Antonio Vinciguerra Satire Essay

Last Communist Standing: Notes on the Relation between Negri and Badiou

It is perhaps one of the many ironies of history that the two of the lastest intellectuals from Europe to be discussed and debated in “theory” circles are not “postmodernists” but two thinkers for whom “communism” remains an unavoidable point of reference, a word which is to be discussed, debated, and even contested, but not simply dismissed. Communism has outlived its various “pomo” gravediggers. I am talking about Antonio Negri and Alain Badiou. (I should also mention that I am omitting European liberals such as Luc Ferry, why would we import them? There is a glut in the market after all, and liberals should understand that.)

There has been very little discussion of the connections or relations between these two thinkers, despite the fact that Badiou opens his Logiques des Mondes (also published as Radical Philosophy “Democratic Materialism and the Materialist Dialectic”) with a criticism of Negri’s democratic materialism, his assertion that the body is the ultimate horizon of production. Now, I think that this criticism, which links Negri to a kind of ineffective pluralism through the assertion of biopower, a kind of bad infinity in which humanity is made up of multiple particularities, like so many exotic fauna, is patently unfair, given the fact that Negri’s thought has rigorously avoided such liberal platitudes. That in itself is not important, as Deleuze writes “ encounters between independent thinkers always occur in a blind zone.” So in the spirit of this blind zone, I would like to outline points of contact and disagreement. I should say from the outset that despite my invocation of Logiques des Mondes, which arrived in the mail last week, as of late I have been reading old Badiou (De l’idéologie and Théorie du sujet) and old Negri for that matter, Books for Burning and Labor of Dionysus, so this may end up being about a point of contact between their work in the seventies and eighties.

1) The primacy of revolt: In Badiou’s (and Francois Balmes) little pamphlet, which is primarily a polemic against Althusser’s ISA essay, Badiou and Balmes argue that ideology can only be understood dialectically, as a struggle between domination and revolt. Moreover, in this dialectic revolt is primary, “c’est la résistance qui est le secret de la domination.” Of course this argument of the primacy of revolt could be dismissed as a product of Badiou’s Maoism (“It is always right to revolt”). The primacy of revolt perists, however, through Badiou’s writing on the event. Badiou argues that Nazism can only be understood from the perspective of an event of a successful revolution, the simulacrum of the event can only be understood from the event itself, or, as he states in Ethics, evil from the standpoint of the good. This “primacy of revolt” is structurally similar to the famous “autonomist hypothesis,” in which resistance precedes and prefigures domination. Thus, Badiou and Negri are two thinkers for whom have a generally philosophical (even ontological) commitment to revolution; it is not just something which should be done, but something that must be posited to comprehend the world.

2) The discontinuous continuity of the subject: For both Badiou and Negri politics always passes through a subject. (As Badiou wrote somewhat dogmatically in Théorie du Sujet, “Every subject is political. That is why there are so few subjects, and so little politics.”) The connection between politics and subjectivity is not continuous but is made up of real breaks and ruptures. As Badiou writes: “This political subject has gone under various names. He used to be referred to as a ‘citizen,’ certainly not in the sense of the elector or town councilor, but in the sense of the Jacobin of 1793. He used to be called ‘professional revolutionary.’ He used to be called ‘grassroots militant.’ We seem to be living in a time when his name is suspended, a time when we must find a new name for him.” Negri’s history has different names, mass worker, social worker, and finally, immaterial labor and the multitude itself. In Badiou’s case this series seems to relate primarily to the political activism, to its subjective dimension, while for Negri the series is constituted by transformations of “class composition.” Thus it possible to simply place Badiou on the side of politics, even voluntarism, and Negri on the side of the economy, and an economism of sorts. However, I think that the actually situation is more complicated.

3) The Excess of the state: This is perhaps a legacy of Marx, for whom the state is not an expression of the community, but a monstrous machine standing above it. In Badiou’s thought this takes a mathematic formulation, inclusion is in excess of belonging. Or, put politically, the state does not deal with individuals, but with classes, groups, it represents and codifies what has been presented. As Badiou writes in Being and Event, “To say of the state that it is of the bourgeoisie has the advantage of underlining that the state re-presents something that has already been historically and socially presented.” Representation is the codification of what exists. For Negri the state also has to be understood as an excess and overdetermination. As the factory is extended across society, so has the structure of command. As Negri writes, “If the factory has been extended across the social plane, then organization and subordination, in their varying relationship of interpenetration, are equally spread across the entire society.” The point of commonality, besides a return and transformation of Marxist state theory, can be understood in opposition to both a Foucaultian tendency to reduce the state to micropowers and a liberal tendency to see the state as a possible defense against the market. For Badiou and Negri the state has to be thought and fought in its excess.

4) Ontology: Now it is on this point that the two perhaps diverge the most. However, there is at least a similar turn toward ontology in both thinkers at about the same time, during the 1980s. Of course this can be interpreted as a response to a similar, or at least connected, set of events: that is, the collapse of a radical activity, and thus “the consolations of philosophy.” That is probably true, but what interests me is the way this ontology makes possible a rethinking of practice itself, what Badiou calls intervention and Negri constitutive practice.

