Wishing you all a very Tasty, Friend-&-Family-filled Thanksgiving!
And a link to this, just for fun! [alas! it has nothing to do with Jane Austen!]
Much has been made of the film adaptations of Pride and Prejudice and the need to make the feelings of the hero more apparent to the viewer, the complaint being that Jane Austen really doesn’t give us much to go on regarding her Heroes and their inner life. Andrew Davies famously says he had to “sex her up” to make the films work for a modern audience, and while I like to see Colin Firth in a wet shirt and Matthew Macfadyen bare-chested at dawn as much as the next swooning female, I do take issue with the need to edit the text to the point of it seeming more like a modern romance than an early nineteenth-century novel. One of Jane Austen’s greatest strengths and why we still read her year after year over the past 200 years, is her creation of believable characters who live and breathe on and off the page – and the need for our imaginations to bring whatever we will to the reading…
P&P 2005 – Matthew Macfadyen as Mr. Darcy
This year has brought with it any number of celebrations of Pride and Prejudice from plays and festivals to conferences and all sorts of fan fiction and games and “stuff” one cannot live without, but the best way to celebrate the book in my mind is to just find a quiet corner somewhere and re-read it, perhaps for the umpteenth time, but read it again nonetheless. We know from her letters that Jane Austen read the book aloud to her family any number of times – whether she read it during and after the many alterations she made to the text is not so clear … but her family began what has become for many of us an annual reading, and we enjoy it as much as they did, our only loss in not having Austen to answer our questions –
I began this year of celebrating the bicentenary of P&P with a close reading in January, my intention to make note of every time Austen comments as the narrator or has Darcy express or state anything regarding his feelings for Elizabeth Bennet, as well as her feelings in return – and I find so much more than I ever thought was there, and seeing them out of context is quite enlightening – I don’t think that Andrew Davies had to add anything at all to the text – it is already there, as you shall see.
John Wiltshire recently wrote an essay on “Mr. Darcy’s Smile” ** – and one might have asked ‘did Mr. Darcy EVER smile?’, our first impression no different than Elizabeth’s in assigning him to the Snob pile. Professor Wiltshire rescues him from that place of the aloof, observing, not present fellow, by telling us how often in the text Jane Austen has her Mr. Darcy actually Smile. So let’s see what we find, see what Austen tells us directly about Darcy’s feelings – for some reason we gloss over it all too easily and have come to depend upon Andrew Davies to visually remind us …
The other vexing question is of course when does Elizabeth fall for Mr. Darcy? This is a controversial point – some believe her tongue-in-cheek statement to Jane,
“It has been coming on so gradually, that I hardly know when it began. But I believe I must date it from my first seeing his beautiful grounds at Pemberley.”
-this one sentence dividing Janeites, scholars and fans alike as to Elizabeth’s perhaps overly mercenary view of the world and her need to “land” a wealthy partner, that “to be mistress of Pemberley might be something!” Some don’t see Elizabeth at all attracted to Darcy with any sort of passion like the films are overwrought with – that she comes to admire and then Love Darcy because of all his good qualities once his Asperger / shy/ snob demeanor crashes around him… But again, reading the text closely, both the actions, dialogue, and the narrator’s commentary, we are shown an Elizabeth both humiliated by Darcy’s apparent disdain of her [and her eager willingness to accept the neighborhood gossip that disses him at his first appearance], and her awareness in every moment they are in the same room together, of everything he is doing – she sees him watching her mother, reacting to her mother and other family members, sees him change color upon meeting Wickham, watches closely his relationship with Caroline Bingley, and most importantly sees him watching her, always passing it off as some strange behavior on his part, protesting too much because she knows he cannot tolerate her – in short she is always in a state of heightened awareness whenever Darcy is in her space. What changes for her at Pemberley is not its grandeur and its grounds, but his portrait, where she for the first time can look at him directly, his eyes upon her as in life, “with such a smile over [his] face, as she remembered to have sometimes seen, when he looked at her” (p. 189), but here she does not have to turn away in a confused embarrassed state…
“In earnest contemplation” – H. M. Brock. P&P. Dent, 1898.
Image: Adelaide ebook
I had wanted to post on this as this celebratory year began, but here I am nearly the end of the year and ready to launch into celebrating Mansfield Park !– but shall post these quotes now, just under the wire… starting today with Volume I. *
From Volume I:
p. 7. [where it all begins! – Darcy’s insult, Elizabeth’s humiliation and wounded pride]
“Which do you mean?” and turning round, [Darcy] looked for a moment at Elizabeth, till catching her eye, he withdrew his own and coldly said, “She is tolerable; but not handsome enough to tempt me; and I am in no humour at present to give consequence to young ladies who are slighted by other men. You had better return to your partner and enjoy her smiles, for you are wasting your time with me.”
