Louis Wain, genre photographs, but no fairies

identifier 2014096 INFANTS’ MAGAZINE

The Infants’ Magazine Annual for 1904, being a collection of the 12 monthly issues for 1903. Vol. XXXVIII Publisher S.W. Partridge & Co., London. Hardback, colour cover. Size: 177 x 223 mm. 190+ pages, with illustrations on every page, several in colour (black/blue/red).

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Prominent in this annual is the work of Louis Wain, famous cat artist. He contributes the main title page and numerous sketches throughout. More unusually, a photograph of the artist also appears.

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I was also struck by the fact that almost all of the photographs of child studies in this book are credited to Miss K. Grant. It must have been unusual at that time for a woman to have had the facilities, presumably some kind of studio, to produce genre pictures like this. The simple portraits remind me of some of the sentimental child studies by photographer and magic lantern slide publisher Owen Graystone Bird, from the same era.

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The narrative scenes (see below), some with painted backdrops, are reminiscent of the Life Model magic lantern slides popular at that time, though cropped much tighter.

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The subjects of the painted backdrops, representing a poor person’s kitchen, for instance, are different from those in a typical Victorian / Edwardian portrait studio. I wonder whether anyone has researched Miss Grant? Without a complete first name, or location, that would be difficult.

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With the adoption of halftone photographic images in periodicals becoming much more widespread about this time, these photographs are evidently a challenge to the more traditional artworks of the same subjects. This can be clearly seen here with the similarities between Grandma’s Valentine (photo) and the following page Granny’s Recovery (painting); and Spring Flowers (drawing), and the opposite page A Secret (photo).

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Another point of interest is the lack of fairies (gnomes, elves, whatever). With the exception of The Fairies’ Postmen, I can’t find any.

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The book is stuffed with pictures (photos, drawings) and stories of dolls on what seems like every other page, but the fairies that would soon become so ubiquitous in children’s books haven’t yet arrived – here, anyway. Perhaps this was due to the shadow of publisher Samuel William Partridge (1810-1903) – by then retired, and who died the year these magazines were printed – who was a devout evangelical Christian and probably couldn’t be doing with fairies. Maybe it would take the imminent appearance of Tinkerbell to ensure frequent appearances of the fairy folk in periodicals and annuals.

The Infants’ Magazine is not a very scarce title, but finding particular issues – especially in good condition – can be difficult. Apparently people used to give these books to young children to play with. (Note: The BL has it as The Infant’s Magazine.)

Condition: Generally good, as shown. Pages tanned, as expected. The binding is very loose, but still holding everything together.

Price: £32.00 plus postage. Enquiries: s-herbert@easynet.co.uk

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Death of Cromwell – hand painted magic lantern slide

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identifier: 2014095 DEATH OF CROMWELL [SOLD]

Death of Cromwell. Magic lantern slide. Hand-painted, anonymous artist. Title hand-written on paper label on bottom edge of binding.

This scene of Oliver Cromwell’s death – from urinary tract problems, apparently – is from an unknown series. Buried in Westminster Abbey, when Royalists returned to power he was dug up, his remains hung in chains, and beheaded. Just to make sure.

Thousands upon thousands of so-called “hand painted” lantern slides are sold on ebay each year. Some are indeed fully hand-painted, and these fall mostly into three categories: 1) early caricatures, stories etc painted on “long slides”. 2) simple cartoonish slides showing a visual joke, often with mechanical movement (e.g. “slipper” slides). 3) very fine hand-painted scenes produced by Carpenter and Westley and a few similar companies. Most of these types are mounted in wood frames.

Other slides described as ”hand-painted” are mostly either cheap chromolithographic slides (i.e. “transfers”), or slides of drawings produced by printed or photographic outlines in black, which are then coloured in by hand.

Here’s an unusual exception: a standard 3.25 x 3.25-inch slide, not framed in wood, that’s fully hand painted. An exquisite little miniature on glass, from c.1890. The paints used would have been a type of coloured varnish. Painting on glass to this standard is a lost art.

Very good condition.

Price: SOLD

The suffragette and the policemen

Magic lantern slide, Suffragette and policemen, c.1908-1914. English, publisher: Newton & Company, 72 Wigmore Street, London, W. Cinematographer [image taken from 35mm film] not known. Size: 3.25 x 3.25 inches.

