Rare Book Buyer.com – We Buy Old and Rare Books, Libraries, and Entire Estates. Immediate Payment

April 18, 2014

WHAT IS THE VALUE OF A RARE BOOK WITHOUT AUCTION RECORDS?

How does one price a rare book when there are no comparable records of its sale?

As an example, I recently purchased a copy of Galeazzi’s important 18th century music treatise which includes a fascinating section on how to play the violin. A quick review of sale records in two modern databases- the ABPC database and AmericanaExchange, show that no copies have hit the auction block in over 30 years at least. Comparable values in those two databases often set the benchmark for many prices today. Going further back into the printed book prices current catalogs, also does not reveal any copies- at least as far back as 1965 when my references give out.

The next step then is to ascertain it rarity. Reviewing OCLC (through WorldCat) and entering into the actual library catalogs to verify holdings, indicates about 10 known Institutional copies. This is a reasonably small number, albeit we may presume as an Italian work, there are copies in Italian libraries which have not yet been accounted for in OCLC. Of course, we also do not know how many copies are in private hands.

So, how does one place a value on such a book then? The truth is that it relies a bit on connoisseurship coupled with a reasonable understanding of the market for the book. Some books are rare, but the buyers are rarer. Here, however, we have not only what is essentially Italy’s last truly valuable contribution to music theory, but there is a strong market for antiquarian music books in general and violin books in particular.

While it is impossible to know what such a book would command in an auction, as ‘expert’ estimates are often inaccurate, I would reasonably place a retail price of $5000 on the set.

The true test of the market and my evaluation will be whether it actually sells for that!

[Violin — Instruction and study] [18th century Music Theory] Galeazzi, Francesco, 1758-1819. Elementi teorico-pratici di musica con un saggio sopra l’arte di suonare il violino : analizzata, ed a dimostrabili principi ridotta, opera utilissima a chiunque vuol applicare con profitto alla musica / di Francesco Galeazzi torinese. Published:In Roma :, In Roma : Nella stamperia Pilucchi Cracas, Nella stamperia di Michele Puccinelli …, 1791-1796. 2 vols. 8vo. 21.5 cm x 14cm. COMPLETE. vol. 1: 252 p., 11 folded leaves of plates; vol. 2: viii, xxvi, 327 p., 8 folded leaves of plates (2 more plates in vol.1 than other listed collations),, minor plate repairs. Errata lists: v.1, p. 323-327; v. 2, p. 251-252 Binding: Italian c. 1900 three-quarter vellum and floral patterned boards, some soiling, calf and gilt spine labels with wear. Signed ‘G. Jacobini’ in an early hand to half-title, later 1931 gift inscription to first renewed blank. Internally, some foxing and toning, but a handsome uncut copy with broad margins. Very Rare in commerce with no copies appearing in ABPC for over 30 years. Deborah Burton and Gregory W. Harwood in the introduction to the reprint of the second volume in 2012, refer to Galeazzi’s work as “a foundational treatise in music theory…In 1791 he published the two volumes of his Elementi teorico-practici di musica, a treatise that demonstrated both his thorough grounding in the work of earlier theorists and his own approach to musical study. The first volume gave precise instructions on the violin and how to play it; the second demonstrated his command of other instruments and genres and provided comprehensive introductions to music theory, music history, and music aesthetics. The treatise also addresses the nature of compositional process and eighteenth-century concerns about natural and acquired talent and creativity.” [Ref: Burton and Harwood]

April 7, 2014

FROM THE LIBRARY OF THE FAVORITE AND CLOSE FRIEND OF QUEEN ELIZABETH I

A ROBERT DUDLEY BEAR BINDING WITH AN EARLY SCOTTISH VERSE INSCRIPTION by Patrick Home of Polwarth.

Osorio da Fonseca, Jeronimo, 1506-80. Hieronymi Osorii de gloria libri V. Florence, Laurence Torrentinus, 1552…Bound with.. . De Nobilitate civili, libri duo…. – Florence, Laurence Torrentinus, 1552. 2 vols. in 1; 8vo., 22.5 x 15 cm. Contemporary calf gilt, covers with double fillet and fleurs-de-lys corner pieces enclosing a cartouche with the badge of Robert Dudley, a bear chained to a ragged staff with a crescent for difference with his initials ‘R D’. Remarkably, unrestored with wear to boards and corners, hinges very weak or partially separated; internally some light marginal damp staining. While not unrecorded, the binding has not resurfaced since it was sold at Sotheby’s Monday, April 11th, 1932. Ref: BMC of Italian Books p. 478.