Mr. Bingley followed his advice. Mr. Darcy walked off; and Elizabeth remained with no very cordial feelings towards him. She told the story, however, with great spirit among her friends; for she had a lively, playful disposition, which delighted in any thing ridiculous.
C. E. Brock. P&P. Macmillan 1895
p. 13. [but Elizabeth later says:]
“That is very true,” replied Elizabeth, “and I could easily forgive his pride, if he had not mortified mine.”
p. 16. [How quickly Darcy changes his mind about Elizabeth!]:
Occupied in observing Mr. Bingley’s attentions to her sister, Elizabeth was far from suspecting that she was herself becoming an object of some interest in the eyes of his friend. Mr. Darcy had at first scarcely allowed her to be pretty; he had looked at her without admiration at the ball; and when they next met, he looked at her only to criticise. But no sooner had he made it clear to himself and his friends that she had hardly a good feature in her face, than he began to find it was rendered uncommonly intelligent by the beautiful expression of her dark eyes. To this discovery succeeded some others equally mortifying. Though he had detected with a critical eye more than one failure of perfect symmetry in her form, he was forced to acknowledge her figure to be light and pleasing; and in spite of his asserting that her manners were not those of the fashionable world, he was caught by their easy playfulness. Of this she was perfectly unaware; — to her he was only the man who made himself agreeable nowhere, and who had not thought her handsome enough to dance with.
He began to wish to know more of her, and as a step towards conversing with her himself, attended to her conversation with others. His doing so drew her notice. It was at Sir William Lucas’s, where a large party were assembled.
“What does Mr. Darcy mean,” said she to Charlotte, “by listening to my conversation with Colonel Forster?”
[and the teasing begins!]
p. 18. Sir William Lucas:
C. E. Brock. P&P. Dent, 1898. [Mollands]
“My dear Miss Eliza, why are not you dancing? — Mr. Darcy, you must allow me to present this young lady to you as a very desirable partner. You cannot refuse to dance, I am sure, when so much beauty is before you.” And, taking her hand, he would have given it to Mr. Darcy, who, though extremely surprised, was not unwilling to receive it, when she instantly drew back, and said with some discomposure to Sir William —
“Indeed, sir, I have not the least intention of dancing. I entreat you not to suppose that I moved this way in order to beg for a partner.”
Mr. Darcy, with grave propriety, requested to be allowed the honour of her hand, but in vain. Elizabeth was determined; nor did Sir William at all shake her purpose by his attempt at persuasion.
“You excel so much in the dance, Miss Eliza, that it is cruel to deny me the happiness of seeing you; and though this gentleman dislikes the amusement in general, he can have no objection, I am sure, to oblige us for one half-hour.”
“Mr. Darcy is all politeness,” said Elizabeth, smiling.
“He is indeed; but considering the inducement, my dear Miss Eliza, we cannot wonder at his complaisance — for who would object to such a partner?”
Elizabeth looked archly, and turned away. Her resistance had not injured her with the gentleman, and he was thinking of her with some complacency…
p. 19. [Darcy to Miss Bingley who is ever in pursuit…]:
“Your conjecture is totally wrong, I assure you. My mind was more agreeably engaged. I have been meditating on the very great pleasure which a pair of fine eyes in the face of a pretty woman can bestow.”
Miss Bingley immediately fixed her eyes on his face, and desired he would tell her what lady had the credit of inspiring such reflections. Mr. Darcy replied with great intrepidity —
“Miss Elizabeth Bennet.”
“Miss Elizabeth Bennet!” repeated Miss Bingley. “I am all astonishment. How long has she been such a favourite? — and pray, when am I to wish you joy?” …
p. 24. [Elizabeth arriving at Netherfield to offer comfort Jane]:
Mr. Darcy said very little, and Mr. Hurst nothing at all. The former was divided between admiration of the brilliancy which exercise had given to her complexion, and doubt as to the occasion’s justifying her coming so far alone. The latter was thinking only of his breakfast.
Kiera Knightley as Elizabeth – image: jasna.org
“I am afraid, Mr. Darcy,” observed Miss Bingley, in a half-whisper, “that this adventure has rather affected your admiration of her fine eyes.”
“Not at all,” he replied; “they were brightened by the exercise.”
p. 28. [this is an interesting: Elizabeth has been reading a book while the others plays cards – but when the talk turns to Mr. Darcy’s library at Pemberley, she takes such an interest in what is being said, that she puts her book aside and moves close to the card table…and what follows is the discussion of the “accomplished woman.”]:
Elizabeth was so much caught by what passed as to leave her very little attention for her book; and soon laying it wholly aside, she drew near the card-table, and stationed herself between Mr. Bingley and his eldest sister, to observe the game.