More in Part II


(A Classic of Curmudgeon'ry). Whistler, James McNeill.   The gentle art of making enemies: Edited by Sheridan Ford. New York [i.e., Antwerp]: “Frederick Stokes & Brother”, 1890. 12mo (17.4 cm, 6.9"). [8], xi–xvii, [2], 21–256, [6 (2 adv.)] pp.
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    •  First edition:  Collected exchanges of letters in which the artist harangues his critics, including arch-nemesis John Ruskin, Oscar Wilde, Tom Taylor, Harry Quilter, Theodore Child, and many others. Whistler's sarcasm and venom know no bounds, nor does his commitment to defending his aesthetic philosophy.
    This pirated edition, quickly suppressed by Whistler, was produced immediately after the artist first gave and then withdrew publishing permission from the American journalist Sheridan Ford. It thus preceded the author's printing, and differs notably from the later, officially published text, providingmore Wilde correspondence as well as record of the final bitter spat between Ford and Whistler — and it gives only Ford's name on the cover, spine, and title-page, with no mention of Whistler himself until he appears in the preliminary note.

    While Ford used the Stokes name on this Antwerp printing (and again later in the same year on a Parisian printing to which he resorted after Whistler's representatives successfully halted the Belgian production and confiscated most of the existing copies), Stokes denied having been involved in any way.

    Provenance:  Inked inscription of noted educator and book collector Jahu Dewitt Miller on final blank page.

    •  For the story of Ford's pirated edition, see: E.R. & J. Pennell's Life of Whistler, 1908, V. II chap. 34, pp. 100–13.   Publisher's heavy gray paper wrappers, front wrapper with title stamped in red; spine creased and sunned, corners rubbed, rear wrapper very unobtrusively reinforced. Now housed in a violet cloth–covered chemise and a quarter deep purple morocco and violet cloth–covered slip case, with outer box edge and case spine and front cover sunned, case showing light shelfwear overall. Front two fly-leaves with short tear from upper margin; a very few instances of light spotting, generally not occurring within text. With laid-in auction catalogue information regarding publication and textual details; final blank page with inked inscription as above. Now very uncommon.  (36545)

Highlighted entries are typically repeated in their
expectable alphabetical places, below . . .

ORIGINALParts in Finely PreservedORIGINALWrappers
À Beckett, Gilbert Abbott; John Leech, illus.  The comic history of England. London: Published at the Punch Office, 1846–48. 8vo (22 cm, 8.75"). 20 monthly parts in 19.

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    •  Original parts issue of this playfully expounded yet actually generally accurate English history, written by one of the original staff members of Punch. John Leech's famous illustrations, including20 hand-colored plates as well as 120 in-text steel engravings and woodcuts, feature Abbott à Beckett's historic figures portrayed with amusing contemporary touches; e.g., William the Conqueror has a handlebar moustache, a portrait of a medieval king being medically treated features patent medicine placards in the background, and Henry VIII wears an opera hat a-Maying while his queen on the occasion carries a pink parasol. In all, of course, as was to be the case also with this duo's Comic History of Rome, the history/“history” comments on the readers' own time.
    These parts (i.e., fascicles) were published between July 1846 and February 1848 and the expectation was that the purchasers of the parts would have them bound when the last part was received. Consequently half-titles (printed in red), title-pages (printed in red and black), and preliminaries were printed at the end of parts 11 and 19–20, and are present here.

    Comparing this set of parts to Field's collation we find one ad slip lacking in No. 19/20, but an extra (uncalled-for) one in No. 4. Four of the wrappers (Nos. 1, 2, 18, 19/20) contain different ads than those specified by Field, but clearly these are original and authentic (possibly states of the wrappers?).

    •  Tooley, Coloured Plates (1979 ed.), 295–96; Field, John Leech on My Shelves, 130–37; Ray, Illustrator and the Book in England, 136.  The condition of the set is remarkably fine:  The first part has only the slightest wear at its extremities, but otherwise there is virtually no wear or soiling to the set. Housed in a quarter dark red morocco open-back slipcase with raised bands and an inner chemise, with some abrading to the slipcase.  (38151)

Funny *&*Educational — Illustrated Roman Shenanigans
Abbott à Beckett, Gilbert.  The comic history of Rome. [London]: Bradbury, Evans, & Co., [ca. 1852]. 8vo (22 cm, 8.7"). xii, 308 pp.; 10 col. plts., illus.

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    •  Sequel to the Comic History of England: An amusingly interpreted — but, broadly speaking, generally accurate — history of Rome from its founding through the fall of Caesar, written by one of the original staff members of Punch. Originally issued serially in parts, the work appears here in a very early book-form edition. John Leech supplied the illustrations, including10 hand-colored plates as well as numerous in-text steel engravings and woodcuts. Leech's designs feature historic figures with a delightful contemporary spin, including Romans wearing top hats and greatcoats, dancing ballroom waltzes, and checking pocket watches, with the clever visual allusions and the tone of the text combining to suggesttrenchant commentary on Victorian society and mores.

    Binding:  Publisher's textured green cloth, front cover and spine with gilt-stamped vignettes. All edges gilt.