The lower title page bears the interesting 1608 Scottish English verse: “In all ye varld is na mair ado || bot sawll to kepe and honor to luik to” (In all the world [there] is no more necessary but [your] soul to kepe and honour to look to [ie. make sure you keep an eye on]), signed by Sir Patrick Home of Polwarth (1550-1609) the courtier and poet, as in the Flyting of Montgomerie and Polwarth. The facing inscription attests that this book was bought in London by him in 1608.

Lord Robert Dudley, the English nobleman and the favourite and close friend of Elizabeth was one of the first Englishmen, after Thomas Wotton, to commission gold-tooled bindings. An inventory at the dispersal of his possessions after his death in 1588, shortly after his crucial preparations to repel the Spanish Armada, records 232 books – of which 80 have survived in institutional collections. In commerce, Robert Dudley bindings are exceedingly uncommon.

Jerónimo Osório (1514-80) was the best known Portuguese writer of the period in England and his works were practically required reading for Elizabethan statesmen. “De Gloria and its companions … deal with the role of the leader in society from a Catholic and anti-Machiavellian perspective. Their first great English admirer was Roger Ascham, at the time Queen Mary’s Latin secretary, who thought De Nobilitate…might have been written with Cardinal Pole in mind. He had probably seen a copy of the Florentine edition of 1552, which was brought to England by two of Osório’s friends when they were sent there by Pope Julius III to congratulate Philip of Spain on his marriage to the English queen. [Ref: mod-langs.ox.ac.uk/files/windsor/4_earle.pdf] The work was translated by William Blandie into English in 1576: The fiue bookes of the famous, learned, and eloquent man, Hieronimus Osorius, contayninge a discourse of ciuill, and Christian nobilitie.

In all, a splendid pairing of remarkable provenance, a beautiful binding with a highly influential work that helped shape the Elizabethan mindset. [SOLD]

December 22, 2013

HOW TO VALUE A RARE EARLY PIECE OF AMERICANA

When traveling and purchasing rare books from estates and libraries, it is impossible sometimes to realize the value of every single book one encounters or even buys.  This is especially true with ephemera that has suffered from the ravages of time, and whose importance can easily be overlooked.  However, that is the fun of research!  The book below was  originally purchased from a house in Virginia whose contents descended in the family for 200 years.

The book languished on my shelf before I finally sat down to examine it.  I initially dismissed it as early music instruction book- and one that was incomplete- the type of work which rarely excites interest or brings any money.  However, as I started researching it through the standard databases such as Worldcat.org, I immediately saw how rare it was.   In fact, Worldcat cites no other known copies. Surprisingly, there wasn’t even a copy in the Library of Congress,  which since the 1790 Copyright law,  has served as a repository of deposit copies of all printed works (albeit it is conceivable this was printed in 1790 or even a bit earlier and escaped that legal requirement).

What makes the book fascinating is the author/composer Alexander Reinagle, who was an English-born American composer, organist, and theater musician, but who journeyed in 1786 to try his  fortune as a professional musician in the new United States of America  (see Wikipedia). George Washington was one of his admirers and  Reinagle composed important pieces which were performed on the way to Washington’s inauguration.  In fact, Alexander Reinagle taught George Washington’s step-granddaughter (Eleanor Parke Custis Lewis (March 31, 1779 – July 15, 1852), known as Nelly) to play the pianoforte and he likely used this very book!  During during George Washington’s presidency, Nelly helped entertain guests at the first Presidential Mansion on Cherry Street in New York City, and therefore it is very conceivable that these pieces were among the first pieces of music ever performed for the guests of the President of the United States.

That fascinating history behind this simple, worn book of piano lessons, therefore requires a re-evaluation in terms of its price.   There are condition issues, including a missing last leaf that must be taken into consideration.  Still, this was a very cheaply printed, ephemeral production and it is remarkable that it even survived at all.  Pricing this important piece of American music history, without any comparable examples recorded (let alone sold), is as much art as science.

PRINTED c. 1790s.  LIKELY THE ONLY SURVIVING COPY  OF AN IMPORTANT WORK OF EARLY AMERICAN MUSIC PUBLISHING

The Book:

Reinagle, Alexander.  Twenty four short & easy pieces : intended as the first lessons for the piano forte s.d.s.l.;  [Baltimore] : Printed and sold at Carrs music store Baltimore., [between 1790 and 1800].  Oblong 8vo.,  23.5 x 16 cm., first two lvs. detached but present, wanting last leaf with XXIII-IV as indicated on the title and ending on XXII; original string holding pages together, with wear, thumbing, staining as depicted.  Overall, a remarkable survivor in any condition and EXTREMELY RARE- no copies of this Carrs imprint listed in Worldcat with the only similar work being the c. 1806 second set of pieces. The Library of Congress holds only the earlier 1780 London imprint.  THIS IS LIKELY THE ONLY SURVIVING COPY OF A FASCINATING WORK OF EARY AMERICAN MUSIC PUBLISHING.   $3500.00

VI, Allegretto and VII, Allegro  present here are reproduced in Maurice Hinson’s  Music for the Washingtons : a collection of keyboard pieces and songs performed in Philadelphia during the early days of the young republic Belwin Mills, 1988.