The Library at Chatsworth a.k.a. Pemberley
p. 33. [Elizabeth says; notice how she “trembles”:]
I wonder who first discovered the efficacy of poetry in driving away love!”
“I have been used to consider poetry as the food of love,” said Darcy.
“Of a fine, stout, healthy love it may. Everything nourishes what is strong already. But if it be only a slight, thin sort of inclination, I am convinced that one good sonnet will starve it entirely away.”
Darcy only smiled; and the general pause which ensued made Elizabeth tremble lest her mother should be exposing herself again. She longed to speak, but could think of nothing to say…
…Elizabeth could not help observing, as she turned over some music books that lay on the instrument, how frequently Mr. Darcy’s eyes were fixed on her. She hardly knew how to suppose that she could be an object of admiration to so great a man; …
… and Darcy had never been so bewitched by any woman as he was by her. He really believed that, were it not for the inferiority of her connexions, he should be in some danger.
C. E. Brock. P&P. Macmillan 1895 [Mollands]
Mr. Darcy felt their rudeness …
[i. e Caroline and Mrs. Hurst leaving Elizabeth to walk by herself…]
…and Darcy, after a few moments recollection, was not sorry for it. He began to feel the danger of paying Elizabeth too much attention.
To Mr. Darcy it was welcome intelligence: Elizabeth had been at Netherfield long enough. She attracted him more than he liked — and Miss Bingley was uncivil to her, and more teasing than usual to himself. He wisely resolved to be particularly careful that no sign of admiration should now escape him, nothing that could elevate her with the hope of influencing his felicity; sensible that if such an idea had been suggested, his behaviour during the last day must have material weight in confirming or crushing it. Steady to his purpose, he scarcely spoke ten words to her through the whole of Saturday, and though they were at one time left by themselves for half an hour, he adhered most conscientiously to his book, and would not even look at her.
Mr. Darcy corroborated it with a bow, and was beginning to determine not to fix his eyes on Elizabeth…
p. 72. [during their dance]…
…on each side dissatisfied, though not to an equal degree, for in Darcy’s breast there was a tolerable powerful feeling towards her, which soon procured her pardon, and directed all his anger against another.
[And here Elizabeth always watching Darcy and his reactions to her and her family]:
…when she found herself suddenly addressed by Mr. Darcy, who took her so much by surprise in his application for her hand, that, without knowing what she did, she accepted him. He walked away again immediately, and she was left to fret over her own want of presence of mind…
Helen Sewell. P&P. Limited Editions Club, 1940
…took her place in the set, amazed at the dignity to which she was arrived in being allowed to stand opposite to Mr. Darcy, and reading in her neighbours’ looks their equal amazement in beholding it.
Elizabeth blushed and blushed again with shame and vexation. She could not help frequently glancing her eye at Mr. Darcy, though every glance convinced her of what she dreaded; for though he was not always looking at her mother, she was convinced that his attention was invariably fixed by her. The expression of his face changed gradually from indignant contempt to a composed and steady gravity.
She was at least free from the offence of Mr. Darcy’s farther notice; though often standing within a very short distance of her, quite disengaged, he never came near enough to speak.
Mr. Darcy – P&P – Marvel Comics
Stay tuned for quotes from Volume II. Do you find any that I have missed that somehow allude to this connection between Darcy and Elizabeth from nearly the first moment they set eyes upon each other?
*Page citations from: Austen, Jane. Pride and Prejudice. Ed. James Kinsley. Introd. Fiona Stafford. New York: Oxford UP, 2008.
** See John Wiltshire, “Mr. Darcy’s Smile.” The Cinematic Jane Austen: Essays on the Filmic Sensibility of the Novels. Ed. David Monaghan, Ariane Hudelet, and John Wiltshire. Jefferson, NC: McFarland, 2009. 94-110.
Today is the day! – the Kickstarter campaign of The Jane Game has been launched!
I first posted on this here in January 2013 – now it is time for you to sign on and help with getting this Jane Austen trivia game completed for distribution – a donation of $40. [or more!] will get you a copy of the game as well as the satisfaction of helping a Jane Austen entrepreneur. The Kickstarter website is here, where you will find the details of the game, the Rules of the game, and the various donation categories – you have until December 14, 2013 to sign on… I just did, and hope you will too!
The Jane Game is a trivia board game devoted to Jane Austen’s six novels. It is designed to bring Austen admirers together to share in her stories, characters, wit and language. While playing, each participant enters Jane’s world as one of her heroines. As such, you seek after a fortunate life by becoming an accomplished woman, gaining life experience and choosing to marry or not. Through chance, expertise and choice you could become the envied Mrs. Darcy, the pitied Mrs. Collins or the new roommate of Miss Bates.
