Life and Campaigns of Stonewall Jackson First Edition - Stonewall Jackson - Bauman Rare Books

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Life and Campaigns of Stonewall Jackson

Stonewall JACKSON | R.L. DABNEY

Item#: 112423 We're sorry, this item has been sold

Life and Campaigns of Stonewall Jackson

"THERE IS JACKSON STANDING LIKE A STONE WALL. RALLY BEHIND THE VIRGINIANS!": FIRST EDITION OF DABNEY'S LIFE OF STONEWALL JACKSON, 1866

(JACKSON, Stonewall) DABNEY, R.L. The Life and Campaigns of Lieut.-Gen. Thomas J. Jackson (Stonewall Jackson). New-York: Blelock & Co., 1866. Octavo, contemporary three-quarter calf, gilt-decorated spine, black morocco spine labels, marbled boards, endpapers and edges.

First edition of Dabney's biography of General Stonewall Jackson—"the most famous nickname in the Civil War"—with engraved frontispiece portrait and several battle plans, in contemporary calf-gilt.

"The most famous nickname in the Civil War came to the general… in the first major battle of the war (First Manassas)." There General Barnard Bee sought to rally his troops. "Galloping back to the broken fragments of his over-tasked command, [he] exclaimed to them, "There is Jackson standing like a stone wall. Rally behind the Virginians" (page 222). "Jackson's defense helped turn the tide and bring victory to the Confederates as well as fame and the sobriquet of 'Stonewall' to himself" (ANB). But in 1863 after leading his army in a flank attack on the Federals, Jackson died on May 10 from complications caused by amputation of his wounded left arm. This early biography was "Written by a member of Jackson's staff, with help from his family" (Howes D2). Howes D2. Sabin 18255. Dornbusch II:2825.

Interior generally clean, some light rubbing to extremities of contemporary calf, gilt bright. An extremely good copy.

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Aquatint Copperplate process by which the plate is “bitten” by exposure to acid. By changing the areas of the plate that are exposed and the length of time the plate is submerged in the acid bath, the engraver can obtain fine and varying shades of gray that closely resemble watercolor washes. Although the name contains the word “tint”, this is a black-and-white printing process; aquatint plates can often be hand colored, however.
Armorial Used to describe a binding bearing the coat of arms of the original owner, or with bookplates incorporating the owner’s arms.
Association Copy copy that belonged to someone connected with the author or the contents of a book.
Boards Hard front and rear covers of a bound book which are covered in cloth, leather or paper. “Original boards” refers to cardboard-like front and back boards, from about 1700 to 1840, used as temporary protection for books before their purchasers would have them bound. Of particular value to collectors as evidence of a very early form of the book.
Book-Plate Label, generally affixed to the front pastedown, identifying a book’s owner.
Broadside Sheet printed on one side, typically for public display, usually larger than folio size (a folio being a broadside-size sheet printed on both sides and folded once, to make four pages).
Calf Binding material made from cowhide—versatile, durable, usually tan or brown in color, of smooth texture with no or little apparent grain. Readily marbled (“tree calf”), mottled, diced, colored, polished, tooled in gilt or blind, even scented (known as “russia”). Reverse calf, with a distinctive suede-like texture, is occasionally used.
Chromolithograph Lithograph printed in colors, typically three or more.
Collation Process by which the contents of a book are inspected for completeness, checking against internal evidence, the table of contents and/or plate list, and reference works. Also a shorthand bibliographical description of a book’s composition by its leaves and signatures, rather than its pages. A-C, for example, would indicate a quarto volume composed of three signatures or gatherings of eight pages each for a total of 24 pages.
Colophon Printed note at the end of a text containing information about the printing of the book.
Doublure Pastedowns made not of paper but of leather, for decorative purposes.
Duodecimo (12MO) Smaller than an octavo, typically less than six inches tall; smaller formats, such as 24mo and 32mo, are uncommon.
Edition Print-run from a single setting of type without substantial change. Depending on demand, any number of printings can be made from a setting of type For example, a first printing might consist of 1000 copies, followed by a second printing of 2500 copies; in which case the book would have a first edition, first printing of 1000 copies, and a first edition, second printing of 2500 copies.
Endpapers Extra leaves—plain, colored or decorated—with which a bookbinder covers the insides of the book’s boards, therefore not part of the actual text block. The part of the leaf pasted to the inside of the front board is the front “pastedown,” while the other part of the leaf that forms the first page of the book is the “front free endpaper”; the same applies to the rear pastedown and rear free endpaper.
Engraving Illustration produced by carving lines into a metal plate. This is an intaglio process, in which ink is poured over the plate, then wiped from the surface, leaving ink only in the recesses made by the engraver’s tools. The image is then transferred by pressing thick dampened paper against the metal plate with great force—requiring engravings to be printed on a separate stock and separate press from any text.
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Gilt Edges The three exposed edges of a book have been smoothed and gilded.
Half Title Leaf preceding the title page that bears the book’s title, originally used to identify the unbound text block. The book’s binder would often remove and discard the half title at the time of binding. Remaining half-titles are therefore of interest to collectors.
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Imprint Satement of place, publisher and date of publication on a book’s title page.
Incunable From the cradle of printing, i.e., any book printed before 1501.
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Japanese Vellum Expensive handmade paper often used in deluxe editions.
Lithograph Illustration produced by transferring an image drawn on a carefully prepared stone to paper. The process allowed illustrations to more closely resemble the original drawings, paintings or sketches, as it gave the lithographer a freedom of line impossible to achieve in earlier intaglio and relief processes. It does not require the same sort of pressure as an engraving to transfer the image, but still has to be printed on separate stock from the text
Marginalia Handwritten notes made in the margins by a previous owner.
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Morocco Binding material made from goatskin—versatile, durable, with a distinctive pebbled texture and visible grain. Readily stretched (“straight-grain”), crushed (flattened smooth), tooled in gilt or blind, inlaid with leathers of different colors. So-called because much of the raw material originally came from the tanneries of North Africa (other types of goatskin bindings denoting regions of origin include levant, turkey, niger).
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Period-Style binding executed with materials, tools and techniques to approximate the look of a contemporary binding from the period of the book’s publication. The term implies that the binding is modern, or recent, unless otherwise specified.
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Wood-Engraving Engraving made with the graver or burin on the cross-section of a piece of boxwood; the harder wood and finer tools allow for more delicate, finely detailed images, while the block can still be set in the page alongside text and printed on the same stock as the text. While much older, wood engravings enjoyed an important renaissance in the late eighteenth century through Thomas Bewick and continued in popularity thorugh the nineteenth century.
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