    •  NSTC 2A1051.   Binding as above, moderate rubbing to edges and extremities with top of spine pulled, gilt vignettes showing slight rubbing. Early pencilled ownership inscription in upper portion of first text page; some plate leaves a bit more age-toned than others or than text leaves. Overall both attractive and entertaining.  (37284)

20th-Century Fine-Press Printing . . .
of a 16th-Century Edition . . .
    of an Ancient Greek Romance . . .
Achilles Tatius.  The loves of Clitophon and Leucippe translated from the Greek of Achilles Tatius by William Burton reprinted for the first time from a copy now unique. New York: Bernard Guilbert Guerney, 1923. Folio (30.5 cm, 12"). xxxi, [9], 152, [6] pp.

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    •  First printing of this edition of what's sometimes spoken of as a sort of protonovel; based on Thomas Creede's 1597 printing of the first English translation, it is here edited by Stephen Gaselee and H.F.B. Brett-Smith. The volume was printed at Stratford-upon-Avon by the Shakespeare Head Press, on Batchelor's Kelmscott handmade paper with untrimmed edges; the title-page is printed in red and black.

    This isnumbered copy 459 of a total of 503 printed (394 for sale in Great Britain, 104 for sale in America, and 5 special copies on vellum), signed B.G.G. on the limitation.

    •  Publisher's quarter tan cloth and brown paper–covered sides, front cover and spine each with printed paper label; corners bumped, spine darkened, spine label chipped. Pages clean; edges deckle with a very few signatures uncut.  (33816)

Brunet: “Belle Édition” — Sole Italian Estienne — Tall Copy
Alamanni, Luigi.  La coltivatione di Luigi Alamanni al christianissimo re Francesco Primo. Parigi: Ruberto Stephano, 1546. 8vo (20.8 cm, 8.2"). [2], 154, [2] ff.

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    •  First edition of Alamanni’s “famous didactic poem on the care of fields and gardens” (Schreiber, Estiennes), inspired by Virgil’s Georgics. The author was a Florentine-born humanist, poet, and diplomat who spent much of his life in the service of Francis I and Henry II of France, and who — possibly as a peace offering for having once participated in a conspiracy against her father — dedicated the present work to the Dauphine, Catherine de’ Medici.
    Set in Simon de Colines’s Great Primer Chancery Italic, this poetic tribute to agriculture isthe only work Estienne printed in Italian. Schreiber notes that the tallest copy he had seen measured 8 1/4", with the current example coming very close to that; the dedication, errata, and privilege are all present here.

    Provenance:  Front pastedown with bookplates of Fratelli Salimbeni (with shelving number) and of “G.P.C.” (with woodcut image of Pegasus and motto “Nec adversa retorquent”); front fly-leaf with early inked annotation “H.III.161" and lined-through (still partially legible) inscription “Bibliotheque Vallicellane”; title-page with early inked inscription “Petri Salvati - V.” surrounding printer’s vignette, and obscured inscription in lower portion. Later in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

    •  Adams A409; Brunet, I, 125; Renouard, Estienne, 68:22; Schreiber, Estiennes, 88.   Later vellum, spine with gilt-stamped red leather title-label and gilt-stamped blue leather publication label; vellum with minimal dust-soiling and traces of wear to extremities, two bottom-most spine compartments with later replacement (blank) vellum “labels,” one now starting to peel slightly. All edges stained blue. Bookplates and inscriptions as above; front free endpaper with later pencilled annotations (one giving incorrect Adams reference). One early inked marginal annotation. Pages gently age-toned, with intermittent minor foxing to margins; final leaf with small paper flaws in lower margin. An attractive copy of an interesting and significant volume.  (37916)

Alamanni, Luigi.  La coltivazione et gli epigrammi ... e Le api di Giovanni Rucellai, geniluomini Fiorentini; colle annotazioni del Signor Dottor Giuseppe Bianchini. Venezia: Stamperia Remondini, 1756. 8vo (17.5 cm, 6.8"). Frontis., 96, [2], 280 pp.

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    •  Two long didactic poems, one on agriculture and one on bees (originally published in 1546 and 1539, respectively), each an important example of the form in Italian, here in a later edition.
    While Rucellai's piece appeared first, Alamanni's contains more original material and less content directly derived from Vergil; both works appear here with extensive notes and with attractive woodcut headpieces and capitals, followinga title-page printed in red and black and an engraved portrait of Alamanni.

    WorldCat lists no U.S. institutional holdings of this edition.

    Provenance: From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

    •  Goldsmiths'-Kress 9103.0-1.   19th-century quarter diced brown sheep with marbled paper sides done in imitation of tree calf; spine gilt-stamped with title and decorative bands; corners bumped and leather lightly worn, foot of spine discolored from a now-absent label, red-inked onetime price note on fly-leaf, otherwise clean and fresh. Title-page with outer portion restored and one letter supplied; some occasional light spotting or staining but text really quite clean. A nice old book.  (37453)

Signed Binding —Pure Gold
Albin, Thomas, ed.  Pure gold from the rivers of wisdom. Edited by the author of “Affection's keepsake.” New York: D. Appleton & Co., 1841. 32mo (10.5 cm; 4.25"). [1 (ads)] f., 126 pp., [2 (ads)] pp.; frontis. (included in pagination).

