87
302 303 one oF 300 coPies signeD BY the author
302. WasHBUrn, Bradford. Mount McKinley’s West Buttress: the First ascent. Brad Washburn’s logbook 1951.Williston, VT: The Stinehour Press for Top of the World Press, LLC, 2003.
£130
4to (253 x 216mm). original black cloth, upper board and spine lettered in silver, maroon endpapers, dustwrapper; pp. xvii, [1 (section-title)], 142, loosely-inserted errata slip; frontispiece and numerous text illustrations, some full-page, after Washburn et al.; a fine copy.
First edition, no. 215 of 300 signed copies. Mount McKinley, the highest mountain in north america, was first climbed in 1913, and the first ascent of it via the West Buttress was made by Washburn — the acknowledged expert on the mountain — in 1951. the present, finely-printed volume reprints Washburn’s log-book and is illustrated with his photographs of the mountain taken both on the ground and from the air.
303.WaterHoUse, Keith. Billy liar.Michael Joseph. 1959. £148
8vo., original cloth with dust wrapper designed by William Belcher. Book slightly cocked, wrapper with a little chipping at spine ends, spine of wrapper a little browned, a little staining to upper panel, otherwise a very good copy.
First edition.
304. WeBster, mary. Johan Zoffany. New Haven and London, Yale University Press for The Paul Mellon Centre for Studies in British Art, 2011.
£75
4to. green cloth, pictorial dust jacket; pp. xi, 708, illustrated throughout in colour.
First edition. universally recognised as a brilliant and gifted eighteenth- century artist, Zoffany was regarded by horace Walpole as one of the three greatest painters in england, along with his friends reynolds and gainsborough. he has remained without a detailed study of his life and works owing to the fascinating and complex vicissitudes of his career, now established from widely scattered sources. starting out as a late- baroque painter at a german princely court, he moved to london in 1760 and soon became a leading portraitist. a loyal patron was the great actor David garrick through whom Zoffany became admired as the unrivalled interpreter of the georgian stage. the delightful inventions of his conversation pieces proved, then as now, fashionably successful images of private lives and led to his swift rise into the royal patronage of george iii and Queen charlotte. sent by the queen to paint the celebrated tribuna of the uffizi in Florence, Zoffany while there received commissions from the empress Maria theresa for family portraits which took him to the courts of Vienna and Parma. Back in london but out of favour with the fashionable world, he left for the Bengal of Warren hastings. Portraying the anglo-indian society of calcutta, and working up-country at the glittering court of the nawab of lucknow, he developed a serious interest in indian life and landscape. his fortune made, he returned with impaired health, but continued painting pictures of india, theatrical scenes and portraits, turning in old age to attack the bloody progress of the French revolution. Zoffany set foot in so many worlds that their contrast alone gives a constantly changing interest to the history of his life and work: his pictures document with incomparable liveliness the worlds and people among whom he moved.
Mary Webster was formerly at the Warburg institute and curator of the college art collections at university college london.
304
305. WeeKs, edwin lord. From the Black sea through Persia and india. New York: Harper & Brothers Publishers, ‘1896’ [?but 1895].
£350
8vo (228 x 150mm). original khaki cloth, upper board blocked in gilt with elaborate border incorporating islamicate foliate motifs, gilt Persian ‘lion- and-sun’ emblem, and lettered in gilt, spine lettered and decorated in gilt, top edges gilt, others uncut; pp. [2 (title, imprint on verso)], [vii]-xii (preface, contents, verso blank, illustrations), [2 (fly-title, verso blank)], 437, [1 (blank)], [2 (publisher’s advertisement)]; half-tone portrait frontispiece with tissue guard printed in red with facsimile signature, numerous illustrations in the text after Weeks, some full-page; extremities very slightly rubbed and with small chips, spine slightly darkened, light offsetting on endpapers, lower board with crack, otherwise a very good, internally clean copy in the original cloth.
First edition. the american orientalist painter edwin lord Weeks (1849- 1903) was born in Boston, but moved to Paris where he studied under J.l. gérôme and léon Bonnat at the ecole des Beaux-arts. ‘While his training was still in progress he journeyed to tangier, algiers, and cairo, where he made a number of striking paintings. some of these early works were hung at the Paris salon during his novitiate, and the favorable verdict of the critics, together with the approval of his masters, encouraged him to specialize in oriental subjects. he traveled to Palestine, and did some work in Jerusalem and Damascus, and then ventured on an expedition to india. there during the eighties and nineties he produced an extensive series of brilliant compositions, many of which were exhibited at the Paris salon’ (DaB XiX, p. 601). in 1892 Weeks embarked on the journey described here, which took him through Persia and afghanistan to india, and the work is richly illustrated with reproductions of the author’s paintings and drawings; the first part of the book takes the form of a diary, recording his journey from trebizond, to tabriz, tehran, Qom, Kashan, and isfahan. the second part of the work relates to india, and includes a chapter on indian art and a concluding chapter titled ‘recent impressions of anglo-indian life’. although the title-pages of both the us and the British edition are dated 1896,
the copyright
statement in this volume reads ‘copyright, 1895, by harper & Brothers’ and the British library’s copyright copy was received in 1895. Following the title-leaf, the pagination begins at [vii] in both the us and the British editions of the book.
Ghani pp. 392-393; Wilson p. 241.
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