And here are a few words from creator Elizabeth Bankhead on what to expect:
Experience Section: The Jane Game gives you the experience of:
Unique Section: The Jane Game
Why pledge now?
Click here to see The Jane Game video
[Text and images courtesy of The Jane Game and Elizabeth Bankhead]
UPDATE: Prices realized [with buyer’s premium] are noted as made available
I wonder what is going on – I posted last week on several upcoming auctions with a number of Jane Austen offerings – and now I write about even more – there seems to an abundance, more than usual – why is this do you think??
I will start with this, out of date order, but perhaps the most unique, interesting, (and expensive) to us:
Austen, Jane – by James Andrews. PORTRAIT OF JANE AUSTEN.
watercolour over pencil heightened with gouache on card, depicting the author with brown curly hair and hazel eyes seated and facing towards the right, in a white frilled bonnet with light blue ribbon and a white dress with a dark blue ribbon under the bust, a small section at the bottom of the portrait apparently unfinished, oval, 143 x 100mm (overall sheet size 170 x 125mm), 1869, series of pin-holes at the top and bottom of the card, pencil markings probably by the engraver, mounted, framed, and glazed, frame size 327 x 247mm, the frame being a reused lid from a casket or box, French or German, probably eighteenth century, walnut inlaid with boulle-style marquetry of flowers and scrollwork in brass, silver, ivory, and mother of pearl, loss to surface of portrait probably due to insect damage, mostly affecting the dress, slight discolouration at edges seemingly where previously mounted in a rectangular frame.
The portrait of Jane Austen was commissioned by her nephew, James Edward Austen-Leigh, to illustrate his memoir of his aunt. This watercolor by painter James Andrews was the basis for the engraved version that is the best known and most reproduced image of Austen. It has been in the family ever since.
Estimate: £150,000 — 200,000
[Note: For those of you in the New York area, this portrait will be on view from November 19 to 21 on the fourth floor of Sotheby’s, 1334 York Ave at 72nd St. Sotheby’s is open from 10 to 5. ]
There are other must-have items at this auction – see below [all are in chronological order]
AUSTEN, JANE. Mansfield Park. 2 volumes. Philadelphia: Carey & Lea, 1832.
4 page publisher’s catalogue inserted at front of volume 1. 8vo, original publisher’s 1/4 cloth-backed drab boards, lettering labels on spines (absent but for trace remnants on each volume, and with small contemporary institutional labels either perished or remnant only below on each volume), cocked, few short splits at spine tips, generally mild staining and light wear to boards, corners rubbed with light exposure; hinges tender, pastedowns coming loose from boards in volume 1, scattered foxing throughout, at times heavily to volume 2, occasional small chips at deckle, old penciled numerals on front free endpapers, paper repairs on 2 leaves in volume 1 with no loss of text; housed in custom drop-back cloth case.
First american edition, extremely rare in the original binding. One of 1250 copies printed. Few copies of any of Austen’s first American editions have survived. “No appearance of the 1832 M[ansfield] P[ark] at auction has been traced” (Gilson, rev. ed., 1997). A survey of ABPC and AE records only one unsophisticated copy sold in the last 30 years. Gilson B4.
Estimate $4,000 – 6,000 – Price Realized $5,376
3 volumes. Lacking half-titles. 12mo, contemporary 1/2 calf over marbled boards, spine gilt with leather lettering pieces (two perished, one with partial loss), covers and spines scuffed with some splitting along spine ends, fore-edges bumped in areas, joints strengthened; scattered light foxing, neat contemporary ownership inscriptions on title-page of each volume.
The less common second edition. According to Gilson, the publishing history is rather furtive (“The size of the edition is not known”). It does differ from the first edition in that it is entirely reset, resulting in occasional variations within the page. In addition, there are numerous small changes to spelling and punctuation and, occasionally, a change in wording (see Gilson A4 for list of alterations.); Chapman 4.
Estimate $3,000 – 4,000 – Price Realized $4,096
AUSTEN, JANE. The Novels. Edinburgh: John Grant, 1911-12.
12 volumes. Portrait frontispiece to volume 1. 8vo, later 1/4 olive calf, spine gilt in 5 compartments with gilt-lettered morocco lettering pieces in 1, top edges gilt. the Winchester Edition, a bright and clean set. One of the more desirable editions of Austen’s works.