When I found this glass slide, the image looked vaguely familiar. Research uncovered what I thought was the same photograph, but it was very slightly different – taken a fraction of a second later. Then it occurred to me that both pictures were printed from a strip of motion picture film. The footage is here (at 1:33).

I’ve not been able to identify the suffragette, but hundreds were arrested in the years immediately before the First World War. The actual slide dates from the period.

Those who lectured on the women’s suffrage movement, in both Britain and the USA, are known to have often used lantern slides – for example:

‘In February 1910 Bertha Mason (prominent activist) gave, as a lecture to the Bath NUWSS society, an account, accompanied by lantern slides, of the forerunners of the contemporary suffrage movement. She also gave this “limelight lecture”, which was described as “Pictures of unique interest to the forerunners of the movement, the advance guard, the parliamentary champions, the present day workers, election incidents”, to members of the Croydon branch of the NUWSS and to the Mansfield Suffrage Society. It was eventually published in book form in 1912…’ [The Women’s Suffrage Movement: A Reference Guide 1866-1928, by Elizabeth Crawford]

The particular address for Newton & Co. appears to have been first used in 1912, so this slide was most likely produced c.1912-14.

Slides of the Suffrage movement are difficult to find today. Very good condition.

Price: £25.00 plus postage s-herbert@easynet.co.uk

ART DECO magic lantern CINEMA SLIDES

A giant (so it seems) grasshopper (cricket?) waits in the grass, a crisp essay in vivid greens.

A society couple stand whispering beneath the trees in the moonlight, while somewhere nearby, perhaps, the band plays on.

A man in a dapper suit sits with his coffee and reflects. A single thin line of smoke curls from his cigarette. Is this Rick, long after the customers have gone home, thinking of Ilsa and the sacrifice he must make tomorrow?

What are the origins of these images? Just another day’s work for some anonymous artist trying to (literally) scrape a living?

ART DECO MAGIC LANTERN CINEMA SLIDES

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Three lantern slides in Art Deco style. Size: approx 3.25 x 4 inches. I have given these the titles:

1. Grasshopper (hand coloured).

2. A couple in the monlight (black-and-white).

3. The man in the window (hand coloured).

These striking images were intended for projecting in British cinemas during the interval, usually while the organist played. (These are 3.25 x 4 inches, a common size used in cinemas.) Lantern slides in cinemas were mostly shown to advertise commercial products or forthcoming films, but these examples seem to be much less common ‘mood’ slides. They were produced by the Morgan’s Projected Publicity method; a semi-opaque ‘paint’ covered the glass, and when dry was scratched through. The precision of the scratched lines suggests the use of a stencil or pantograph. The result was then hand-coloured, when required. Two of these examples include, on an internal label, the patent number 216349, which relates to this technique. A new printout of the patent will be included.

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Very scarce. The chances of finding other examples showing the same images are very slim.

Condition: Very good. The external paper edge binding strips are somewhat ragged, with some pieces missing.

Price: £55.00 plus postage. s-herbert@easynet.co.uk

Dance of Ghosts and Death – magic lantern slide

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Identifier: 2014091. Dance of Ghosts and Death – magic lantern slide. [SOLD]

 

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Three images painted on glass, mounted in a period wooden lantern slide frame having three apertures. The maker has modified the wooden circles to avoid cropping the painted images. The original title: “DANCE OF GHOSTS AND DEATH” is written in ink on the top edge of the wooden mount. On one side of the frame is written what appears to be 6/- [six shillings] crossed out, and 5/- [five shillings] in pencil. Size: 295 x 99 mm.

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Skeletons and death figures were popular subjects for the phantasmagoria lantern shows of the late 18th and early 19th centuries. The tradition goes back even earlier – a drawing of a skeleton removing its own head is a lantern slide design by Chrsitaan Huygens dating from 1659. The slide offered here probably dates from c.1830-1850, and is jovial rather than threatening or doom laden. Despite the title suggesting that Death (the skeleton) is dancing with ghosts, the nightshirted character appears to me to be alive and kicking. Unlike early engravings of the Dance of Death where the mortals are depicted as stiff and unaccommodating, the gentleman in this version readily joins in with the dance.

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This is the only known example of this subject, and the images from this slide were used as an illustration in Mervyn Heard’s book Phantasmagoria: The Secret Life of the Magic Lantern (The Projection Box, 2006).