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    •  First American edition, “From the twentieth London edition.” A near-miniature gift book anthology of quotations from the writing of famous and little-known authors: The quotations range from more than a page and a half to a single short sentence, but all have moral pith and sage advice on living happily and uprightly. The women and men of letters who are excerpted range from Hannah More to Dr. Johnson and on to St. Augustine, Seneca, Jeremy Taylor, Southey, Fenelon, William Penn, Jane Taylor, and the ever lurking Anonymous. But NOT Shakespeare!

    The frontispiece (retaining its tissue guard) is an engraving by Thomas Phillibrown showing a young male writer in a sea-side cave with a quill pen, leaning on his writing pad and looking for inspiration.

    Binding:  Signed binding (embossed stamp on front fly-leaf) by B. Bradley of Boston. Green cloth, spine stamped in gold with vines, grapes, and title; stamped in blind on covers featuring birds and vines. Yellow calendared endpapers. All edges gilt.

    Provenance:  Mid- to late-19th-century pencil signature of L.A. Nichols.

    •  American Imprints 41-128.   Binding as above. Minor discoloration in a few inner and foremargins; offsetting from frontispiece to title-page despite tissue (or because of it). Very good.  (36017)

One Poem on an “Air Balloon”&a *FUNNY*One Called
“A Receipt for Writing a Novel”
Alcock, Mary.  Poems, &c. &c. by the late Mrs. Mary Alcock. London: C. Dilly, 1799. 8vo. vii, [3], 183, [1] pp. (lacking subscribers list).

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    • First edition: Published posthumously and edited by Joanna Hughes, this includes poetry, brief essays, and dramatic bits quite variously religious, political, and/or social-satirical ? with also a few riddles and charades!  Here with preface, but lacking list of subscribers.

    Provenance: Title-page with early inked name “Timothy Tynell” in upper margin and ink smear to inner margin; early inked gift inscription (“J. Sadler given to him by W. Clanton”) between verses on p. 3.

    •  ESTC T86344.   19th-century half calf over marbled paper, much worn and abraded with covers detached, last few leaves starting to separate, and leather partially lost over spine; an ex-library, reading copy worthy of rebinding — covers pressure-stamped by a now-defunct institution, title-page and several others rubber-stamped, back free endpaper with pocket. Lacking extensive (25 pp.) subscribers' list (only). Pages with light to moderate spotting and a few short edge tears, not touching text.  (17696)

Romance in the Bluegrass State
Allen, James Lane, & Hugh Thomson, illus.  A Kentucky cardinal; and Aftermath. New York: Macmillan & Co., 1900. 8vo (20.9 cm, 8.25"). xxxii, 276, [4] pp.

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    •  First printing of this “new edition,” revised and with a new preface and with100 charming illustrations by Hugh Thomson, best known for his illustrations of works by Jane Austen and Charles Dickens. Recluse Adam's lifelong dedication to nature troubles his romance with society girl Georgianna; when she requests the capture of a Kentucky cardinal, Adam struggles between his respect for nature and his love for her. He ultimately chooses Georgianna and their love suffers, but then grows as a result.

    James Lane Allen's depiction of Kentucky's people and culture won him the title of“Kentucky's first important novelist.” A Kentucky Cardinal and its sequel, Aftermath, were his third and fourth novels published.

    Binding:  Publisher's hunter green cloth with gilt lettering and all-over decoration of foliage and cardinals to front board and spine. Fore- and bottom edges untrimmed; top edge gilt.

    •  Bound as above; spine faded and light rubbing to rear board. Very minor crack at front hinge (inside) and another minor crack at gutter, p. 46; interior clean. A lovingly illustrated tale in a beautiful binding.  (37532)

“The Genuine& the ONLY Writings of Our Author”
Allestree, Richard.  The works of the learned and pious author of The Whole Duty of Man. London: Pr. at the Theater in Oxford & in London by Roger Norton for George Pawlett, 1684. Folio (36 cm, 14.2"). Frontis., [14], 456 (i.e., 458; 141/42 repeated), [12], 240, [6], 241–322, [6] pp.

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    •  First edition of this compilation of works by Allestree, an edition intended “that these most useful writings . . . may be secur'd from the attemts [sic] of needy pilferers, and the nightwork of underground presses” (p. [iii]). The Whole Duty of Man, the first piece, was one of the great High Church devotional works, almost universally attributed to Allestree although its first appearance in 1658 was anonymous; accompanying it here are The Ladies Calling, The Art of Contentment, The Government of the Tongue, and The Lively Oracles Given to Us, among other pieces.
    The volume opens with an interestingcopper-engraved frontispiece done by Michael Burghers, featuring a veiled Moses presenting the 10 Commandments (captioned in the plate, “Till Moses had don [sic] speaking, he put a veil on his face. Exod. 34.33"), and a title-page vignette of the Sheldonian Theatre. Each work in the first part has its own separate title-page: The Causes of the Decay of Christian Piety and The Gentleman's Calling are both dated 1683, while the sectional title-page marking the “Second Part of the Works of the Learned and Pious Author of The Whole Duty of Man” is dated 1684; the works in the second part have half-titles.

    The ESTC general note for this edition reads: “An edition ascribed to John Fell, Bishop of Oxford, of anonymous works all published separately between 1658 and 1678. The three forming the first part have special title pages; those in “The second part” have half titles only. The editor calls them “the genuine and only writings of our author” and mentions a number of spurious ones recently published.”