Estimate $800 – 1,200 – Price Realized $1,875
Also of interest: [to me anyway!]- as well as some wonderful offerings in children’s literature, lots of Dickens, alas! only one Hardy, but some lovely Hemingways and Twains…
8vo, publisher’s pictorial tan cloth, covers clean with virtually no rubbing or wear; outer pastedown edges with faint evidence of binder’s glue as usual, though with no offsetting to facing endpapers; first state dust jacket, mild rubbing to folds, small skillful restorations to spine panel tips and flap folds, bright and clean, a superb example with the original $2.75 price present.
First edition, an excellent association copy, inscribed on the front free endpaper “For Jules and Joyce and also Joan [underlined] with love John Steinbeck.” Below his signature Steinbeck added his “Pigasus” drawing. Jules Buck was a movie producer; he and Steinbeck made an early attempt toward a collaborative screenplay for what would become Elia Kazan’s “Viva Zapata,” though Steinbeck’s contribution was such that he received sole credit. Buck produced such post-war film classics as Robert Siodmak’s The Killers (based on the story by Ernest Hemingway), and Jules Dassin’s The Naked City. His wife Joyce Gates was an actress and their daughter Joan became the editor of French Vogue. Steinbeck generally reserved his flying pig doodle for close friends or significant occasions. In a letter (March, 1983) Elaine Steinbeck explained the significance of the image: “The Pigasus symbol came from my husband’s fertile, joyful, and often wild imagination … John would never have been so presumptuous as to use the winged horse as his symbol; the little pig said that man must try to attain the heavens though his equipment be meager. Man must aspire though he be earthbound” (The Martha Heasley Cox Center for Steinbeck Studies). An excellent inscribed copy with a fine association. Goldstone & Payne A12.a.
Estimate $18,000 – 25,000 – Price Realized $18,750
[Cruikshank, Isaac Robert]. UNRECORDED CRUIKSHANK (illus.). Mock Heroics, on Snuff, Tobacco, and Gin; And A Rhapsody on an Inkstand by J. Elagnitin. London: Hodgson and Co., 1822.
Frontispiece and 3 full page color engravings by I. R. Cruikshank. 8vo, contemporary full dark green crushed morocco, French fillet covers, spine decorated in gilt in compartments, all edges gilt, wide inner dentelles, by Riviere; tiny marginal repair on frontispiece, mild offsetting to title-page, else quite clean.
First edition of rare Cruikshank title with very bright, clean impressions of the plates. Shows London denizens taking snuff, on the pipe, at the debauch, and a more lonely pursuit. Not in Krumbhaar.
Estimate $700 – 1,000 – Price Realized $469
The Winchester edition. Twelve volumes, full blue morocco gilt, the spines elaborately tooled and lettered in gilt with red morocco lettering labels, top edge gilt. 8 1/2 x 5 1/2 inches (22 x 14 cm). A fine and attractive set.
[Note: This set is similar to the one noted above, just with a different binding – which do you like best?]
There is quite a collection of photographs and political collectibles at this auction, including this Tom Jones, Theodore Roosevelt’s copy:
FIELDING, HENRY. The History of Tom Jones, a Foundling. London: printed for A. Millar, over-against Catharine-Street in the Strand, 1749. First edition, Theodore Roosevelt’s copy, with his “Qui plantavit curabit” bookplate to each pastedown. Six volumes, later full brown morocco gilt, all edges gilt. 6 1/4 x 3 3/4 inches (16 1/2 x 10 cm); with the errata leaf present in vol. I and with most called for cancels: Vol. I: B9, 10; Vol. II: N12; Vol. III: H8-10, M3; Vol. IV: B1, Vol. V: N8. [without the cancels at B4 and 5 in vol. II and Q11 in vol. III]. A 1910 inscription to front free endpaper on vol. I in an unknown hand, some foxing throughout, D10 in vol 2 with tear not affecting text, joints and extremities rubbed, losses to lettering labels, a sound set.
First edition of one of the earliest English works to be called a novel – with a very fine American provenance.
This is my birthday, so in case you are wondering what I might like, I will take any of these…
Austen, Jane. Sense and Sensibility. London: Printed for the Author and published by T. Egerton, 1811.
3 volumes, 12mo (6 3/4 x 4 in.; 172 x 104 mm). Half-titles (with the correct length of rules as called for) in all volumes but lacking the terminal blanks in each, lower corner of B2 torn away in vol. 1, very occasional and mostly marginal faint staining throughout. Modern three quarter tan morocco and linen cloth by Sangorski and Sutcliffe, red morocco labels.
Estimate: $20,000 — 30,000. Did Not Sell
Pride and Prejudice: A Novel. London: T. Egerton, 1813
3 volumes, 12mo (6 3/4 x 4 1/16 in.; 171 x 105 mm). Lacks half-titles, some staining and browning throughout but less so in vols. 2 and 3, closed tear in gutter of first text page in vol. 1 and last of vol. 3, front endpapers lacking in last volume. Contemporary half calf and marbled boards, spines with six gilt-ruled compartments and black morocco labels, a little rubbed overall, with minor wear at head of volume 1.
