were issued for distribution among the author's friends.

The place and date of publication has been written in by the author. Also a presentation inscription from him to "Rev. Dr. West with the respects of Wm. C. Bryant. September, 1864."

68. BRYANT (WILLIAM CULLEN). A. L. S., 2 pp. 8vo. The Evening Post, N. Y. March 22, 1870. To J. R. Osgood. Speaks of correcting proof for his translation of the Iliad.

69. BRYANT (WILLIAM CULLEN). A. L. S., 1 p. 12mo. New York, Nov. 3, 1871. To James R. Osgood & Co., referring to his translation of the Odyssey. With 5 engraved portraits. 6 pieces. 70. BRYANT (WILLIAM CULLEN). Autograph Letter, Signed, 1 p. 12mo. 1870; Manuscript Stanza of four lines; Origi nal pencil Sketch of Bryant, by Jacques Reich. Framed together. The stanza is signed and dated August, 1870, and reads: "These struggling tides of Life, that seem

In wayward, aimless course to tend,
Are eddies of the mighty stream
That rolls to its appointed end."

And also he sents too Sezons pind too the Danes too holes hpm I And Also Hordrede fonte too cijel Drple too male mon come too bym ont of Say ons that wear. A worthi Anks. And by hoogt hym off that he brought moste people to GD/ he Walde ofinite hpm in her stage for aid more th the lands frome by zonde Hommbyrion too Scotlonde and all this londo of" "Engafte hade of ffartagiero quffs. Whamed that he hade pronfede Bus Donghters. And soo Explepho come grott strenght and power off people and word Died hadde sembled, in Gio haffer that the Gilde by Hyoff frough brightes vegan that the face d Doe Eynge Artorn enchas de Mordred of try For, and how he was slayne. And also Be W3.967 mordred on two Sethts & so he was well worthy e per Thame this heynge come too kyng ar