    •  ESTC R20055; Wing (rev. ed.) A1082.   18th-century half calf and marbled paper–covered sides, much worn and rubbed, leather all but lost over corners and portions of paper lost; sewing loosening in early sections with text block starting to pull away from spine, mounting of tipped-in frontispiece partially split, first few leaves separating. Front pastedown with two institutional bookplates; lower (closed) edges, front free endpaper, frontispiece recto (not image), and back pastedown rubber-stamped. Title-page with early ownership inscription neatly inked in upper outer corner. One leaf (in preface to first work) with lower portion torn away, with loss of most of eight lines on each side; one leaf with short tear from lower margin extending into a few lines without loss; one leaf with lower outer corner torn, touching a few words without loss. Intermittent instances of light to moderate waterstaining to varying portions of leaves; two to three spots of pinhole worming throughout, sometimes touching individual letters without loss of sense, with spots slightly larger in beginning of second part. Last section with puncture hole affecting a few letters, not obscuring sense. Lower outer corners of a few leaves proud and bent in. Faults to be noted for sure, but complete except for the noted lines in that preface and a wholly useable copy of the main text by Allestree.  (35286)

Splendid Ceremonyfor aSad Remembrance, with thePLATE
Alvitez, Alejo de.  Puntual descripcion, funebre lamento, y sumptuoso tumulo, de la regia doliente pompa, con que en la Santa Iglesia Metropolitana de la Ciudad de los Reyes, Lima, corte de la America Austral, mando solemnizar las reales exequias de la serenissima señora, la señora doña Mariana Josepha de Austria, reyna fidelissima de Portugal, y de los Algarves, el dia 15. de marzo de 1756. [Lima: Juan Jose Gonzalez de Cossio, 1757]. 4to (20.5 cm; 8"). [2] ff., 79, [1 (blank)], 80–237 pp., [4], [49] ff., fold. plate, illus.

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    •  Very special ceremonies commemorated the death of a king or a queen. In Lima at the midpoint of the 18th century news arrived in the viceregal capital of the passing of Queen Maria Anna Josefa (1683–1754), consort of John V, King of Portugal. She died on 14 August and plans were immediately proposed for commemorating her life and death when the news arrived in Peru in the early months of 1755.
    Poems were solicited, designs for the ceremonial cenotaph were proposed, special events were planned, a sermon-giver was selected: And this volume was printed to tell later generations about those events as they were eventually accomplished on 15 March 1756. We learn from the volume who the special dignitaries were, who said what, and what the processions and the order of the marchers were; and we are given a detailed description of the cenotaph, its ornaments, and the texts of the poems and epigrams (chiefly on pp. 80 through 237) recited. The editor, Alvitez, was a Franciscan.
    Fray Francisco Ponze de Leon, a Mercedarian, chief regent of the Royal University of San Marcos, gave the “Oracion funebre, que a la memoria de la fidelissima señora doña Mariana Josepha de Austria,” which occupies the final 49 leaves here.

    Fray Antonio de Contreras, another Mercedarian, engraved the likeness of the elaborate cenotaph that the viceroy had constructed for the day honoring the late queen.The plate is large and folding.

    The poems are romances, redondillas, sonnets, decimas, etc. One poem is even an example of concrete poetry and two others are in Portuguese! (by Antonio Alberto, and Juan Julian Capetillo de la Sota, who also supplied a poem in ENGLISH). The poets include Viceroy Jose Manso de Velasco; Nicolás Sarmiento de Sotomayor y los Ríos del Campo, IV conde del Portillo; various other nobles; and one woman, Josefa Brava de Lagunas y Villela.

    Provenance:  19th-century bookplate of Guillermo Miguel Irarrazabal.

    The number of “splendid ceremonies” books produced in colonial Peru is small: There is no census but we suspect the number to be fewer than nine.

    Searches of NUC and WoldCat find only five copies in U.S. libraries, not all of them complete with the plate. Searches of WorldCat, COPAC, CCPB, and KVK locate only 4 other copies worldwide.

    •  Medina, Lima, 1103; Vargas Ugarte, Impresos peruanos, 1736.   Contemporary limp vellum, lacking ties. Unidentified rubber-stamp on front free endpaper (smudged, indistinct). Repair to rear free endpaper and small repair to folding plate. Clean, crisp, unwormed. A very good copy.  (34629)