A unique item.

Condition: good, with minor scratches, some areas of black background paint missing.

Price: [SOLD]      s-herbert@easynet.co.uk

The Monkey with the Magic Lantern

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Twenty years ago I became aware of the wide range of illustrated versions of the fable generally known as ‘The monkey with the magic lantern’, while designing the page layout for an article about the subject written by French magic lantern collector Jean-Philippe Salier. I had one edition in my own collection. Some years earlier, I was in Paris with doyen collector Bill Barnes, scouring the cabins of the bouquinistes along the banks of the Seine. I spotted a very nice large illustrated version of the subject, sealed in a plastic wrapper. I picked it up and asked the dealer (in one of my few memorised French sentences), “I want to buy this. May I open it?” The response was an unsmiling “Non.” Bill shook his head and tutted. This didn’t happen in the Charing Cross Road. “Is it complete?” A surly, “Bien sûr, il est complet.”

I gave the book to Bill to hold, took out the required wad of francs, handed them to the dealer and said to Bill, as I took back the book and opened the Sellotaped wrapper, “If there are pages missing I’m going to hit him with it.” There weren’t, so I didn’t. The bouquiniste was now smiling, I managed a forced smile and a “Merci”, we shook hands and Bill and I went away with our treasure. It was later displayed in the exhibition Magical Lanterns, at the Museum of the Moving Image in London. It’s the copy now offered here.

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Les Fables de Jean-Pierre Claris de Florian. Illustrees par A. Vimar. Henrie Laurens, Editeur. [n.d., c.1899] Avant-Propos de Andre Theuriet. 137 pages. Many b/w illustrations, and eight in colour, mostly full-page. Size: 225 x 283 mm. SOLD

Nicolas Stanislas-Auguste Vimar (1851-1916) was a French painter, sculptor, designer and illustrator. He exhibited in Paris and at Marseille, notably sculptures of animals, and contributed drawings to a number of journals including Figaro illustré and Le Rire. [adapted from Wikipedia].

English version of the fable:
http://en.wikisource.org/wiki/The_Fables_of_Florian_(tr._Phelps)/The_Monkey_with_the_Magic_Lantern

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Advertisement, 1902

Advertisement, 1902

I believe this book of the Fables, with illustrations by Vimar, was published c.1899. An edition was certainly available by 1902, where it appears in a bookseller’s catalogue [Catalogue: Ernest Martin. Lester Smith collection]. There were two versions of this edition; one with b/w illustrations at 6 fr., and one with some illustrations in colour at 9 fr. This is the colour edition. I have seen this book with an identical cover but in green cloth, grey cloth, and in beige. I have not seen another example in red.

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‘In France, Jean-Pierre Clarisse de Florian is presently considered a minor writer and poet from the late 18th-century. Most likely his major contribution to literature is the first translation of Cervantes’ Don Quixote. Not many people remember that Florian also write a series of fables … his most famous fable tells of ‘The monkey displaying the magic lantern’. Imagine how a frustrated monkey takes advantage of the temporary absence of his human mentor, a galantee showman. Here is a unique opportunity for him to proudly present to the other animals the lantern show he has watched so many times. No doubt he is fully knowledgeable about the process, and his sharp views of our world are about to change the life of generations to come. At last, a time for deep, philosophical considerations and valuable scientific comment comes of age. Precious sentences are filling the showroom while a series of views slide superbly [through] the lantern. Alas! What should have been an unforgettable one-monkey show quickly becomes an after-dinner talk of the most boring type … The galantee showmonkey … has forgotten just one thing – lighting up the lantern.’ [The Fabulist Displaying the Magic Lantern. A tribute to Florian 1755-1794. by Jean-Philippe Salier. New Magic Lantern Journal, Vol.7 No.2 September 1994.]

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Pictures of an itinerant showman with a monkey feature in many engravings and books from the 18th century onwards. In the illustrations in this book, the monkey is carrying and using a now very collectable Lapierre lantern, in the style known as ‘Carre’. I bought one in Paris in the ‘80s, from a friendly dealer in the Porte de Vanves market; which is still one of my favourite Parisian haunts.

This book turns up occasionally, but not always in good condition, and sometimes it’s the b/w version.