Estimate: $20,000 — 30,000
SOLD for $46,875.
3 volumes. 12mo (6 7/8 x 4 1/4 in.; 176 x 105 mm). Lacking half-titles but terminal blanks present, lower corner of Q3 in vol. 1 torn away, vol. 3 pg. 175 with clean tear repaired, few light stray spots to title pages, but text unusually free from staining and browning. Near-contemporary half calf and marbled boards, spines gilt in 5 compartments, red and black morocco labels; sides rubbed, vol.1 rebacked preserving spine, upper joint of vol. 3 starting.
Estimate: $7,000 — 10,000 – SOLD for $13,750.
Austen, Jane. Emma: A Novel. London: Printed for John Murray, 1816.
3 volumes, 12mo (6 ¼ x 4 1/8 in.; 165 x 105 mm). Lacking half-titles; intermittent spotting and some staining, more so in vol. 2. Near-contemporary half calf and marbled boards, spines gilt in 5 compartments with black morocco labels; some rubbing to sides and minor shelfwear along bottom edges, some skinning at top of spine ends.
Estimate: $7,000 — 9,000 – SOLD for $11,875.
Austen, Jane. Northanger Abbey: and Persuasion. London, John Murray, 1818.
4 volumes, 12mo (6 3/4 x 4 1/4 in.; 172 x 106 mm). Lacking half-titles; some very minor and mostly marginal spotting. Contemporary black half roan and marbled boards, spines ruled and gilt-titled; some rubbing to joints, slight wear at corners and along bottom edge, but a generally handsome set.
Estimate : $5,000 — 7,000 – SOLD for $8,125.
Other items of interest at this auction:
Lot 92: Love this binding!
Burney, Frances. Cecilia, or Memoires of an Heiress. London: for T Payne and Son and T Cadell, 1782
5 volumes, 12mo (6 3/4 x 4 ins; 172 x 100 mm). Advertisement leaf present in first volume, vols. 2, 3, 5 lacking rear endpapers. Contemporary calf, rebacked to style with red morocco and green morocco labels.
Estimate: $2,000 — 4,000.
5 volumes, 12mo (174 x 102 mm). The occasional proud gathering and a few closed marginal tears to a handul leaves only. Contemporary speckled calf, single rule border to sides, spines with double-ruled compartments, green morocco labels; trace of rubbing to joints, upper joint of vol. 2 tender, but a lovely set.
Estimate: $3,000 — 5,000.
Autograph fragment of two verses. 1 page (7 x 1 in.; 180 x 28 mm). Mounted in a portfolio with a portrait of the author; “And sad & lonely mid the holy calm / Near Theseus’ fence y on solitary Palm.”
These two lines are the verses 1213 and 1214 of The Corsair, Canto III, published in 1814. In the edition of the Works of Lord Byron (Coleridge & Prothero, 1898-1905), the verses are: “And, dun and sombre ‘mid the holy calm, / Near Theseus’ fane yon solitary palm.”
Together with: autograph letter, signed (“Lord Byron” in third person). 1 page (8 5/3 x 6 7/8 in.; 219 x 175 mm), “13 Piccadilly Terrace, August 15th 1815”; to an unidentified correspondent: “Lord Byron presents his compliments to Mr. Juling [?] & would be glad to know if the letter of which he encloses the cover was not overcharged upon the [District?] stated on the address by the postman. The charge was thirteen pence half penny”. Formerly folded, soiling and foxing, tiny repair on the address. –Autograph address panel, cut from the address leaf of a letter addressed to his sister, August Leigh. 1 page (4 3/4 x 3 in.; 121 x 75 mm); wax seal; mounted in tinted roan folder.
Estimate: $4,000 — 6,000.
This auction includes the portrait noted above, but there a number of other offerings worth sharing: see the catalogue online where you will find a treasure-trove of children’s books and their illustrators [Rackham, Tolkien, Potter, Robinson, Shepard, Pogany, Nielsen, Dulac, De Brunhoff, Carroll, Blyton, and more] , and also Johnson, Dickens, Pope, and Swift… and more…
[Brontë, Charlotte]. JANE EYRE. AN AUTOBIOGRAPHY. EDITED BY CURRER BELL. SMITH, ELDER AND CO., 1847
8vo (198 x 124mm), 3 volumes, first edition of the author’s first published novel, half-titles, publisher’s 32pp. catalogue dated October 1847 at the end of volume 1, without the extra advertisement leaf present in some copies (no priority), original dark greyish reddish brown vertically-ribbed cloth, covers decorated in blind with triple line border enclosing decorative trellis-like border, pale yellow endpapers, tear to inner margin of T2 in volume 1 (not affecting text), small portion of lower outer margin of U3 in volume 2 torn away (also not affecting text), occasional foxing and browning to text leaves, lower hinges of volumes 1 and 3 starting, hinge of upper hinge of volume 2 slightly cracked, cloth at top of spine of volume 1 slightly chipped, further slight edge-wear to covers and some slight fading.