Tales for the Ageless: ILLUSTRATEDFairy Tales,
Andersen, Hans Christian; Nathaniel Hawthorne; Charles Perrault; et al.   Aladdin and the wonderful lamp. Joseph and his brothers. The three bears. The ugly duckling. The sleeping beauty in the wood. The tale of Ali Baba and the forty thieves. Bluebeard. Hansel and Gretel. Jack and the beanstalk. The emperor's new clothes. Pandora's box. King Midas and the golden touch. Beauty and the beast. Dick Whittington and his cat. St. George and the dragon. New York: The Limited Editions Club, 1949-1952. 8vo (31 cm, 12.1"). 15 vols. Illus.
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    •  Complete setof theentire 15-volume run of the Evergreen Tales, the Limited Editions Club's only books specifically produced and labelled as being for children — the Club's gathering of what they considered to be the most beloved and time-honored of classic children's stories. Edited by Jean Hersholt, these lovingly prepared renditions were illustrated by some of the LEC's biggest names, including Arthur Szyk, Edy Legrand, Raffaelo Busoni, Fritz Eichenberg, et al.  Many of the volumes are signed at the colophon by Hersholt, andillustrators who signed are: Edward Ardizzone, Everett Gee Jackson, Ervine Metzl, Robert Lawson, Henry C. Pitz, Busoni, and Eichenberg.
    These examples are numbered copy 238 of either 2000 or 2500 printed depending on the set (except for one trio out of the five, which is numbered 236); the appropriate LEC newsletter is present.
    •  Bibliography of the Fine Books Published by the Limited Editions Club, 1931-3, 2024-6, 2037-9, 22210-13, 22812-15.   Publisher's cloth of various colors, eight volumes in the original glassine dust wrappers, all in publisher's red paper–covered slipcases with printed paper spine labels; some wrappers with tears or chips, slipcase spines gently sunned, slipcases showing light shelfwear overall with Aladdin set case dust-soiled, Emperor's New Clothes spine lettering rubbed. Ali Baba and a few other volumes with scattered spots of light foxing, overall most pages clean. Newsletter moderately worn. Complete sets are uncommon; this one shows no signs of having been in the hands of any actual child.  (30766)

Advice on All Sorts of Things
Andrelini, Publio Fausto.  P. Fausti Andrelini foroliuiensis Hecatodistichon. [Paris]: V[a]enundatur a M. Nicolao De Barra, [1519]. 4to (19.7 cm, 7.75"). [30] pp. (final blank lacking).

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    •  Posthumous — but still early — edition of Andrelini's collection of epigrams addressing a variety of groups and topics, including readers, sleep, and faith; here inthe first edition edited by Jean Vatel and with his commentary. Andrelini (ca. 1462–1518) was an Italian humanist, friend of Erasmus (until a dramatic break in 1511), and poet royal to both Charles VIII and Queen Anne of Brittany. Vatel was a similarly intriguing Renaissance man — the “data” page of the website of the Bibliothèque Nationale de France designates him, “Clerc, humaniste, professeur de grec, traducteur et commentateur, éditeur, dessinateur de caractères typographiques et imprimeur-libraire.” Andrew Pettegree and Malcolm Walsby's bibliography of pre-1601 French books shows that Vatel was greatly interested in Andrelini and edited at least a dozen of his works; his commentary for this text was subsequently reprinted numerous times in the 16th and 17th centuries.
    The text is neatly printed in two different sizes of roman font with one decorative and one historiated initial (a Virgin and Child); a sizable printer's device appears on the title-page. Searches of the NUC, WorldCat, and COPAC reveal only one U.S. institution (Yale) reporting owning this edition.

    Provenance:  From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

    •  Moreau, Éditions parisiennes du XVI siècle, II, 1972; Brunet, I, 271–2; Graesse, Trésor de livres rares, I, 121; not in Adams. On Andrelini, see: Contemporaries of Erasmus, I; Pettegree & Walsby, French Vernacular Books: Books Published in France before 1601, 53120.   Modern red foliate patterned paper–covered boards with gilt orange leather spine label, final blank lacking. Short interior tear without loss to title-page (perhaps a paper flaw?); light waterstaining and/or offsetting from old binding to upper outer corners and a little dust-soiling or creasing (the latter perhaps in the press). Light pencilling on one endpaper and one pencilled word on final page. In fact withal a very pleasing little book.  (38015)

A Merrie Crew?
Angelique, Pierre [pseud. of Georges Bataille].  A tale of satisfied desire. Paris: The Olympia Press, July 1953. 8vo (18.3 cm, 7.2"). 105, [5] pp.

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    •  First English edition of the novella Histoire de l'oeil (1928) by French writer Georges Bataille (1897–1962). In each chapter, the young male narrator describes a sexual encounter with his friend Simone accompanied by a varying group of girls and boys who also enjoy asphyxiophilia, anal stimulation, exhibitionism, clothes wetting and other forms of urolagnia.

    Histoire de l'oeil was translated from the French as A tale of satisfied desire by “Audiart,” a pseudonym for Austryn Wainhouse (a.k.a. Pieralessandro Casavini), an American Harvard graduate employed by the Olympia Press in Paris who received the National Book Award in 1972 for his translation of Jacques Monod's Chance and Necessity. Adapted from Bataille's revised text, first printed in 1944 — the second version, and standard French edition — this translation appeared about the same time as the third French edition. Bataille worked on other projects with both Wainhouse and Maurice Girodias, founder of the Olympia Press, and probably knew of this translation.

    The Olympia Press specialized in providing the types of books that would be automatically banned in Britain and the United States. The first to publish Nabokov's Lolita and Donleavy's Ginger Man, Olympia also printed numerous exuberantly pornographic works penned pseudonymously by members of the Paris expatriate community, as well as avant-garde and controversial works by prominent Beat writers including William S. Burroughs and Gregory Corso.

    Scarce:WorldCat locates just three copies in the U.S.