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Les Fables de Jean-Pierre Claris de Florian. Illustrees par A. Vimar. Henrie Laurens, Editeur. [n.d., c.1899] 137 pages. Many b/w illustrations, and eight in colour, several full-page. Size: 225 x 283 mm.

Condition: generally good. Minor foxing and some brown / finger marks to some pages, and general tanning. Wear to the cloth on the bevelled edges of the boards, and spine. Cover illustration colours, and gilding, excellent.

Price: SOLD.

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Happy Days – Louis Wain and a magic lantern show

identifier: 2014067 HAPPY DAYS MAGIC LANTERN

H. G. Wells said of Louis Wain, “He has made the cat his own. He invented a cat style, a cat society, a whole cat world. English cats that do not look and live like Louis Wain cats are ashamed of themselves.”

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Happy Days. Stories and pictures for little folk. Blackie & Son Ltd, London and Glasgow. n.d. [c.1919]. 24 pages, plus illustrated endpapers. Size 200 x 260mm. Features an illustration of THE MAGIC LANTERN ENTERTAINMENT by Louis Wain. The artist (1860-1939) needs little introduction – his work featuring anthropomorphised cats being famous. He illustrated more than 100 children’s books as well as postcards, prints and greetings cards, and continued drawing for many years while in mental hospitals.

This book is featured on NeverSeen because of the collectable theme of the subject matter of this double-page colour spread, a magic lantern show. I’m aware of another magic lantern show picture featuring Louis Wain’s cats, which was reproduced in the New Magic Lantern Journal Vol.2 No.1 in 1983 – without a reference to the original source, which was The Sketch, 14 March 1894. Happy Days is not widely held in institutional libraries, and is scarce in good condition.

Condition: Very good. Slight bowing of the boards, wear to board edges, and a name in the “Belongs to” box.

Price: £45.00 plus postage.       s-herbert@easynet.co.uk

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The First World War in (real) Colour

identifier: BATTLE OF MARNE 2014071

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“Le portfolio-photo-couleurs” Les Champs de Bataille de la Marne. Photographies directes en-couleurs (Fac-similes sans retouches de plaques autochromes). Text et illustrations de Gervais-Courtellement. L’edition Française illustrée. 30 rue de Provence, Paris. 1915 edition [originally published in parts, in 1914-15]. Half-leather binding. 196 pages.

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This is a scarce and historic, large (320 x 240mm) book of colour photographs taken during and shortly after the Battle of the Marne. These images were projected by magic lantern, at the “Palais de l’autochromie” in Paris. Tomorrow it will be 100 years to the day that the battle ended.

My generation grew up immersed in documentary images of both World Wars, in black-and-white. I remember being amazed by the colour footage of WW2 that gradually emerged during the ‘80s in particular. I wrote a review of Victory in Europe by Max Hastings (Weidenfeld & Nicolson, 1985) for the British Journal of Photography. It’s a book filled with haunting images – frame enlargements from Kodachrome footage shot by American director George Stevens as his troupe moved through France and into Germany. Later, television programmes such as The Second World War in Colour (1999) made such material much better known, though the visual veracity was later diluted with World War II in Colour (2008/9), which included much colourised footage. These programmes were followed by the inevitable World War 1 in Colour, with exclusively colourised scenes. Genuine colour stills of the First World War have featured in many books in recent years, including Taschen’s recent The First World War in Colour by Peter Walther, which includes autochromes by Jules Gervais-Courtellemont. Inevitably, as time goes by these genuine colour images will be subsumed into the plethora of colourised pictures of WW1 that have been created recently, the special qualities of these poignant autochromes lost to most who see them.

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The Battle of the Marne (French: Première bataille de la Marne) (also known as the Miracle of the Marne) was a First World War battle fought from 5–12 September 1914. It resulted in an Allied victory against the German Army under Chief of Staff Helmuth von Moltke the Younger. The battle was the culmination of the German advance into France and pursuit of the Allied armies which followed the Battle of the Frontiers in August, which had reached the eastern outskirts of Paris. The counterattack of six French field armies and the British Expeditionary Force (‘BEF’) along the Marne River forced the German Imperial Army to abandon its push on Paris and retreat north-east, leading to the ‘Race to the Sea’ and setting the stage for four years of trench warfare on the Western Front. The battle was an immense strategic victory for the Allies, wrecking Germany’s bid to ‘unhinge’ the Verdun-Marne-Paris line in their first campaign of the war and forcing them to breach it directly in their next campaign against France.