June 16, 2013

CLAUDE LORRAIN’S ‘LIBER VERITATIS” WITH 200 MAGNIFICENT MEZZOTINT PLATES

Printed 1777:  The earliest instance of a self-compiled catalogue raisonné and a landmark work history of copyright protection.

[FINE PRESS] [HISTORY OF PRINTING][COPYRIGHT LAW] Lorrain, Claude [Laude Gelee] Liber Veritatis; Or, a collection of prints after the original designs of Claude Le Lorrain; in the collection of His Grace the Duke of Devonshire, executed by Richard Earlom… London: Messrs. Boydell and Co., n.d. (dated 1777 in the preface)  Two volumes. Folio: frontispiece, 18 pp.,  100 plates in mezzotint printed in bistre by Earlom after Claude,  frontispiece, 10 pp., 100 plates in mezzotint printed in bistre. 3/4 red morocco and marbled bords, spines richly gilt.   Provenance:  Sir William Eden Bart, his bookplates with laid in gift presentation note from Robert Goff.  Abbey Life 200.     $14,000

A magnificent and unusually clean set of a great work in the history of the book.  Abbey, without exaggeration, describes it as “a capital work, a landmark in the history of reproduction master drawings.” Its compilation was intended to protect Claude from numerous forgeries and imitators, and as such, it is perhaps the earliest instance of a self-compiled catalogue raisonné.  A work of enormous influence that even Turner sought to emulate with his Liber Studiorum, it also ranks as one of the great causes célèbres in the history of copyright protection, vying with Dürer’s challenge to Marcantonio Raimondi’s, Ruben’s privilege applications, and William Hogarth’s lobbying for the first English Copyright Act.  A third volume was eventually published in 1819.

June 2, 2013

William Duncan’s 1794 New-York directory with the Map intact

[EARLY NEW YORK HISTORY] [EARLY NEW  YORK MAP] [EARLY AMERICAN DIRECTORY] Duncan, William. The New-York directory, and register, for the year 1794. : Illustrated with a new and accurate plan of the city and part of Long-Island, exactly laid down, agreeably, to the latest survey … New-York : Printed for the editor, by T. and J. Swords, no. 167, William-Street., –1794.   Small 8vo., 16 x 10 cm.,  COMPLETE WITH MAP; i.e.  xii, 288 p., [1] leaf of plates: 1 map.  Some small loss to left margin of map as depicted, restorable tear to right margin, some general toning, a few folded corners, map detached. Early marble wraps partially preserved (and remarkably so), wraps detached, text-block without stitching (requires relatively easy resewing through the clean stab-holes present). Ref: Evans 26919.  An EARLY NEW YORK CITY DIRECTORY OF GREAT RARITY, ESPECIALLY IN PRIVATE HANDS.  $12,000

The Map present in this modest, ephemeral, and exceedingly rare directory is of great importance in American cartography.  It was engraved by the well regarded early American engraver Cornelius Tiebout (1777-1832) after John McComb Jr. (1763-1853 ), one of the most important architects of the period.  It was drawn primarily to depict the First Meeting of the Federal Government in New York.  “The federal government under the new United States Constitution first met in Federal Hall (formerly City Hall) in New York City during the spring of 1789. This plan of the city of New York by John McComb (1763–1853) shows the city and environs and indexes many important landmarks, including Federal Hall.” [LOC].  Additionally, according to Evans, “In this directory is given the changes from the early names of the streets.”

There is a wonderful blog post by Philip Sutton on the importance of early directories to researchers, historians and genealogists (in connection with  New York Public Library’s Direct Me NYC 1940 project)  here.

Auction Record:
The only copy actually sold at auction in the last 30 years was in 1986 Swann Galleries  for $650.00 (Thursday, April 3, 1986. lot 292) for an INCOMPLETE copy described as having “good portion of the engraved plan of the City and part of Long Island is lacking, tear at D2; lacks F5 and F6”  Please keep in mind that the copy for sale here is COMPLETE by comparison with the important map intact!