Estimate: £35,000 — 45,000
These are just fun!
Playing cards: Popish Plot cards. [LONDON: ROBERT WALTON, C. 1679 OR LATER]
52 cards, each 90 x 54mm., engraved with captions, grey patterned versos, 12 mounted in a frame, the rest in a folder attached to the back of the frame, three cards somewhat worn (two of diamonds, ten of spades and ace of hearts), king of clubs torn with loss of club symbol.
Estimate: £2,500 — 3,000
There are several other playing cards on offer as well – another example – because the images are fabulous!
Playing cards: The Beggar’s Opera [LONDON: JOHN BOWLES, C. 1730]
52 cards, each 95 x 62mm., engraved with the hearts and diamonds coloured in red, plain versos, 13 mounted in a frame, the rest in a folder attached to the back of the frame, a few cards cut close, a few light stains
Estimate: £3,000 — 5,000
Cruikshank, George. THE OUTRAGED HUSBAND.
165 by 228mm., ink and watercolour drawing, signed lower right, mounted, framed and glazed, some minor browning at extremities from former mount
Estimate: £1,500 — 2,000
Some great items to add to your wish list! – go to the auction catalogues for even more treasures! Happy hunting [and wishing…]
Here is the video that showed on Nightline last night “Oh Mr. Darcy! Jane Austen Super Fans” – where the camera takes us through various Jane Austen events with costumed, tea-drinking fans, as well as numerous film clips of our favorite Mr. Darcys in all manner of steamy situations …
The reporters hit the JASNA AGM in Minneapolis, a Jane Austen group in Pasadena, and our very own Governor’s House in Hyde Park, Vermont which makes a grand showing, fabulous for Innkeeper Suzanne!
Another book to be added to your wish list, due out early December!
Jane Austen and the Arts: Elegance, Propriety, and Harmony
Edited by Natasha Duquette and Elisabeth Lenckos.
Lehigh U P / Rowman & Littlefield, 2013
What makes this book so special to JASNA-Vermont is that one of the chapters is by our founding member Kelly McDonald! – see chapter 2 in the table of contents below, and her blog post on it here. Congratulations Kelly!
About the book, from the Rowman & Littlefield website:
Contributions by Jessica Brown; Diane N. Capitani; Christine Colón; Alice Davenport; Deborah Kennedy; Kathryn L. Libin; Kelly McDonald; Belisa Monteiro; Jeffrey Nigro; J. Russell Perkin; Erin J. Smith; Vivasvan Soni; Melora G. Vandersluis and Frederick A. Duquette.
The essays collected in Jane Austen and the Arts; Elegance, Propriety, and Harmony examine Austen’s understanding of the arts, her aesthetic philosophy, and her role as artist. Together, they explore Austen’s connections with Edmund Burke, Adam Smith, Johann Wolfgang von Goethe, Madame de Staël, Joanna Baillie, Jean Jacques Rousseau, Mary Anne Schimmelpenninck, and other writers engaged in debates on the sensuous experience and the intellectual judgment of art. Our contributors look at Austen’s engagement with diverse art forms, painting, ballet, drama, poetry, and music, investigating our topic within historically grounded and theoretically nuanced essays. They represent Austen as a writer-thinker reflecting on the nature and practice of artistic creation and considering the social, moral, psychological, and theological functions of art in her fiction. We suggest that Austen knew, modified, and transformed the dominant aesthetic discourses of her era, at times ironically, to her own artistic ends. As a result, a new, and compelling image of Austen emerges, a “portrait of a lady artist” confidently promoting her own distinctly post-enlightenment aesthetic system.