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The Autochrome is an early additive colour photography process patented in 1903 by the Lumière brothers in France. First marketed in 1907, it was the principal colour photography process in use before the advent of subtractive color film in the mid-1930s. A glass plate is coated with a random mosaic of microscopic grains of potato starch dyed red-orange, green, and blue-violet, which act as colour filters. Lampblack fills the spaces between grains, and a black-and-white panchromatic silver halide emulsion is coated on top of the filter layer. The use of an additional orange-yellow filter in the camera was required to block ultraviolet light and restrain the effects of violet and blue light, parts of the spectrum to which the emulsion was overly sensitive. The plate was first developed into a negative image but not “fixed”. The silver forming the negative image was chemically removed, and the remaining silver halide exposed to light and developed, producing a positive image. When viewed by transmitted light, each bit of the silver image acted as a micro-filter, allowing more or less light to pass through the corresponding colored starch grain, recreating the original proportions of the three colors. At normal viewing distances, the light coming through the individual grains blended together in the eye, reconstructing the colour of the light photographed through the filter grains. The plates were viewed by projection, or on a light box. The mosaic of glowing dots on glass gives autochromes the look of pointillist paintings. [adapted from Wikipedia and other online sources.] In recent years, there has been a revival of interest. Groups in France, working with the original Lumière machinery and notes, and a few individuals in the United States, are attempting to recreate the process. Very few complete successes have resulted. Recently, the process was recreated by the photographer Frédéric Mocellin.

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Jules Gervais-Courtellemont (1863–1931) was a French photographer, famous for taking autochromes during World War I. He was born in the province of Seine-et-Marne, near Paris, but grew up in Algeria, where he developed a passion for the pre-colonial Orient and devoted most of his professional career in search of the exotic. In 1894 converted to Islam prior to making a pilgrimage to Mecca. Images collected in Turkey, Palestine, Egypt, Tunisia, Spain, India, Morocco and China formed the basis for his popular illustrated lectures, which he illustrated with lantern slides. With the outbreak of World War I, Courtellemont returned to his home province to record the war. In 1911, Courtellemont had opened the “Palais de l’autochromie” in Paris – an exhibition hall, studio, laboratory, and lecture hall with a seating capacity of 250. Courtellemont would project his autochromes both of the Orient and, after 1914, of the war, particularly the Marne battlefields. These lectures proved to be so popular that Courtellemont issued a twelve-part series later bound in book form called The Battle of Marne and later a four-part series entitled The Battle of Verdun. These are the first books about war ever published in colour. Courtellemont’s work displays a tight sense of composition, an acute awareness of the interplay of light on color, and a haunting familiarity of symbolism. Landscapes are carefully composed, with due attention to lighting and placement within the picture frame. He used symbols such as the lonely cross and the charred tree for dramatic effect. [adapted from Wikipedia]. The most noteworthy book about his work is by B. De Pastre and E. Devos (eds.), Les couleurs du voyage: L’oeuvre photographique de Jules Gervais-Courtellemont (published in 2002).

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To quote from Wikipedia: ‘Vintage reproductions of Autochromes in old books and magazines have often been noticeably hand-adjusted by the photoengravers in an effort to compensate for some of the difficulties of reproduction, and as a result they sometimes look more like hand-colored photographs than “natural color” ones.’ – so it’s interesting that the publishers of Les Champs de Bataille de la Marne state “fac-similes sans retouches”.

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All pictures in the book are in colour. There are illustrations on every double-page spread – and all but a few (maps) are autochromes of the Marne area, soldiers, and war damage. I do not scan books where this might damage the binding, so I have photographed the pages, and have made every effort to present the illustrations here as they appear on the page, without enhancement. Click on an image to see it enlarged. Odd numbers of the original twelve separate parts can be found in dealers’ lists and French bookshops, but the bound volume is scarce. This historic volume, printed almost a century ago while the battles of WW1 were still raging, would be a very attractive addition to any collection relating to colour photography, colour printing, French history / topography, or military history.

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Condition: Better than good. All pages in a good state, with very few marks, a small closed tear to one page only. Small mark on title page. Binding becoming visible at the gutter, in two places that I could see. Some stains and minor marks and wear to the cover, including slightly bumped corners, wear to top and bottom of spine covering. Empathic repair to leather at bottom right corner of front cover. Small nick to one side of the inset cover photo. Now in protective Mylar sleeve.