    •  D. Cullen, ed., “Bataille's Eye & ICI Field Notes 4,” The Institute of Cultural Inquiry (1997), p. 25. On this work as censored, see: L. Sigel, International exposure: perspectives on modern European pornography, 1800–2000, pp. 129–30.   Publisher's mustard-colored wrappers printed in black, with white stars and bars; extremities rubbed, wrappers a little scuffed, inside like new.  (30200)

Lots of Laughs&Illustrated TOO
Anstey, Christopher.  The new Bath guide: or, memoirs of the B-n-r-d family. London: C. Whittingham ... for the Associated Booksellers, 1800. 16mo (16.4 cm; 6.5"). viii, 155, [5 (adv.)] pp., [5] plts.

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    •  “New edition” of Christopher Anstey's popular, good-humored “New Bath Guide,” an epistolary poem about the Blunderhead family's adventures in Bath originally published in 1766 and still in print today. This edition bears five humorous engraved plates by Tayler after Baynes dated 1 September 1797. Advertisements for books by Vernor and Hood follow the poem; the volume is printed on wove paper with watermark date of 1798.

    Provenance:  Inked inscription “H.H.L.C.—“ on title-page; later in the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

    •  ESTC T83541.   Late 19th-century half red morocco and marbled paper covered boards, modest gilt stamping, ruling, and lettering; marbled endpapers matching cover paper, all edges marbled. Very light rubbing. Plates variably with foxing and a narrow border of old waterstaining, offsetting from this and from the engravings themselves (again “variably”) to nearby leaves; text otherwise clean save in last section where faded evidence shows old water exposure more generally. Ownership note as above, a few small pencil marks on endpapers and a flourish highlighting one quatrain.  (37823)

The Best of 16th-Century Italian Satire
Ariosto, Ludovico, & others; Francesco Sansovino, ed.  Sette libri di satire di Ludovico Ariosto, Hercole Bentivogli, Luigi Alemanni, Pietro Nelli, Antonino Vinciguerra, Francesco Sansovino, ed altri scrittori. Venice: Appresso Fabio, & Agostin Zopini fratelli, 1583. 8vo (14.6 cm, 5.75"). [8], 206, [1] ff. (lacking original final blank).

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    •  Later edition of collected satires by famous Italian authors, edited by one of them, Francesco Sansovino (1521–86).
    Sansovino dedicates this collection to the historian Camillo Portio (Porzio, 1526 – ca. 1580), and introduces it with an essay on the material of satire, which he breaks down as “pure simplicity, with severe acerbity, sometimes mixed with a bit of salt, or with some feature [that is] tasty, and acute.” Prior to this, Sansovino also worked on the satires of Ariosto (1474–1533), separately published.

    The text is divided into sections by author, each of whom the editor introduces with a brief biography. A short abstract printed in roman precedes each poem, printed in italic. Fine woodcut head- and tailpieces, and a variety of initials in historiated, patterned, and factotum designs, decorate the text; and the title-page features the woodcut printers' device of Truth personified, flanked by an eagle, a lion, a bull, and an angel, representing the Four Evangelists.

    Provenance:  Ownership inscription on front fly-leaf of Luigi Pagani Cesa, possibly the Italian jurist born at Belluno in 1855, who served as a member of Parliament for 1904–13; and the words “penso che” (“I think that . . .”) written above, in an earlier hand?

    •  Adams A1691; CNCE 2806.   Later glazed cream-colored boards, title and date inked on upper spine, small paper label on lower spine, marbled red edges; boards soiled and front joint opening. One spot of worming on front pastedown and on colophon leaf; traces of former mounting on colophon leaf verso. Title-page with one letter added in manuscript (o, in Bentivoglio). Trimmed close at margins almost grazing headline on a few leaves. Very minor stains on a few leaves, generally bright and crisp.  (30836)

EroticLetters — ClassicGreek
Aristaenetus.  [title-page in Greek, transliterated as] Aristainetou epistolai erotikai. tinà ton palaion heroon epitaphia. E bibliotheca C.V. Ioan. Sambuci. Antuerpiae: Ex officina Christophori Plantini, 1566. 4to (20.5 cm; 8"). 95, [1 (blank)] pp.

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    •  Editio princeps of this late fifth / early sixth century collection of love/erotic letters. Both Voet and Brunet attribute them to Aristaenetus because the first is addressed by him to Philokalos; it is entirely possible, however, that the array are from different authors. Brunet says, “Ce lettres sur les aventures amoureuses racontees quelquefois d'une maniere assez libre.”
    The text was edited from a manuscript in his personal collection by János Zsámboki (a.k.a., Johannes Sambucus), the Hungarian humanist scholar (1531–84) whose library formed the basis for the manuscript collection of the Austrian National Library.

    Printed at the Plantin Press entirely in Greek (except for the imprint information), using Greek type commissioned from Robert Granjon, this bears one of the variant Plantin printer's devices on the title-page. It was printed with guide letters, although none have been supplied in manuscript by a scribe.

    Evidence of readership: Scattered marginalia in Greek and Latin, sometimes correcting a word in text or expanding on same; other times citing a page in a different book.

    Provenance:  From the library of American collector Albert A. Howard, small booklabel (“AHA”) at rear.