Table of Contents:
Preface: Jane Austen’s Critique of Aesthetic Judgment by Vivasvan Soni
Introduction by Natasha Duquette and Elisabeth Lenckos
I. The Fine Arts in Austen’s World: Music, Dance, and Portraiture
Ch 1. “Daily Practice, Musical Accomplishment, and the Example of Jane Austen” – Kathryn Libin
Ch 2.”A ‘Reputation for Accomplishment’: Marianne Dashwood and Emma Woodhouse as Artistic Performers” – Kelly McDonald
Ch 3. “Miss Bingley’s Walk: The Aesthetics of Movement in Pride and Prejudice” – Erin Smith
Ch 4. “The Sister Artist: Cassandra Austen’s Portraits of Jane Austen in Art-Historical Context” – Jeffrey Nigro
II. Austen and Romanticism: Female Genius, Gothicism, and Sublimity
Ch 5 – “Portrait of a Lady (Artist): Jane Austen’s Anne Elliot, Madame de Staël’s Corrine, and the Woman of Genius Novel” – Elisabeth Lenckos
Ch 6 – “Jane Austen’s Comic Heroines and the Controversial Pleasures of Wit” – Belisa Monteiro
Ch 7 – “An Adaptable Aesthetic: Eighteenth-Century Landscapes, Ann Radcliffe, and Jane Austen” – Alice Davenport
Ch 8. “Exploring the Transformative Power of Literature: Joanna Baillie, Jane Austen and the Aesthetics of Moral Reform” – Christine Colón
Ch 9. “Jane Austen’s Influence on Stephenie Meyer” – Deborah Kennedy
III. Austen in Political, Social, and Theological Context
Ch 10. “Aesthetics, Politics, and the Interpretation of Mansfield Park” – Russell Perkin
Ch 11. “Reflections on Mirrors: Austen, Rousseau, and Socio-Politics” – Melora Vandersluis
Ch 12. “‘So much novelty and beauty!’: Spacious Reception through an Aesthetic of Restraint in Persuasion” – Jessica Brown
Ch 13. “Augustinian Aesthetics in Jane Austen’s World: God as Artist” – Diane Capitani
Ch 14. “‘Delicacy of Taste’ Redeemed: The Aesthetic Judgments of Austen’s Clergymen Heroes” – Fred and Natasha Duquette
Due out in December, you can pre-order the book here – the ebook will be available this month for a penny less!
978-1-61146-137-4 • Hardback -December 2013 • $80.00 • (£49.95)
978-1-61146-138-1 • eBook – November 2013 • $79.99 • (£49.95)
[Text and image from the Rowman website]
Opening today! ~ “Georgians Revealed: Life, Style and the Making of Modern Britain” – 8 November – 11 March 2014 at the British Library
I.R. and G. Cruikshank. ‘Tom & Jerry at a Coffee Shop near the Olympic’ – Pierce Egan, Life in London (London, 1823).
Tasteful and polite, or riotous and pleasure-obsessed? Discover the Georgians as they really were, through the objects that tell the stories of their lives.
From beautifully furnished homes to raucous gambling dens, Georgians Revealed explores the revolution in everyday life that took place between 1714 and 1830. Cities and towns were transformed. Taking tea, reading magazines, gardening and shopping for leisure were commonplace, and conspicuous consumption became the pastime of the emerging middle classes.
Popular culture as we know it began, and with it the unstoppable rise of fashion and celebrity. Art galleries, museums and charities were founded. In this time of incredible innovation, ideas were endlessly debated in the new coffee houses and spread via the information highway that was mass print.
Drawing on the British Library’s uniquely rich and rare collections of illustrated books, newspapers, maps and advertisements, as well as loaned artworks and artifacts, “Georgians Revealed” brings to life the trials and triumphs of the ordinary people who transformed Britain forever.
And check out the online shop where all manner of Georgian -related treasures are for sale, as well as a catalogue of the exhibition, another must-have for your Jane Austen collection!
Rocque map of London fan, £8
A beautiful wooden fan, featuring a historic map created by John Rocque.
The fan has been created exclusively for the British Library. Wood/ canvas.
[Images and text from the British Library website]
If you are into your holiday shopping early, or compiling your own wish-list, here is a fine start: a must-have for your Jane Austen collection: the Folio Society’s latest edition of Pride and Prejudice, 2013.
“I had not known you a month before I felt that you were the last man in the world whom I could ever be prevailed on to marry.”
One of the world’s favourite books, Pride and Prejudice has long been regarded as a classic romance. In Elizabeth Bennet and Fitzwilliam Darcy, Jane Austen created the greatest pair of sparring lovers since Shakespeare’s Beatrice and Benedick. This sparkling comedy of manners features an inimitable cast of characters including the obsequious Mr Collins, the autocratic Lady Catherine de Bourgh, and Mrs Bennet, the most embarrassing mother in literature.
The award-winning Balbusso twins have contributed eight exquisite illustrations to this edition, as well as a striking cover design. The novel’s celebrated first line is blocked in gold on the slipcase. In a new introduction, the author Sebastian Faulks praises ‘a novel of almost boundless wit and charm that has withstood film and television adaptations and attempts to define it as a “fairy tale” or a “rom-com”.’
[Pride and Prejudice (Folio, 2013): image from the Balbusso website]
[Text from the Folio Society Website]