Price: £95.00 plus postage       s-herbert@easynet.co.uk

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The Lantern: The Cyclist Year Book

identifier: 2014045 LANTERNCYCLIST [SOLD]

The Lantern: The Christmas Number and Year Book of The Cyclist for 1887-88.

Published by Iliffe & Son, 98 Fleet St, London & Coventry. PRICE ONE SHILLING.

Softback, size 204 x 278mm. Pagination starts on page 33 (following the unpaginated Christmas Number), and ends with page 126. The many advertising pages are extra to the 126.

Contents as follows:

First: Eighteen pages of advertisements (most advertising pages are on pink paper). Introduction, explaining that the contents are “a combination of fact and fancy…”. Thirteen plates on thick stock, one showing the year 1887 passing, and heralding 1888, and one for each month. The plates comprise drawings of mock-historical scenes appropriate to the season, three or four per page, with one picture on each page having cycling relevance.

The illustrations are all by George A W Moore, a young man who provides his self-portrait, together with those of the other contributors, on the back of the December plate.

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Two pages of ads, then: ‘Our Lantern Social … Critical, Sarcastic Commentary of the doings in the Cycling World during the Year 1887’ – an extraordinary spoof description of a magic lantern show and its participants, all well known characters in the cycling world at that time. Several circular sketches of the supposed lantern slides projected at the show are included. This ‘account’ stretches over almost 40 pages (37-76), including music sheet, words to songs and recitations, all interspersed with a further 24 unpaginated pink pages of ads. These are mostly for cycles and accessories, but also include a half-page for cameras and magic lanterns by Perken Son & Rayment, and others for Kingston Dry Plates, and Shew’s Eclipse Pocket Camera.

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There follows a Resume of Cycling 1887, Racing Record, Cycle Clubs of the United Kingdom, Who’s Who in Cycling, and a final article: Instantaneous Photography for Cyclists, by editor Henry Sturmey (1857-1930). He provides some useful hints on the particular requirements for the photographer of moving objects, and for their presentation suggests “no better way can be adopted than reproducing his pictures as lantern slides…”. Sturmey will be best remembered by my generation as the inventor with William Archer of the Sturmey-Archer three-speed hub for bicycles.

The cover, also by George Moore, is a tour-de-force, and seems to be previously unknown in the specialist world of magic lantern research. Moore’s drawings are professional, and up to anything being published in Punch or the other major general magazines of the period. A collection of his cyclist-related cartoons from Bicycling News was re-published as a 5-volume limited edition hardback set (The George Moore Collection, Beekay, 1979-82), but I have not seen these, which are fairly scarce. Moore has some small fame as being responsible for the first mention of a sidecar, in a cartoon in the January 7, 1903 issue of Motor Cycling.

Although 12 pence was quite an expense, this was very good value for such a sumptuous publication. Karl Kron, author of Ten Thousand Miles on a Bicycle (1887) described the previous year’s annual, which is similar, as “perhaps the most elaborate and costly amount of such material ever offered for a shilling”.

This 1887-88 publication exceeds all expectations in interest, and is very rare. It does not seem to be listed on WorldCat as a separate item (one or two institutions have editions of the Year Book which have not been catalogued by date), and variations in the title wording on the cover and the title page, and cataloguers’ variants, make it difficult to look for. I have been able to trace only one other known example, in the John Johnson Collection at the Bodleian. The National Cycling Archive, University of Warwick possibly has one too, the cataloguing is ambiguous.

The main text block is in generally very good condition, clean and bright. The cover has some minor paper loss from the spine and front top corner, corner loss on back, is foxed and has two ink stains on the front. Sellotape has been removed, leaving residue staining. Small tears to the front cover have been closed with professional repair tissue on the blank borders of the inside of the cover. The rear cover has recently been strengthened with Japanese tissue where it joins the text block, and at the outer edge, to enable the item to be read without the risk of further damage. There have been no other new repairs. The staples are showing rust. The item is housed in a new custom-made clam shell box in blue bookcloth.

Price: SOLD

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 One of the 12 monthly plates

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Imaginary lantern slides, shown at the Annual Social

Imaginary lantern slides, shown at the Annual Social. Click to enlarge

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