    •  Voet 593; Graesse, Trésor de Livres Rares, I, 204; Brunet, I, 448; Schweiger, I, 44; Index Aurel. 107.600; Adams A1692. Surprisingly not in Legrand, Bibliographie Hellenique.   Disbound; now in modern wrappers. A very nice, clean copy with occasional light age-toning.  (37768)

“A God-Hero of the Golden Age of Myth” —
The First Original English-Language Poem on the Buddha
Arnold, Edwin.  The light of Asia. Being the life and teaching of Gautama prince of India and founder of Buddhism. Avon, CT: Printed for the members of the Limited Editions Club, 1976. Folio (30 cm, 11.8"). xxiv, 193, [3] pp.; 8 col. plts.

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    •  Limited Editions Club edition of Sir Edwin's epic verse retelling ofthe life of the Buddha, with an introduction by Melford E. Spiro. Ayres Houghtelling painted eight brightly colored, “highly unconventional” plates, as to which he said that he “allegorically painted by design and symbolism what [he hoped] Sir Edwin Arnold would have liked” (according to the newsletter); he also provided a number of black-and-white and two-color line drawings. The volume was designed by Frank J. Lieberman, and the green, yellow, cream, and tan paisley and floral cotton cloth binding was done by the Tapley-Rutter Co.

    This isnumbered copy 733 of 2000 printed, signed at the colophon by the illustrator. Both the appropriate Club newsletter (in its original envelope) and the prospectus are laid in.

    •  Bibliography of the Fine Books Published by the Limited Editions Club, 497.   Publisher's fabric-covered binding as above, spine with gilt-stamped leather title-label, in original brown paper–covered slipcase with printed paper label; spine cloth very slightly (and unobtrusively) sunned, slipcase showing only minimal traces of shelfwear.A nice copy of this handsome piece of LEC exotica.  (36838)

A “Gift Copy” — Textured Olive Green Calf byBayntun-Riviere
Arnold, Matthew.  The poems of Matthew Arnold, 1840–1867. London: Oxford University Press, Humphrey Milford, 1937. 12mo (18.4 cm; 7.25"). xxvii, 460 pp.

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    •  A later printing from the Oxford University Press of a collection of poems by Matthew Arnold, the poet and cultural critic; A.T. Quiller-Couch, a novelist and literary critic who often published using the pseudonym “Q,” here provides an introduction.

    A gift inscription tipped to the front fly-leaf reads, “From the Wardroom Officers of the Joint A/S [i.e., Anti-Submarine] School & Barracks, Londonderry — with their congratulations and best wishes for a long & happy married life,” signed E. Hart Dyke, Commander, and dated 31 August 1946.

    Binding:  Full olive green textured calf, spine gilt extra, boards with simple gilt double-rule borders and zig-zag gilt decoration along their edges; gilt floral roll to generous turn-ins and marbled paper pastedowns. All edges gilt. A tiny stamp on a front endpaper indicates this copy was bound by Bayntun-Riviere of Bath, England.

    •  Bound as above, mild rubbing to rear board only and light soiling along edge of tipped-in inscription (perhaps from the glue). Binding and interior very clean. A lovely copy with a pleasing provenance.  (37324)

“Looking upwards towards the Fountain ofLight & Love”
Arthur, Timothy Shay.  The maiden: A story for my young countrywomen. Philadelphia: Henry F. Anners, 1848 (copyright 1845). 12mo (15.3 cm, 6"). [2], [v]–162 pp.

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    •  From the prolific and popular T.S. Arthur, known for his edifying fiction, comes this very, very, very moral tale of a dutiful young lady whose ethics and sense of propriety lead her to reject two suitors of her own (and one of her friend's) before she ends up safely wed to an impeccably respectable young man. Arthur published two sequels about Anna Lee, the titular maiden — unsurprisingly called The Wife and The Mother. This is the work's fourth printing (following the first of 1845), published in the city in which Arthur both lived himself and set his story.

    Binding:  Publisher's dark brown vertical leather-grained cloth (Krupp Lea8); covers with blind-stamped ruled frame and symmetrical foliate “drawer handles” top and bottom. Spine with title and foliate decorations gilt-stamped. Yellow endpapers.

    •  Wright, I, 112. On the book cloth, see: Krupp, Bookcloth in England and America, 1823–50, Lea8.   Binding cocked, corners and spine extremities rubbed. A few corners dog-eared; intermittent light to moderate foxing, pages otherwise clean. In fact a nice copy, in the original cloth.  (38152)

Literati of Antwerp Salute One of Their Own — Portrait after Peter Paul Rubens
Woodcut *&*Engraved Versions of the Plantin Device
Asterius, Episcopus Amasenus.  S. Asteri Episcopi amaseae homiliae Graecè & Latinè nunc primùm editae Philippo Rubenio interprete. Antverpiae: Ex Officina Plantiniana, apud viduam & filios Ioannis Moreti, 1615. 4to (24.13 cm, 9.5"). [6] ff., 284, pp., [2] ff.

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    •  First edition. A multi-part memorial volume from the Plantin–Moretus press in honor of Philippe Rubens (1574–1611), brother of the famed artist, whose Greek and Latin rendition of the Homilies by Asterius, Bishop of Amasia (ca. 375–405), occupies the first section of the text, here in Greek and Latin printed in double columns. Little is known about Asterius, Bishop of Amasea, and there has been much scholarly debate regarding exactly which homilies should be attributed to his authorship and which to other early Christians, including Asterius the Sophist; the Catholic Encyclopedia online says his works provide “valuable material to the Christian archaeologist.”

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